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Purchase College, SUNY
Founded in 1971, Purchase College, State University of New York (SUNY) is one of sixty-four colleges and universities that make up the largest public university system in the United States. The State University of New York system was written into law in 1948 by Governor Thomas E. Dewey and was dramatically expanded by Nelson A. Rockefeller during his four terms as Governor from 1959 to 1973. "Rockefeller saw a grand panorama of prize-winning buildings spread across the state that would offer the best assortment of learning environments anywhere. Students could choose among them and, within their architecturally outstanding walls, grow under a cadre of superior educators wooed from the best universities" (Bleeker 168). To do so, Rockefeller created the State University Construction Fund (SUCF) in 1962 in order to meet the increased demand for higher education resulting from population growth. The Fund, initially lead by a three-person board of trustees, one overall architect and one general manager, streamlined governmental procedures and allowed for construction of State University facilities to be expedited. Private architects and contractors, who had previously been reluctant to take on State work, now were afforded control over design and a "climate essential to the creation of good design and good architecture" (Drexler 5).
The addition of a State University for the arts, initiated in 1967, was of special interest to Governor Rockefeller. Edward Larrabee Barnes was selected as the master planner, and unique to all of the SUNY campuses, a roster of the most gifted and highly regarded architects were chosen to design a structure on the campus. The architects selected included Philip Johnson and John Burgee, Paul Rudolph, Venturi and Rauch, Gunnar Birkerts & Associates and Gwathmey, Henderson & Siegel. With buildings amid construction, Purchase opened in the fall of 1971 in portable classrooms and the original clapboard farm house on the 500-acre site.
Designed as a "city within the country", architect Edward Larrabee Barnes created the master plan for Purchase College in 1967. The campus plan included a collection of buildings clustered around a plaza, surrounded by fields and meadows. In addition to Barnes, seven major architects were brought in to design the individual buildings. "The Purchase campus is organized around a paved mall 300 by 900 feet and is oriented from east to west. The design uses covered arcades flanked by trees to define pedestrian access to academic buildings on the north and south side of the campus. The mall serves as a raised pedestal for those buildings which by their function are areas of common use" (Drexler 8). Primary access to the buildings and the mall is one level up on the east-west axis.
Shaped in a cruciform shape, the largest building on the campus is the Performing Arts Center located on the west-end of the campus. The unadorned minimal facade is composed of the gray-brown brick and includes four theaters ranging in size from a 1400-seat concert hall to a 200-300 seat black box theater. The structure is accessible from the parking lots on either side of the complex through a mall underpass. The underpass links the theaters to the academic campus as well as the underground mall access area. A grand two-story lobby provides a common area for all four theaters and circulation to the mall.
Immediately to the left of the Performing Arts Center is the Music Instructional Building. Designed by Barnes, the building includes individual practice and private instruction rooms, rehearsal and classrooms space along with a large lecture hall and a recital hall.
The Purchase College Dance Building was the first facility in the United States to be constructed solely for the study and performance of dance. Designed in 1970 by Gunnar Birkerts and Associates, it houses 14 studios and a 270-seat Dance Theater Lab. "A single two-story academic level relates the large studios and smaller supporting spaces. The studio-corridor wall is opaque on the lower portion and above is sloped glass. Inside the studios the wall slope expands the space while admitting daylight reflected from the slope above the offices. The building was pulled away from the arcade to create a green area and natural light for the administrative offices, and also to expose the building to pedestrians" (Drexler 34). The design for the Dance Building was based on a successful collaboration with the Dean and Purchase faculty based upon their experience and consultations with other academic and professional institutions devoted to the teaching of dance (Marlin 154). The garden wall has a sloped top toward the inside.
"The Natural Science Building is designed to have semi-private and fixed elements facing south on the common court. The laboratories are grouped around a central riser system and placed toward the north for future expansion. Support activities, such as offices and tutorial labs, are placed at the perimeter" (Drexler 33). The building includes a central lecture hall and planetarium room. The exterior design features a juxtaposed curvilinear amphitheater and an undulating rectilinear roof line.
"The Venturi and Rauch designed Social Science Building occupies the full width of the site at the arcade to preserve the design concept of the campus plan. The south elevation is dominated by a large two-story window that brings light from above the arcade down into the first floor lobby. The east facade, together with that of the Humanities Building, forms the facade of the campus core and is developed as a single plane with small openings in a regular rhythm to enhance its scale. The west facade expresses the programmatic complexity of specified classrooms and generalized laboratory spaces, and achieves a smaller scale appropriate to the function as entrance and outdoor sitting space. Internally on the east side of the building is organized into offices, seminar rooms and reading rooms and into classrooms and labs on the west side" (Drexler 30).
The second structure designed by Venturi and Rauch with assistance of Gerod Clark, Arthur Jones, Denise Scott Brown and David Vaughan is the Humanities Building. Organized in three zones the east zone contains small scale spaces; the west zone contains medium sized spaces; and the interior zone contains large scale spaces, which do not require windows and have the highest degree of acoustical sensitivity. A large open-air arena is reminiscent of Alvar Aalto's own studio in Munkkiniemi Finland (von Moos 166).
Designed by the team of Philip Johnson and John Burgee, the Neuberger Museum of Art was founded when Roy Neuberger donated his famous American Art collection in the fall of 1968. The Neuberger Museum of Art was the first building completed on the campus and initially provided classroom and studio space as well as functioning as a museum. In 1974 Philip Johnson suggested the design was intended to resemble a crankshaft and included identical 60-foot wide blocks that have shifted on a vertical access revealing similar exterior and interior spaces.
The Visual Arts Building is symbolized by an envelope of light which allows large interchange able studios and shops to receive maximum north light. The building varies in height and is set back on the east and west elevations to lend interest to the pedestrian walk and to respond to the human scale. The main open space court abutting the arcade acts as a social and cultural focus and features a two-story exhibition space above. The roof terrace over the shops responds t the landscaped cemetery space and the experimental studio and sculpture studio have their own work-study court connecting to research beyond the building (Drexler 25).
On the center of the mall is the Barnes designed Library Building and campus Post Office. The Library recently received a $6.1 million renovation and included a major reworking of the Library's internal circulation, new Information Commons, new Reading and Reference Rooms, a high-density storage area, and three new Computer Labs. Entrance to the building was relocated from the west to the east end of the building (facing the new Student Services Building) and by way of a glass and primary colored facade, features a new accessible elevator and ramp.
The two Student Activities buildings located at the terminus of both east and west-side arcades are relatively minor structures that provide a transition from the academic court to the residential living space. The structures include indoor and outdoor dining space as well as offices and student union space.
The Residential Complex designed by Gwathmey, Henderson & Siegel represents a "U-shaped building complex encloses major outdoor open space providing transition from meadow to campus plan. The open-ended space to the south is in response to the location of future residential areas. The dormitory organizes student living accommodations initially into eight groups with entrance points at the corners of the main structure or along it as defined by its intersection with academic facilities (Drexler 41). The encircled dining hall is organized vertically and horizontally and modulated volumetrically (Arnell and Bickford 48-49).
The Health and Physical Education Building is located on the east side of the campus, on axis with the mall and the Performing Arts Center. Set back from both residential complexes the building has a glass-covered central hall and front them with rows of trees. The arcades are like the thread which makes it possible to string beads into a necklace" (Drexler 9-11).
"Insofar as any architectural concept is an assertion of a particular order and purpose, it will have the limitations peculiar to its own nature. the most obvious limitation of this concept is the linear configuration automatically imposed on each building abutting the arcades, regardless of the particular academic discipline it is meant to house. Since the building sites are sufficiently wide, in practice the limitation has only a minor effect on internal circulation: of the ten buildings concerned, only four have corridors longer than might have been the case with a different site configuration. Two of the buildings are set back from the arcade, and three, where they abut it, do not occupy the full width of the site, so that there is no loss of variety in this respect. Similarly, there were no planning restrictions on floor heights, distribution of building masses, or the design of entrances. On the other hand, all buildings use the same gray-brown brick, gray glass, and gray metal trim. And with one exception (Natural Science) all of them have hard-edges crisp contours in keeping with Barnes' theater and library groups dominating the mall.
Overriding these inherent and self-imposed limitations is a cardinal advantage: the arcades and the narrow sites reassert the primacy of the street, which is the distinctive experience made possible by a community of buildings. The arcades are an indispensable part of the composition: it is not enough simply to line up the buildings on either side of the mall and front them with rows of trees. The arcades are like the thread which makes it possible to string beads into a necklace (Drexler 9-11)."
The Purchase College campus was designed in the rural north-west section of Westchester County on the Connecticut boarder. Located on a former dairy farm, the Purchase College campus sits on a 500-plus acre estate settled in 1734 by Judge Thomas Thomas. The original farm site, built in the 1920s and occupied by the Chisholm family as a working farm until 1967, remains as an Administration complex on the campus.
The overwhelming unifying source of Purchase College was the use of the red-brown brick for the entire campus. The brick along with an anodized bronze aluminum glazing system give the campus the feel of a single design intention. Similar to many modern structures, the repetition of a common material such as the brick along with the use of prefabricated products, facilitate an efficient and cost effective solution to design.
Conceived shortly after the phrase 'urban design' was coined at Harvard in the late 1950s, the design for Purchase College speaks not only to the most cutting-edge concepts in campus design but to the theoretical struggle that faced the architecture, planning and design fields of the time. Barnes' design was based on a rational and orderly composition that placed importance on social interaction, open space and the idea of a dense, urban village. Centering all structures at the core of the 500-acre campus allowed for open space and the rural qualities of the site to be preserved. This also allowed for a walkable campus, one in which prominence was given to pedestrians and cars were limited to the periphery of the site.
The design of Purchase College is a excellent example of 1970s urban design and campus planning concepts. The complex is often described within the Brutalist architectural style for its rough and block-like appearance. The use of brick as the dominant material was described at the time as "masterly" and functions as a unifying element across the individually designed structures. The 1983 issue of Abitare highlights the design accomplishments at Purchase College and state, "the spacious halls [of the Performing Arts Center] inside allow the designer to create vast surfaces without break, and to lend significance to the architecture solely by means of the interplay of elementary volumes, in a quest for characteristic forms of the expression of the minimal."
The development of a State University for the Arts in New York State was quite notable for its time and was eagerly awaited by the press and students alike. Described in publications across the world, Purchase College was an anomaly of cutting-edge design created by great architects, not only for the public good, but in celebration of artistic achievement. Purchase was unique in that it was a complete design of a college campus and not a piecemeal approach to growth and additions. In 1971 the Museum of Modern Art featured an exhibition of the campus design entitled, Architecture for the Arts" the State University of New York College at Purchase. Throughout its forty-year existence, the campus design as well as its origins have been widely discussed and debated. Recently, the campus was featured in the Academy Award winning film Black Swan and as the backdrop of a Vogue China photo-shoot. In a 1997 Neuberger Museum of Art exhibition catalog entitled, Urban Suburban: The Architecture of Purchase College, curator Paul Goldberger states, "the architecture of Purchase stands as evidence that society places the arts at its center, not at its periphery. A government does not build a campus such as this one for an activity it considers trite."
Created by the most talented American architects and championed by Nelson Rockefeller, the country's most generous Governor, Purchase College set the bar high for the importance of public architecture and the world of the arts. Master planner Edward Larrabee Barnes' design based on Thomas Jefferson's historic University of Virginia campus, is notable not for its individual buildings but for its overall campus plan. Built during the apex of modern architecture, Purchase College signifies the arc of campus planning in the United States during a time in which funding for education and public services were at its highest. Although relatively intact, Purchase College has recently experienced a number of major renovations and additions. The most significant alteration has been the addition of the Student Services Building on the eastern end of the mall. The addition, which closed off the view from the mall of the surrounding landscape and the relocation of the beloved Henry Moore sculpture, is similar in its destruction and criticism to the Stanford White Library on the mall at the University of Virginia. The State University Construction Fund and the campus facilities offices have done a relatively good job in their stewardship of the campus and the restoration of its parts. A heritage site plan is currently in place to oversee the renovation of the original farm buildings but an overall plan that takes in the significance of the 1970s campus plan should be put into place. Purchase College, its designers, its champions and its ideology speak to the development of public architecture in the twentieth century as well as the unique rise and development of the State University of New York system. As Paul Goldberger continues in his 1997 exhibition statement, "it remains an achievement unequaled in American public architecture since - a collection of buildings of the highest intent, designed to create a place in which the teaching of the arts would be nurtured and honored. Architecture has rarely been given so laudable a mission, so clearly a place in which to prove that it can matter. At Purchase College a government expressed faith in architecture, and in the context of the attitudes of the 1990s, that attitude alone defines this project as historic, and makes it impossible to view it as anything less heroic."
Drexler, Arthur. Architecture for the Arts: The State University of New York College at Purchase. New York: The Museum of Modern Art, 1971.
Bleeker, Samuel E.. The Politics of Architecture: A perspective on Nelson Rockefeller. New York: The Rutledge Press and Nelson Rockefeller Collection, 1981.
von Moos, Stanislaus. Venturi, Rauch & Scott Brown: Buildings and Projects. New York: Rizzoli, 1987.
Marlin, William, ed. GA Architect 2: Gunnar Birkerts and Associates. Japan: A.D.A. EDITA Tokyo Co., Ltd., 1982.
Arnell, Peter and Ted Bickford ed. Charles Gwathmetey and Robert Siegel: Buildings and Projects 1964-1984. New York: Harper & Row, Publishers, 1984.
Building with Brick: New York State University. Abitare. April. Volume 213, p.80-87, (1983).


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The colt hadn't yet made it to the string of saddle horses at the stables on Eight Mile. It was too young. Not broke to ride. And then the stable sold out and the nameless horse followed its barn mates to the sale.
Local horseman Bill Bolander picked the little blaze-faced gelding out of a hundred that day. It had a good eye. Good head. Good stance.
Bolander called it Smith.
"I got him started," he said, which meant he got the horse used to people and saddles, bits and ropes. Let it grow into itself, take a look at the world and see what was out there.
"I started heelin' on him and he was comin' along good." Bolander knew local team roper Dale Woodard was looking for a horse, so he stopped by one day just after Woodard pulled in from a long run of rodeos.
Fact was, Woodard had looked in three states for a horse, but not just any horse. The right horse. One that would get him up on the south end of a steer in the team roping event so he could catch two heels, take a quick dally and bring home the money.
Woodard agreed to look at the little gelding. "He was a green-broke 4-year-old but he was gentle, the right size, looked like he could run and was smooth riding."
Still, you never know about a new horse, Woodard said. Sometimes it's a gamble.
What he did know was Bolander's keen eye for horse flesh, so Woodard gave him a try. "I brought him home to just ride him for three or four days and I liked him."
That was eight years ago.
With a new owner comes a new name and Woodard tossed around "Big Mac."
"I've waited longer for hamburgers at McDonald's than I did for this horse," he said, but he finally settled on the name Razor because "when I ride him, I rope sharp."
Sharp enough to win the average at the National Senior Pro Rodeo Association Finals in Las Vegas this year, last year and the year prior.
Evidently, a few other cowboys agreed. Over the years, plenty of team ropers have watched Woodard and Razor at ropings across the country. Some have even ridden the horse themselves and made a good showing. At this year's Finals, those ropers decided to name Razor the Heel Horse of the Year.
Woodard wasn't on hand for the announcement and got a call from his roping partner while driving home through Utah.
"It was an emotional moment for me," Woodard said. "It was just my wife, Karla, and me in the cab, but I couldn't talk for about a half an hour."
Woodard said he'd always wondered what it would be like to ride a horse of the year. He just didn't know he'd been doing that very thing.
"It took somebody else telling me he was a really good horse before I realized he was a really good horse."
Razor is quiet in the box, Woodard said. The horse will stand wherever his rider needs him to be: toward the front, to one side, or all the way in the back. He's not fidgety waiting for the split second between the steer charging out, the header throwing his loop and the heeler coming in for two heels. Razor's got his eye on what's going on and the octane to get him there.
"He gives you a good shot," Woodard said.
Other rodeo competitors from Fremont County also ride horses they bought from Bolander, he added, including Cody Adams, Lori Shepard and Chad Draper.
"I just feel blessed to have had a horse like this come along," Woodard said, "and that I didn't mess him up."
Woodard hunts on Razor and works cattle with him just to break up the monotony of doing the same thing all the time. Gives the horse something else to think about.
"You train them to show them what it is you want them to do," Woodard said. Some of them get it, and those that do like their job.
And Razor?
Woodard cracked a grin. "He likes his job."


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The report is adequately crafted with the collation of essential info respective to the global Transponder, with key elements responsible for the demand for its product and services. Additionally, it identifies major aspect and so as to help with primary business decisions.The global Transponder market is anticipated to reach at C Band, Ku Band, Ka Band, Others the forecast period.
The report highlights the newest technological innovations and new launches, which allow the clients to plan their Store strategies, makes smart business choices and carry out the necessary executions.
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The report emphasizes much more on the present industrial affairs; advancements, upcoming policy modifications, as well as knocking possibilities in the industry. The regional growth methods and its prediction are actually one of the major factors that describe the entire performance and worries in the main regions and countries such as Network Services, Video, Government, Others.
Various aspects including generation capacity, specifications, material parameters, product price, and demand, supply logistics and chain, loss and profit, and growth factor are broadly mentioned in the article. The report hands in-depth segmentation of the worldwide market based on various processes, application, product type, and technology and methods.
Several main elements used in the report are explained in an easy and simple way to understand analysis and get the highest out of it. This also helps in business growth activities for better business prospects, the correct figures, and graphs presentation of crucial numerical data. Reports also help to identify the dependable and potential suppliers as well as vendors.
There are 15 Chapters to display the Global Transponder market
Chapter 1, Definition, Specifications and Classification of Transponder , Applications of Transponder , Market Segment by Regions;
Chapter 2, Manufacturing Cost Structure, Raw Material and Suppliers, Manufacturing Process, Industry Chain Structure;
Chapter 3, Technical Data and Manufacturing Plants Analysis of Transponder , Capacity and Commercial Production Date, Manufacturing Plants Distribution, R&D Status and Technology Source, Raw Materials Sources Analysis;
Chapter 4, Overall Market Analysis, Capacity Analysis (Company Segment), Sales Analysis (Company Segment), Sales Price Analysis (Company Segment);
Chapter 5 and 6, Regional Market Analysis that includes United States, China, Europe, Japan, Korea & Taiwan, Transponder Segment Market Analysis (by Type);
Chapter 7 and 8, The Transponder Segment Market Analysis (by Application) Major Manufacturers Analysis of Transponder ;
Chapter 9, Market Trend Analysis, Regional Market Trend, Market Trend by Product Type, Market Trend by Application:
Chapter 10, Regional Marketing Type Analysis, International Trade Type Analysis, Supply Chain Analysis;
Chapter 11, The Consumers Analysis of Global Transponder ;
Chapter 12, Transponder Research Findings and Conclusion, Appendix, methodology and data source;
Chapter 13, 14 and 15, Transponder sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source.
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Creatures big, creatures small. Creatures wide, creatures tall. Formed by God on a pottery wheel and ceremoniously tapped on the shoulder with a wand, creatures of all shapes and sizes roam the earth for no good reason at all. Some crawl, others teeter, and the scary ones, well, they slither. As perfect as some of them might think themselves to be, alas, they are not. Not! Even that hairy knuckled mealy mouthed foot stomping pot smasher isn't so perfect. My perfect creature would have the feet of a lemur and the grace of a springbok. It would be soft like a chinchilla and cuddly like a koala. It would have the prowess of a panther and the patience of a tortoise. Sometimes it might coo like a dove and other times it may hiss like a snake. Perfection is never just one note. Perfection is a complicated tapestry of strengths. Perfection is the head of one creature placed upon the body of another. The eyes of this plucked out and placed onto the head of that. Bits from here, bits from there. Stick them all together with a hot glue gun amongst the bubbling beakers and chemicals in your basement laboratory and maybe, just maybe, you'll toil long enough to make yourself some perfection. Or... you could just put up a poster of shirtless Malcolm with his hair down and call it a day. Either or. Let's recap, shall we?
Today our saturated tale begins with the dawn. The torturous dawn. Sitting in a tiny rickety shelter with prunes for toes and goosey pimples for flesh, we find what is left of the Messing (Matsing) tribe. Crinkly and sad-faced, our mud people Messings sit and shiver in the persistent rain. Rain with gumption, if you will. Rain that just won't give up. Their teeth go clickety-clack as their blinking eyes go squish squish. No one speaks. All we hear is the rain and the awkward *dribble squish clack click click* of body parts.
In an effort to get warm, Denise slides her toes over to Malcolm's. Playing footsie has always warmed Denise up in the past so maybe it will work now. *sigh* It doesn't. Nothing works. The three sit sodden. Waterlogged and miserable. On the beach, the waves crash ashore and continue to mock the three drowned rats. It's like the waves are saying "Haha... Haha..." Oh, cruel nature! *waves fist angrily in the air*
All one can do when their skin has become slimy and reptilian is sit and wonder. Sit and ponder. Muse. How did we get here? How did we go from six to three? How did the dream go so wrong? Deep thought after deep thought. Unanswered questions. Silence. Then... "Let's mount the greatest comeback ever," a voice screeches. Highfalutin high pitched platitudes eek out of that sad sack we call Dreads. He was willing to die for this game, you know. To die. *thunder claps in the distance* Hear that, Dreads? He's coming for you. God may have missed His chance once before, but He won't miss again. *creepy organ music fills the scene*
Leaving those depressed Messings to their cold rice and even colder dispositions, we flit on over to Fandango (Tandang) to see what's doing. The scene is lazy with everyone lolling about staring at the rain. Melty (Michael) looks up to the leaking roof and says, "Someone should fix this." And then he rolled over onto a loose piece of sharpened bamboo and bled out onto the mud. Artis swirls his big toe in the bloody mud filling the shelter as RC wonders if maybe they should make a fire (You know, to burn the body - Melty's body) Prickly Pete sneers and spits, "It's raining!" And in the corner, a quiet and observant Blair (Lisa) sits and takes it all in. She looks at her drenched tribe, at the lifeless body of her once friend, and wonders to herself if the rain is too much for them. Is the rain the one thing that can beat them?
Prickly Pete, however, doesn't mind the rain. Oh sure, he sneered at it earlier, but that's just part of his evil plan. He summoned the rain and now he'll summon up a little chaos fun. While Shakira (Abi-Maria) rises to fetch herself a mojito to quench her thirst, she knocks over RC's pocketbook where out tumbles a flimsy piece of tea-stained yellowing paper. She points at it and asks, "What's that?!" Prickly Pete replies, "It's the clue!" The corners of RC's mouth instantly fall downwards as her breath gets stuck in her throat. Blair then kicks RC in the shins and demands that she reads it aloud. Through a haze of confusion and stutters, RC reads the clue for everyone to hear and mumbles, "I wonder what 'under your nose' m-m-m-means."
Naturally, Shakira is furious. She knew it! She knew that RC would betray her. Her former BFF must have gone out and dug up the clue with plans to look for the Idol later all by herself. La Tortura! Chalupa Tortura! Ohhh that RC gets under Shakira's skin and makes her blood boil. The embers, she brings to life the embers. And if I know anything about this existence I'm stuck in, it's that you steer clear of a smoldering Shakira. She'll hip shake your noggin off the top of your head and then where will you be? Headless, that's where!
But hark, it wasn't RC who dug up the clue with clandestine plans to go searching for the Idol later. It was Pete! Prickly Pete. All thorny and needly, Pete has a penchant for chaos making. Ripped straight out of the Lucifer Guide For How To Not Win Survivor (For those new to this blog, Lucifer = Russell Hantz), Pete wants to keep everyone off kilter so no one is comfortable and confident in their own game. They'll merely be victims to his game of Chaos Management.
So while chaos and war is breaking out over at Fandango, peace and sunshine is breaking out at KrabKlaw (Kalabaw). The rains have taken their leave and now a beautiful yellow sun has taken its place. Scruvy (Jonathan) marvels at the beauty around him and quickly gets to work on his camp chores. Dawson, however, stares at a two foot high crackling flame and wonders aloud, "Is that a fire?" Yes Dawson, that is a fire. If you stick your fingers in and out comes a gelatinous sticky goo, then you have made fire. Go ahead and test it. Jeff Kent sits back and watches as Dawson sticks all sorts of things into the fire to see if they burn. Dried leaves? Sizzle. Twigs? Crackle, crackle. Jell-O Pop's (Carter) velvet beret? Smolder, snap, melt. Jeff Kent snorts to himself and wonders how the hell these young'uns get by in life. Only Scurvy seems to be capable of recognizing an honest to goodness fire when he sees one. That Scurvy is an adult!
The more Jeff Kent looks around himself, the more he thinks it might not be a bad idea to work with Scurvy after all. I mean, for crying out loud, Dawson is now throwing babies and gasoline on the fire to see if they'll burn. He can't work with her! So while out on a boys clamming trip with Jell-O Pop, Jeff Kent approaches Scurvy and pitches (Get it? Pitches. I'll be here all week, folks.) a plan where the two of them will use each other for their strengths. Scurvy will bring his veteran status to the table while Jeff Kent will bring his ability to control dumb ass girls like puppets. Happy and satisfied with themselves, the men smile, shake with eight fingers, and stare at the water when over their shoulders they hear a long slow exhale followed by the scent of a fancy Russian cigarette. It's lanky spiky dandy Jell-O Pop and he wants to play with the big boys too. Fingering his shell necklace with one hand and puffing languidly on his red cigarette with the other, the men wade over to Jell-O Pop and offer to make their duo a threesome. Jell-O Pop sighs and plops a giant ash into the crystalline blue water in front of him. That's his signal for "Yes. Affirmative. I will join you." And there you have it, we have a crackerjack new alliance of manly men.
This Is a Cheer-ocracy Bring It On — MOVIECLIPS.com
There is a problem with the Manly Men Alliance though. That problem is the lady people onshore. They saw the exchange of fingers and the casual ashing into the water. They saw it all and now they're damn mad. They're Joan Crawford damn mad! Riot Grrrl Pixie (Dana) says KrabKlaw is no longer a democracy. It's a Cheer-ocracy! No, it's a Cheer-tatorship. Whatever it is, it's girly and bad ass and probably has a spirit stick. Pixie tells the women they don't need no stinkin' men. She can make fire. She can kill a chicken. Who needs men?! They'll just stick together until the Merge when they'll recruit more vagina people to their cause. *burns bra and plays some 7 Year Bitch* Free Pussy Riot!
Back over at Miserable Messing it is still raining. It's not raining at KrabKlaw, but it's raining at Messing. This is the type of black cloud luck these suckers repeatedly get stuck with. To make matters worse, that awful Dreads is foaming at the mouth again. No one else is talking, but Dreads sure is and he has a lot to say. In between cliche catch phrases and musing about his place in the world, Dreads is becoming suspicious that no one has approached him for an alliance. He's been a horrible leader, a joke in the competitions, and an all around annoying person yet he wonders why no one wants to work with him. Oh well. No matter. He'll just try to find the Immunity Idol, but first he needs to figure out what the word "somewhere" in the clue means. 'Somewhere' is so noncommittal. It's so leading, so vague, so secretive. He looks in the shelter, under rocks, around the rice container. It must be here somewhere! Gah! There's that pesky word again. That "somewhere" word.
So while Dreads is on his hands and knees mumbling, "I know you're somewhere Idol," Denise watches from afar and shakes her head. She knows he's up to something so she runs to share her suspicions with Malcolm. The two whisper and conspire to find out if Dreads does indeed have the Idol. They search through his satchel and shell collection only to come up empty handed. Malcolm shrugs his shoulders and says they'll still vote him out anyways. Maybe Dreads will be blindsided and won't think to use the Idol.
Back over at Fandango it is lunch time. Melty is stirring the bubbling rice with his prosthetic fingers while Shakira keeps telling him to add more salt. Because she's a salty person. Because she's salty and her salt reserves are getting low. She needs those reserves to go from E to F. Add more salt now! Prickly Pete stands and watches as Shakira starts to twitch and spit not only from her salt deficiency, but from RC inching closer and closer to her. He stands satisfied that his little paper caper has only strengthened the divide between the two ladies.With his fingers steepled just so, he kicks RC in the ass and shoves her even closer to Shakira.
RC stumbles forward and even though she can see Shakira blinking a lot and shifting from side to side, she decides that maybe this is a good time to have a girl chat with the spicy tamale. RC tiptoes quietly towards Shakira and asks in a small voice, "Do you want to talk about this at all?" Shakira's eyes flash bright rojo as she begins to pace in a circle and wave her arms wildly, "I don't want to talk to you. Get over it. Move on. Seriously, move on. I'm not going to talk to you. You know what you did. You know exactly what you did." Prickly Pete, meanwhile, hunches over behind a bush and giggles to himself while RC swears up and down that she didn't do anything. I'm not sure why, but Pete really can't stand RC. All he cares about is getting her out of the game and if he has to watch a burrito explode while doing it, then so be it.
And this brings us to the big Immunity Challenge. But first, we'll go through a series of majestically swirling helicopter shots to get there. Islands, mountains, secret paradises like the one Tilda Swinton lorded over in The Beach. Come on in guys! For today's challenge, you will become sexy mud people. One at a time you will carry two pots of rice on a bamboo pole through a series of obstacles. Once you've collected all six pots, you will then use a wrecking ball to smash the pots. The first team to smash all of their pots wins Immunity and a gift basket of steak, veggies, spices, and utensils. The second team to finish will also win Immunity, but their gift basket will be suckier with only veggies, salt & pepper, and a pot to cook in. However, either tribe can trade their prize for a tarp if they so choose. The last place team will head to Tribal.
Since Messing has only three people left, both Fandango and KrabKlaw choose to sit out all of their womenfolk. And if you watched closely like I did, you could see Pixie making obscene finger gestures behind her back to all the men who think they're better than her. You tell 'em, Pixie!
Survivors ready, go! Malcolm, Melty, and Jell-O Pop leap out of the start and begin piling pots onto their bamboo poles. Malcolm quickly takes the lead with Melty right behind him. Jell-O Pop, however, won't put down his cigarette or his copy of the Complete Works Of William S. Burroughs so one of his pots tumbles and crashes. Naturally, Dimples has to point out that for the first time in the history of Survivor Challenges, Messing is actually in the lead. Jell-O Pop doesn't appreciate Dimples' condescending commentary and he continues to have trouble smoking, reading, and competing all at the same time.
That little munchkin of muscle Denise heads out last for Messing and the grimace on her face tells us that those rice pots probably weigh more than she does. She never falls or quits, but she moves slow enough that the other teams begin to catch up. Fandango pulls ahead and the entire tribe begins to tackle the obstacle course and head to the rice pots where Artis will do the smashing. Malcolm does the smashing for Messing while Jeff Kent smashes for KrabKlaw.
Artis and Malcolm get to their wrecking balls first and the clay goes flying. Smash! Smash! KrabKlaw finally makes it to the smashing station, but this is a clear blow out. Malcolm and Artis have this baby in the bag. Smash! Smash!
With two pots left for Messing and one pot left for Fandango, Artis crushes that baby into another Fandango victory. FANDANGO WINS FIRST PLACE!!! Prickly Pete celebrates as only he knows how - with a Tyra Banks America's Next Top Model booty tooch. Tooch! Pot ledom.
We're now down to Malcolm and Jeff Kent. Jeff Kent smashes two pots at once while Malcolm smashes his second to last pot. It's down to one pot for Messing and two for KrabKlaw. Malcolm readies himself, leans back, and lets the wrecking ball free from his hands. It's all up to air, aim, and wind velocity now. That is all that stands between Malcolm and victory. Whoosh!
It's a swing and a miss! Meanwhile, that pesky Jeff Kent has just smashed another pot. Gah! *hides eyes in hands* It's down to one pot for both teams. A wind storm picks up right around Malcolm blowing off his whole trajectory. Meanwhile, Jeff Kent lets his ball go.
It merely kisses his pot.
Then it flips his pot.
Then it stops in midair, turns around, and SMASHES his pot. KrabKlaw wins second place!!!
And like that paradigm of good sportsmanship is often wont to do, Dreads smashes a rice filled pot on the ground and begins to talk to the man in the moon or something. The other tribes stand awkwardly while Dreads continues his solemn prayer, "Lord I don't know what I'm supposed to do with all this excellence, all this perfection. I don't get What's Happenin', Father. Dee, Rerun, Raj, Dwayne Wayne... I don't get it Father. I just can't take this!"
"Umm excuse me, who are you talking to Dreads? You're smashing pots and talking to I don't know who, God?"
"I'm talking to God, Lord. I mean, Dimples. For me, this isn't supposed to happen."
"With all due respect Douchey McGee, you're not Superman. You're just a guy."
"I was formed by God's hands on a pottery wheel. I am a perfect creature."
"Bitch, please!"
And then Dimples gave Dreads the hand and went back to slurping his Appletini. See you at Tribal, bitches!
Imagine me dead, Malcolm.
Go ahead Malcom. Imagine me lifeless in your hands.
So, Malcolm has no soul and the music continues to fill the background. It's sweeping, it's gothic, it's a Bronte novel. Flutes and toots and horns and strings. Is this Masterpiece Classic or Survivor? Nevertheless! Dreads is also sad. He is filled with perfect excellent disbelief and sadness. That is, until Malcolm approaches him in the water and tells him to vote out Denise. Of course you and I know that Denise is Malcolm's best good footsie friend and they'll never vote each other out. Malcolm just wants to make sure that Dreads feels comfortable enough going into Tribal Council so he doesn't use the Idol if he has it.
Denise, too, wants Dreads to feel comfortable so she grabs her yellow legal pad and her reading glasses and heads on over to Dreads for some quality time. And, wouldn't you know it? Dreads is more than willing to talk and spill all of his innermost secrets to Dr. Denise. He begins by saying that he never goes into anything expecting less than the best. Dr. Denise takes some notes and nods, "Mm hmm. And have you always been this way?" Dreads lies back on the leather couch and tells a heartbreaking tale. *rolls eyes* "Two kids jumped me when I was around 8 and I got beat up. It wasn't like I got beat up, beat up. I got 8 year old beat up. You know, titty twisters, wet willies, wedgies. That's sort of thing. Anyhow, for a long time after that I began to plot my revenge on the pipsqueaks who tweaked my nipples. Long story short, I clocked little Billy right in the face and made him cry. But, you know, I don't condone violence. So yeah, I always strive for excellence." *scratches head* Dr. Denise looks up from her filled notepad. "OK Dreads, thank you for sharing that with me. I'm going to prescribe 2mg of alprazolam and some ECT twice a week for the rest of your life. That'll be $250. See you next week. By the way, let's vote out Malcolm." Damn, she's good. I wonder if I can weasel a scrip for Percocet out of her.
Dreads rises and the soundtrack immediately changes. It's plucky now. It's jaunty. It's vaudevillian. Gone are the sad notes. Now it's xylophones and triangle dings. Not only does Dreads feel better after his session with Dr. Denise, but he has a pivotal role now. He's the swing vote! It's all up to him. Everything everywhere is all up to him. You see, when you strive for excellence, you get it!
And this brings us to Tribal Council. Dimples in a leprechaun green blouse sips on his mint julep and turns to Denise. Snickering in between sips he says to her, "Crazy, right?" Denise nods vehemently, "Crazy!" and then she motioned over to Dreads and did that "cuckoo cuckoo" finger swirling motion on the other side of her head so he wouldn't see. Dimples then turns to Malcolm and asks him what the atmosphere back at camp was like. Malcolm squishes a puppy skull in between his fingers and says, "There's no telling what will happen." Denise chimes in and says everyone packed their bags tonight. The feeling hanging over each of them is hopeless.
Speaking of hopeless, Dreads is going to talk now. Dimples asks him about his weirdo perfect creature thing he said back at the Challenge and Dreads clarifies that it's more of a "state of mind" than anything else. He's much clearer on it all now since he talked to Dr. Denise. And, of course, the alprazolam is working beautifully. Being the shit stirrer that Dimples is, he wants to know how made Malcolm the "go to guy" in the Challenge. Malcolm raises a bloodied finger and points it down on himself, "I did, Dimples. It's all on me."
Look, we know how this is going to go. Plus, I gotta locomote. Let's vote! By a vote of 8 million (every Survivor viewer) to 1, Dreads is the 4th person voted out of Survivor Philippines.
So, what did you guys think of last night's episode? Was it a lucky wind that helped Jeff Kent and sabotaged Malcolm? Will the tribes get reshuffled? Is Prickly Pete someone to keep an eye on? Will Pixie recruit more vaginas at the Merge? Comment it out bitches and have a great day!
Super bitchy thanks to Rob Beasley for my beautiful Survivor pics!


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This is FRESH AIR. I'm Terry Gross. If you're a parent, you may have wondered what your kids are texting to each other or posting on Facebook pages. Or maybe you've thought about it and decided you don't want to know. Well, our guest, James Steyer, says you should pay attention to the digital media your kids are using, and you should think carefully about what devices and networks they're allowed to plug into and what rules you should set for them.
Steyer has spent much of his career thinking about the effects of media on children. He's the founder and CEO of Common Sense Media, a nonprofit that focuses on the media use of kids and families. He began his career as an elementary school teacher and later became a public interest lawyer. He teaches at Stanford University.
He's written a new book, which explores some of the effects of digital media on kids and offers practical advice for parents on how to handle a child's media issues from infancy through adolescence. It's called "Talking Back to Facebook." He spoke to FRESH AIR contributor Dave Davies.
Well, James Steyer, welcome to FRESH AIR. I was stunned to read a statistic you quote, that kids, if I have this right, between the ages of 13 and 7 will typically text each other more than 3,300 times a month, more than 100 times a day. [POST-BROADCAST CORRECTION: between the ages of 13 and 17, not 7.] You know, this amounts to sort of, I guess, a quantitative phenomenon that could make a qualitative difference in relationships. How does this alter kids' relationships with each other?
JAMES STEYER: Well, I think it's very different when you actually text somebody as opposed to have a face-to-face conversation or even one over the phone. When you text people, or you Facebook them, it's the plunk of a keystroke on your computer or on your phone. And texting is a very different form of communication, much more impersonal, much more impulsive, often times, and it actually allows you to do things that you might not do if you had to look at the person in the eye and say that thing, see the nuances of their face or their expressions.
And I think it's an incredibly important part of the new landscape that kids and all of us are living in.
DAVIES: Now, then there's the social networks that kids use, like Facebook in particular, and I'm wondering how - you know, kids have long been self-conscious and subject to peer pressure and worried about judgments from their friends. How does trying to present themselves on Facebook, where they can actually craft a profile, affect those relationships?
STEYER: Well, I think the big term for me is the term presentation anxiety. My colleague at MIT, Sherry Turkle, wrote a beautiful book called "Alone Together," in which she talked a lot about the concept of presentation anxiety, where boys and girls, particularly teen girls, spend hours a day curating their images: the photos, the messages, the order of photos, all sorts of ways in which they present themselves to the world and then change that over and over again.
In an odd way, even though you're doing it for hours on end, it leaves many kids feeling very alone and also very insecure about how people will react. I also have colleagues at Stanford now who have been doing research on Facebook and self-image, and they've seen that a significant proportion of the girls who they've been studying Photoshop their images on a regular basis because they're concerned about their body images, worried that they look too fat in this picture or too unattractive in that picture.
And they also comment to each other all the time about you look so fabulous and other things that you might not say on the air. And so this concept of presentation anxiety goes to the core of the social and emotional development of kids and teens today.
DAVIES: You know, it's kind of ironic that this - these networks, which connect people in, you know, really amazing ways can make - actually make kids more self-absorbed.
STEYER: Well, there's no question that they connect, but the question is are you really having a conversation, are you really communicating with people, or, as you mentioned, are you - do we live in a culture of the - of e-personality, and quite frankly where we see increasing amounts of narcissism diagnosed in young people because the constant need to curate your own image and to change it is very different than when you're in person with somebody.
You know, for better or for worse, when you're out there with your friends, that's who you are. And they see you, and you see them. This is true for adults, obviously, as it is for kids. But in a world where you can constantly change your image, A) you just do become more self-absorbed; but B) I actually think you become more lonely.
DAVIES: You talked to a lot of kids, you know, in writing this book and in doing your work at Common Sense Media. Are they aware of this?
STEYER: You know, they're increasingly aware of this. It's a big change. I actually started writing the book last summer, and the change that I've seen between last summer and now that the book is being released, is quite remarkable, and I think actually very positive.
I always ask my students at Stanford - I've been teaching there for a number of years - if you could turn back the clock, and of course we can't, but if you could, would you like to have a world with Facebook or a world without Facebook? And I will tell you that they're basically evenly split between people who say we would like - we'd like to get rid of it and those who see that at the end of the day it's a benefit.
But kids today are starting to become aware of the artificial nature of some of their interaction, the pressure they feel to constantly be on, to constantly respond via text, and also to present their images on Facebook. So I think that young people are increasingly aware of some of both the positives as well as the downsides of this extraordinary new form of communication. And that's a good thing.
DAVIES: If you're just joining us, our guest is James Steyer. He's the founder of Common Sense Media, a nonprofit that deals with children and media issues. He has a new book called "Talking Back to Facebook: A Common Sense Guide To Raising Kids in the Digital Age."
You write that privacy is a big concern and the extent to which, you know, social media companies don't protect it. How common is it for kids to share information on social networks that they later regret?
STEYER: Boy, I think it's extremely common for young people, and some adults, to share information on social networks that they later regret. It's pretty amazing when you think about privacy. I tried in the book to define it into two separate basic categories. The first is, to your question, the concept that young people in particular oftentimes today self-reveal before they self-reflect.
You know, there is no eraser button today for youthful indiscretion. And nearly 40 percent of all American teens 13 to 17 admit to posting something online that they later regretted, and 80 percent of teens that were polled recently admitted that they think their friends share too much personal information online. So you're basically talking about the great majority of teenagers.
And I think that the issue of young people, but I think this happens for adults to a lesser extent, putting stuff up that they subsequently wish they'd never done, whether it's for a personal relationship standpoint or, quite frankly, getting into college or getting a job interview, it's just an extraordinary phenomenon.
There was a big controversy in the past few weeks about laws in states where people are saying that employers cannot have job applicants' Facebook passwords. That's because people have stuff up there that they really don't want other people to see sometimes.
But in a world where everything's photographed, where kids are constantly snapping photos with their cell phones and quite frankly where youthful indiscretion is exactly the same as it's always been, the consequences can be much greater where there is no eraser button.
In Europe, they call this the right to be forgotten, and there's been an extraordinary public dialogue over the past six months or so about the importance of honoring the right to be forgotten. Here in the United States, we're just starting to have that in the context of the broader privacy debate. But everybody out there understands that this is an issue.
And privacy, as I remind my students at Stanford, is a fundamental right under the U.S. Constitution.
DAVIES: Do kids have special privacy protection under the law?
STEYER: Well, kids under the age of 13 have special privacy protection under a law called COPPA, the Children's Online Privacy Protection Act. Now, that was written in 1998, which is the stone ages of digital media. In 1998, Mark Zuckerberg was in grade school. YouTube, Facebook, Google, Twitter - none of those services exist. But that was the last time privacy laws were written in the United States. So we have an antiquated structure to deal with these extraordinary new privacy issues.
And quite frankly, as everything changed in Silicon Valley and on the large technology platforms over the past four or five years, there's been no oversight by society, no government involvement, and until very recently there weren't even significant new privacy laws proposed, so that we're still operating under the 1998 COPPA law, which does restrict the certain forms of information, how kids' personal identifying information have been used.
So for example, Facebook is under COPPA. That's why Facebook officially claims that no one under the age of 13 is on Facebook. But the truth is, as Consumer Reports reported last year, that there are at least 7.5 million kids under the age of 13 on Facebook in the United States.
So the COPPA laws are there to design - designed to protect the personally identifiable information of kids 12 and under. They are riddled, like Swiss cheese, if you will, with some holes that are easily gone through. But also millions of kids now just fake their age and go on Facebook and Google Plus and other platforms.
So dealing with the broad structure and the need for sort of common-sense privacy laws is clearly on the agenda in the next year or two. Whether the large tech companies in the country are happy about that or not, I think that the public will be increasingly demanding new, clear, common-sense laws around privacy.
DAVIES: I'm sure this is a much bigger subject, but give us one example of a privacy provision that ought to be in law?
STEYER: Well, at Common Sense - I'll give you three, because Common Sense proposed I think a pretty simple regimen around it(ph) . One, we believe that the standard should be opt-in, not opt-out. Today as it stands on all of the major social networking platforms, and quite frankly with much of your information online, it's shared unless you opt out of the service.
At Common Sense, we believe for kids under the age of 18 that it should be a strictly opt-in provision, where their parents have to give permission for that information to be used or tracked, or they simply can't do it. So opt-in versus opt-out would change everything.
The second thing we've called for is what we simply call the eraser button. The technology wizards of this country, who are so extraordinarily talented and have led to so much innovation over the past five or 10 years, have the resources and the ability to create an eraser button so that you or I or anyone out there could just say, hey, take that down, not just on one platform but on as many places where that information and data can be traced.
And I think the third thing that we've called for at Common Sense is do not track kids. And simply under the age of 18, don't track kids unless you have explicit parental permission to track their information with cookies and other things which you have on websites.
Today, kids' sites - last year the Wall Street Journal found that 30 percent more tracking cookies on kids' computers were being used than on general audience sites. So these are very basic things, but they will have an extraordinarily positive impact on preserving privacy if we would just enact them.
DAVIES: James Steyer's new book is called "Talking Back to Facebook." We'll talk more after a short break. This is FRESH AIR.
DAVIES: If you're just joining us, we're speaking with James Steyer. He's the founder of Common Sense Media, a nonprofit that deals with kids and media issues. He has a new book called "Talking Back to Facebook: A Common Sense Guide To Raising Kids in the Digital Age."
Well, about half of this book is very practical advice for parents, and it's organized by age group, and you start with birth to age two, and I read that and thought: Are you kidding? Do we really need to worry about what our infants are doing?
STEYER: Well, the world is actually a digital stage when it comes to babies. And you know, online babies - online audiences are now seeing sonograms even before babies are born. And people are so infatuated with their little infants and posting pictures of them, and you're creating what we call a digital footprint almost from the time that kids are born.
So zero to two is actually a real time. Also, you now see parents who are taking their little one-and-a-half-year-old child and plunking them in front of an iPad or other tablet and having them check out the incredibly cool images and games that can be created on those platforms.
So in fact it may sound odd to have a chapter in a book about birth to age two when it comes to kids and technology and media, but in fact it's a reality today because it's easy to be dazzled by this new technology, and they can make it irresistible to post that picture of your new baby for everyone to see in the world.
DAVIES: OK, well, let's talk about - one issue is whether it's in any way helpful or harmful to show your kid digital media stuff on screens. What's your view?
STEYER: Well, I think that zero to two, you know, the American Academy of Pediatrics, the pediatricians, children's doctors of the world, have recommended and re-recommended earlier this year that there be zero screen time for children under the age of two, that there is no educational benefit to that, and in fact that there can be brain development issues and other kinds of physical harms, if you will.
So the American Academy of Pediatrics says zero screen time between zero to two. I think that that is pretty basic advice, but one that as a parent of four children myself, it's a little hard to follow the zero screen time, but it's certainly a good overall recommendation because that's the time when all those things we do with infants - nurturing them in our arms, cooing to them, playing little games on the floor if they're able to sit up - those are the kind of things that are much better than some kind of screen experience.
DAVIES: Now, should you worry about posting online photos or videos of your baby or toddler?
STEYER: I think you can be concerned about that because you never know where they're being used. And again, you're creating a digital footprint. And some of the leading technology executives that I know never put up any pictures of their own children. So maybe there's something to be learned from that.
DAVIES: Yeah, what's the concern?
STEYER: Well, social networks are obviously a natural place for sharing cute pictures of your little ones with friends and family. But keep in mind that once a photo or a video is up on the Web, it's up there permanently. And even if you delete it, someone else may have already downloaded it and shared it online.
And so it's a record that's trackable and public and permanent. And your child will have to live with that, and sometimes they don't want to. So I would say if you do opt to share baby pictures online, then make sure your that privacy settings are very carefully restricted and kept up-to-date so that they're in the most restrictive format.
The other thing is that you can actually extract data and information about where a photo was taken and when, and that is another part of your child's personal history being made accessible to the world in a way that you might not want it to be.
DAVIES: OK, now, when kids reach the age of three to four, if I read you correctly, there is some potential benefit from kids learning from digital media with the right kind of content. But you say a key element, and this is really true from this age on, is limiting screen time. I guess this sort of sounds obvious, but how much screen time, and what do we mean by screen time?
STEYER: The rule of thumb that I tend to use is, well, if a kid is three or four, maybe an hour a day of screen time, and that could include great videos, that could include maybe if you go onto pbskids.org online and play a cool game or let your kid watch a new "Sesame Street" video or something like that, but around an hour a day.
As kids get older, my recommendation is up to two hours per day of screen time is realistic, but quite frankly, the numbers are very different than that. At Common Sense we did a big zero to eight study late last fall, and we found that the average kid under the age of eight is spending enormous amounts of time in front of a screen. And that can impact brain development.
It can have positive effects, but it's all about moderation and balance.
DAVIES: Now, you write that at age five to six, kids are actually beginning to do their own Web browsing. And this is something I didn't know. You write that companies have made children's Web browsers. Explain what they are and whether you think they're a good idea.
STEYER: Well, most five to six-year-olds have already used a computer by themselves, and some of them are just interested in jumping on the Internet and exploring because they see their older siblings do that, they see other parents do that. And obviously the Internet is no place for a child of age five or six to explore alone or unsupervised.
So what's happened is there are these Web browsers which can, if you will, filter out options so that age-appropriate content is all that your kid is exposed to. But I worry that encouraging Internet use and too much independent browsing at this age can also set the stage for digital addiction when your kid becomes a bit older and is spending way too much time on the Internet.
So there are browsers, and they either charge membership or do it via subscription fees. The ones that are free oftentimes have advertising banners that can be very attractive to your five or six-year-old. But if you're looking for sort of Web surfing with training wheels experiences, you can check out the browsers yourself and see if they're good.
DAVIES: And I think you write that, you know, apart from getting, you know, an external tool like a children's Web browser, it's just as important for you to spend time browsing with your kid yourself, talking to him about it.
STEYER: Well, I think if there were two things that I would keep in mind as a parent, two basic rules, one is you have to do your homework. So you have to understand what platforms your kids are on, whether - whatever age they are. So whether it's how they're using a Facebook platform or whether they're going to nick.com or disney.com or how they use YouTube, the number one site for kids under the age of 11, if you can believe it, you need to do your homework and do it with them and go on with them and experience with them, quite frankly teach them limits and rules.
But I think the second thing you have to do is you have to be a role model for your children. If you're constantly glued to your Crackberry, if you're constantly tethered to your phone or your computer or your tablet, you're not paying as much attention to your child, you're not giving them the emotional and social support and attention that they need, and quite frankly you're setting them a very bad digital role model.
And I think that's an incredibly important thing for parents to remember today, because my kids sure give me a hard time when I come home and I'm stills ending emails on my BlackBerry, and they're saying, Dad, pay attention to me, you're home, watch my game. You can go to - you know, it's very interesting to go to soccer games or baseball games today with parents and to see them on the sidelines, and instead of cheering their kids on, they're lost in their phone, or they're staring at a screen.
And I think being a good role model is critically important, just as doing your homework about where your kids are exploring in the digital media world is an essential element of parenting 2.0.
DAVIES: Well, James Steyer, it's been really interesting. Thanks so much for speaking with us.
STEYER: Great to be here.
GROSS: James Steyer is the author of "Talking Back to Facebook." He spoke with FRESH AIR contributor Dave Davies. I'm Terry Gross and this is FRESH AIR.
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Nio 2|4 Interface
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Novation's Nio 2|4 USB Audio Interface ($299 retail/$199 street) delivers much more than its name implies. Sure, it is a compact audio interface with the usual XLR and ¼" inputs, MIDI I/O, and headphone capabilities—but it is also an excellent little guitar interface and mixing and monitoring system that operates in tandem with Novation's DirectFX amp and effects software. The software interface includes an array of classic amplifier and distortion pedal models by Overloud, along with virtual effects by Focusrite (Gate, Compressor, EQ, Reverb) and Novation (Filter, Delay, Chorus, Phaser) that you arrange into custom rigs. The Nio 2|4 sits perfectly atop my Mac G5, and I use it with AKG K240 headphones when I want to test gear without disturbing my coworkers. I mostly use clean amp settings—the Vox AC30 and Fender Bassman models are my favorites—and few if any effects, but I've experimented with all of the options and been very impressed with them (especially the Focusrite Compressor and Reverb). Latency is practically nonexistent, and the flexible I/O and mixing capabilities make it possible to blend in audio from CD and mp3 players, or accompany a keyboardist playing software synths. I haven't used the Nio 2|4 for recording or live performance, but it would almost certainly work well in either application (or even as portable DJ mixer given its RCA I/O and knob-based interface).
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Disk Disposal and Data Recovery
- SSD Forensics 2014. Recovering Evidence from SSD Drives: Understanding TRIM, Garbage Collection and Exclusions by Yuri Gubanov and Oleg Afonin, 2014
- Why SSD Drives Destroy Court Evidence, and What Can Be Done About It by Oleg Afonin and Yuri Gubanov, 2012
- Disk Imaging: A Vital Step in Data Recovery, DeepSpar Data Recovery Systems, November 2006. An in depth look at the many issues that cause data loss / irretrievable data in the data recovery imaging process and how to overcome them.
- Drive-Independent Data Recovery: The Current State-of-the-Art, ActionFront Data Recovery Labs, August 2005.
- Secure Deletion of Data from Magnetic and Solid-State Memory, Peter Gutmann, Proceedings of the Sixth Usenix Security Symposium, 1996. [1]
- Hard Drive Disposal: The Overlooked Confidentiality Exposure, FInancial Perspectives, IBM White Paper, November 2003.
Simson Garfinkel, Abhi Shelat - Remembrance of Data Passed
- {IEEE} Security and Privacy Magazine , January 2002
- http://www.simson.net/clips/academic/2003.IEEE.DiskDriveForensics.pdf
BibtexAuthor : Simson Garfinkel, Abhi Shelat
Title : Remembrance of Data Passed
In : {IEEE} Security and Privacy Magazine -
Address :
Date : January 2002
Evidence Gathering
- Distributed forensic artefact collection using ISEEK by Richard Adams, Val Hobbs and Graham Mann, 2017
- Discovering ephemeral evidence with Live RAM analysis by Oleg Afonin and Yuri Gubanov, 2013
- Retrieving Digital Evidence: Methods, Techniques and Issues by Yuri Gubanov, 2012
- Byteprints: A Tool to Gather Digital Evidence, Sriranjani Sitaraman, Srinivasan Krishnamurthy and S. Venkatesan, Proceedings of the International Conference on Information Technology (ITCC 2005), Las Vegas, Nevada, USA, April 4 - 6, 2005
Fake Information
- Automatic Detection of Fake File Systems, Neil C. Rowe, International Conference on Intelligence Analysis Methods and Tools, McLean, Virginia, May 2005.
Feature Extraction and Data Fusion
Computer Location Determination Through Geoparsing and Geocoding of Extracted Features http://www2.chadsteel.com:8080/Publications/drive_location2.docSimson Garfinkel - Forensic feature extraction and cross-drive analysis
- Proceedings of the 6th Annual Digital Forensic Research Workshop (DFRWS) , Lafayette, Indiana, August 2006
- http://www.dfrws.org/2006/proceedings/10-Garfinkel.pdf
BibtexAuthor : Simson Garfinkel
Title : Forensic feature extraction and cross-drive analysis
In : Proceedings of the 6th Annual Digital Forensic Research Workshop (DFRWS) -
Address : Lafayette, Indiana
Date : August 2006
Text Mining
Computer Forensic Text Analysis with Open Source Software, Christian Johansson, Masters Thesis, Blekinge Tekniska Hogskola, June 2003 http://www.fukt.bth.se/~uncle/papers/master/thesis.pdf
Signed Evidence
Thomas E. Duerr, Nicholas D. Beser, Gregory P. Staisiunas - Information Assurance Applied to Authentication of Digital Evidence
- Forensic Science Communications 6(4),2004
- http://www.fbi.gov/hq/lab/fsc/backissu/oct2004/research/2004_10_research01.htm
BibtexAuthor : Thomas E. Duerr, Nicholas D. Beser, Gregory P. Staisiunas
Title : Information Assurance Applied to Authentication of Digital Evidence
In : Forensic Science Communications -
Address :
Date : 2004
Rolf Oppliger, Ruedi Rytz - Digital Evidence: Dream and Reality
- IEEE Security {\&} Privacy 1(5):44-48,2003
- http://doi.ieeecomputersociety.org/10.1109/MSECP.2003.1236234
BibtexAuthor : Rolf Oppliger, Ruedi Rytz
Title : Digital Evidence: Dream and Reality
In : IEEE Security {\&} Privacy -
Address :
Date : 2003
The Advanced Data Acquisition Model - A Process Model for Digital Forensics Practice, PhD Dissertation, Murdoch University, 2013 http://researchrepository.murdoch.edu.au/id/eprint/14422/2/02Whole.pdf
A Hypothesis-Based Approach to Digital Forensic Investigations, Brian D. Carrier, Ph.D. Dissertation Purdue University, May 2006 https://www.cerias.purdue.edu/tools_and_resources/bibtex_archive/archive/2006-06.pdf
Other Papers
- A Model for When Disclosure Helps Security: What is Different About Computer and Network Security?, Peter P. Swire, Moritz College of Law of the Ohio State University, Journal on Telecommunications and High Technology Law, Vol. 2, 2004.