Jason Scott

  • Content count

  • Joined

  • Last visited

Everything posted by Jason Scott

  1. When I was doing research to check up on TR0N, I guess I registered under VINE (the victim information network) to notify me about the guy. Today, I got the following mail: 11/30/2008 This email is to inform you that THOMAS MITCHELL will be released from the custody of the Oregon Dept of Corrections on 12/30/2008. You will receive another notification from VINE on the day of this offender's release. If you need further information, you can call the Oregon State VINE service at 1-877-674-8463 and press zero to speak to a VINE operator. This notification is sponsored by the Oregon VINE Service. It is our hope that this information has been helpful to you. Thank you, The VINE Service So I guess he's out around December 30th of this year for this crimes. (He's currently in prison in Oregon for his offenses, which are pretty unpleasant, frankly.)
  2. I am completely confused as to why you would be worried.
  3. The always excellent History of Phone Phreaking weblog has an excellent set of scanned images from some FBI busts in the early 1970s. These are photos of vintage blue boxes, well worth checking out. Some Oddly Haunting Old FBI Blue Box Photos
  4. Too late for him to send me a copy, I just bought my customary three. I promise to review this issue as I did the previous one. I'm confused why people who have bought the book would want me to review it, unless you hope that I will spread the word.
  5. Next time, just mail me with the question. I bet my answer will be more accurate. In this case, the power supply for textfiles.com seems to be getting flaky. so it randomly powered off. My provider cycled it when I noticed and it went back up.
  6. You are all girls.
  7. Hi, everyone. Jason Scott, textfiles.com maven and man of a thousand voices (or maybe just one overbearing one). I wanted to take a few moments of your time to personally invite all of you on the forums to Notacon and the event I'm running within it, Blockparty. This would be Notacon, the technology and art conference that has been held in Cleveland the last three years and which is now going for a fourth. I've had the pleasure of attending all the years and it just gets better every year. There's a wide range of speakers presenting a bunch of topics, including my own self giving what will hopefully be a somewhat devastating talk on Wikipedia. The events that have given Notacon some of its great reputation are returning, including the "Anything but Ethernet" communications contest and the infamous Notacon Radio which has seen many fine binrev-affiliated folks making appearances. Blockparty is mine and RaD Man's attempt to do an american demoparty. If you've not heard of demoparties before, there's an excellent site called scene.org which has lots of links to photos and productions of the last decade. These events are very rare in the US and so we thought we'd take a run at doing one ourselves. To do this, I've assembled a great set of speakers that are Blockparty branded, including the legendary Necros, who was one of the big names of the 1990s tracking scene, and both Trixter and Phoenix of the Hornet demo group and historical archive, who have gone on to create the Mindcandy series of Demo DVDs. Some people here have attended before, others have heard of it but not gone, and I suspect there's a swath of people who haven't heard of it. Now you have. Blockparty @ Notacon is being held on April 27-29, 2007 in Cleveland, Ohio. check out the site and consider attending. I'll personally do my best to ensure you have a unique and fun time.
  8. text files is outdated, and everyone knows it(so i don't know why i am posting). So point out files to archive that I can download; that's what web.textfiles.com is for.
  9. It's an ad-supported community for wayward teens, but we're losing money hand over fist for some reason.
  10. www.textfiles.com I'm a solution, but I'm not the solution. I am, at the end of the day, still a guy with a computer and some disks, and others can feel free to also host. Danger comes when a set of information is considered the province of a single group or individual. If things cave for whatever reason, a lot of stuff is lost. Granted, I'm an excellent horse to back in such matters, but I'm not the be-all.
  11. Somehow I ended up on some mailing list that gives lots and lots of advice and then wants me to buy something. It's called the "Web Informant". I'm sometimes really lazy about getting off these lists, and this is one of those where this is the case. Anyway, he posted a thing about "podcasting for beginners" that's actually pretty helpful. I'm going to dump the whole thing here, because what the hell. I'll leave his silly self-promo junk in it so people can go read up on the guy if they want. Web Informant 26 April 2006: How to Coach Beginning Podcasters I have been spending some time the last couple of weeks with two clients to try to help them become podcasters. One is a filmmaker, the other a leadership coach and consultant. In both cases, they are somewhat computer and Internet-savvy, run their own small businesses and have put up rudimentary Web sites. They both wanted to use podcasts to promote their core business and as another marketing tool in their arsenal. Where they needed me was to help them get over the technical humps of creating and distributing the podcasts. It has been a fascinating learning experience for me on several levels. Here's what I have found out. First, the whole domain management/registrar system isn't for mere mortals. While it has gotten better since the go-go days of the 1990s, it still needs work to do even the simplest tasks. In both cases, my clients needed new domains to point to their podcasts that would supplement their existing ones that they started for their businesses. We had to dig around to find their registrar login information. Now, while I still host one of my domains with Network Solutions, I have found that GoDaddy offers better prices and better service, particularly for managing multiple domains. They also don't hide the additional charges after you purchase the basic domain name. So we first had to set up the domains on GoDaddy and show my clients what was involved in pointing to these new domains at their old servers. In both cases, they had their domains set up by their computer consultant, but I wanted them to take control and become masters of their own podcasting domain. I think it is very important for branding purposes that you have a domain that matches the name of your podcast, and that you can say the name clearly and have people remember what they are listening to the podcast. The name should also match your email address too. Next we started creating a couple of sample podcasts. Creating compelling content is hard work, and requires three skills -- script blocking, writing and storytelling. It helps to have that Radio Voice too. First, before you do anything, you need a template or outline or whatever you want to call it that blocks out what you intend to say, how the podcast will flow, and what pieces you will need to put together. I will never forget how I came to write my first published book. I wrote it with Marshall Rose, the originator of the email protocol that we all use today and author of several books by the time he came to me to help him write his next one back in 1998. Marshall taught me how to block out a book and organize ourselves with chapters and sections in such a way that the two of us could complete the manuscript without having to be in the same city, time zone, or even writing portions of the same chapters together. It was a wonderful experience, and the same thing holds true for podcasts, only on a much smaller scale. For example, here is one template. First is the intro message that names the speaker and a brief five-word description of the podcast. Then, we state the problem or issue that is at hand. Next, tell the story illustrating the meat of the matter. Finally, wrap it up with lessons learned, or the outro mentioning the URL, email and other contact info. In addition to blocking out your script, you next have to write one that is solid, and then be able to narrate it so it doesn't sound like you are reading it. The best podcasts are well written ones that have flowing sentences, engaging thoughts that are connected in some coherent fashion. If you aren't an extemporaneous speaker, you need to write the stuff down first and go over it so that it sounds natural and like you talk. A great example of this is Nemcoff's Pacific Coast Hellway podcasts that he claims he does from his car, driving down Pacific Coast Highway on his way to work. He told me that he is reading from a script that he polishes in advance. How he can operate his podcasting rig, read from a script, and navigate the twists and turns of PCH is beyond me. (Maybe Intern Guy is doing the actual driving?) Anyway, back to lessons learned. Why all this trouble with the raw materials, you may ask? Podcasts are personal conversations between the broadcaster and the listener. Because so many of us listen to them on headphones, or in the solitude of our cars, we tend to develop relationships with the podcaster and begin to think that he or she is speaking only to us. It helps to have something to say and to say it in a way that will keep the audience engaged. Too many podcasters take the route of having a couple of guys jabbering away: I have listened to the first ten minutes of many of these and don't return. Finally, you have to be a great storyteller and put together a compelling story that will keep the audience's interest. I listen to some podcasts that last for 20 minutes to an hour -- in some cases, the hour-long versions have more compelling stories than the shorter ones. It helps to be a gifted speaker and know how to string along your audience with word pictures, letting them illustrate what you are saying in their minds. The best radio broadcasters take this for granted, and it is a skill that only comes with lots of practice. Once you have a couple of scripts together, you have to record them in your computer. This is where the hairy edge of the podcasting tools really shows its dark underbelly, and where one of my clients (the leadership coach) had the most trouble. He wasn't a computer wizard, and he was also using the computer to do something completely different from his normal email/word processing milieu. I had to design a set of tools that were relatively simple, and that he could easily use to get the audio tracks on his computer. We ended up with M-Audio's Podcast Factory, which is a box that includes Audacity software, a good quality mic, and an USB/audio preamp. The product claims to include everything in the box to do podcasts, but only if you are running Windows, and only if you have Strom or some other computer expert looking over your shoulder to tie up loose ends and download a missing piece here or there. Both clients reached roadblocks creating the final MP3 file that is the actual podcast, and getting them uploaded to the Internet. With the leadership coach using Audacity, the trouble was the missing LAME encoder that converts the Audacity native files into MP3s. We had to root around on the Internet and download the right version to his Mac. My other client, the filmmaker, was used to using Final Cut Pro (also on her Mac), so we used that to create the audio files. But again, FCP only outputs to .WAV not to MP3s, so we had to find something else to use for that. It would be nice to have something that could do the podcast from beginning to end in a single application, but we aren't there yet. Finally, there is the upload step, and the promotional step. These two go hand-in-hand and are perhaps the most important ones in the entire process. They are important because otherwise no one will find -- and listen to -- your podcasts. Part of having a great podcast is producing enough short promos that can be played on other podcasts, and knowing what those complementary podcasts are and being able to find the hosts or producers of them to get the promos played. At this point, I suggested finding the right 20-something who is familiar with online communities and help both my clients out in getting heard in the right places. You also have to tag the files with the right information so that search engines will find them and that iTunes users can view what they are about before they play them. Obviously, there is a lot more to this than I have put down here. But what is exciting about doing this is that I can help connect the dots for people that have a lot to say and just need to get the technology out of their way and create their thing. If you are interested in having me coach you to create a great podcast series, drop me an email and we can chat about what fees and time are involved. And maybe one of these days I will actually have time to write my own podcasts too! Where in the world is Strom? Next week is Interop, I will be at the show starting Sunday night through Wednesday. My schedule is pretty well set, but I do have some time on Monday afternoon if you would like to get together and gripe about the oddities and absurdities of Las Vegas. On May 13 here in LA, I will be part of the local chapter of the National Speaker's Association May Media Madness seminar. We match up media bookers and producers with speakers giving their pitch about their expertise. It is a fun-filled morning taking place in the beautiful City of Commerce, appropriately enough. http://www.nsaglac.org/meetings/meeting_2006_05.php The beginning of June I am working at Stanford University, my old alma mater, with Information Security magazine, testing a bunch of SSL VPN products. It will be great to be back on campus. As many of you might not know, when I got the idea for Network Computing's "real world labs" we had put one together at Stanford. Just goes to show you what a potent idea it was 16 years ago. And speaking of Network Computing, I will be writing the September cover story. I am excited about being back in its pages after so many years and working with some of the people who I helped launch their publishing careers. _______________________________________________ David Strom Santa Monica, CA 310 829 4742 Web Informant is ® registered trademark with the U.S. Patent and Trademark Office. ISSN #1524-6353 registered with U.S. Library of Congress Entire contents copyright 2006 by David Strom, Inc. Subscribe/unsubscribe via the Web at: http://lists.avolio.com/mailman/listinfo/informant Tired of reading these in email? Go to my blog and sign up for the RSS feed at: feed://strominator.com/feed/
  12. Hey there. A wrapup, photo album, and full audio from the two days of Notacon Radio are up at: http://www.notaconradio.org/2006 I have all the audio files here: http://www.notaconradio.org/2006/radio I could use some help telling me who was on during which; I'm going to listen to some of these as I can, but obviously I have a lot on my plate and it might take a lot longer than it needs to for me to get names and descriptions up. I know some of you used this thing to record your own shows buried in the streams. If you need me to make the original .WAV files available to you, let me know.
  13. Yes, it's a little early to be thinking all the way to April 2006, but hey, it never hurts to have a little planning in one's life. The soiled wreckage of PhreakNIC behind us, and Shmoocon appearing in January (I'm giving a talk there) may have your attention, but I wanted to direct your mental spotlight over to another event: NOTACON. Now in its third year, the organizers have really put together a fine-running event. Originally, it had some impression as "another Rubi-con" (referring to a con in Detroit that took place previously for five years) but it had grown well past that. It is, most definitely, its own thing. Notacon's one of the highlights of my year; last year I gave an impromptu talk, got wrapped up in Notacon Radio, and generally kicked it up. This year I'm giving a talk on Wikipedia, helping with this year's incarnation of Notacon Radio, and who knows what else. It takes place in a hotel in Cleveland, Ohio, in the first weeks of April 2006. They're way more organized than your average con; and there's still time to get in on their Call for Proposals. You'll note they're not just looking for the newest exploits or in-depth analysis of Skype; they want stuff that crosses boundaries. Plus, I believe in this enough to make this offer: Get three people to buy pre-registrations and say you convinced them to do so, and I will give you a ticket to Notacon. Does it get better than that? It does not. So get going.
  14. Yeah, little heartbreakers. I had 12 people in attendance for my talk. Yes, 12.
  15. The key to being an archive is not to decide, here in the dawn of information, what "should" be saved.
  16. Well, now. If you're going to play that game.... - There is a clip which can't be gotten to from a menu. - But it will show up if you "play all content". - There is a commentary track on a non-episode. - There is a recurring object motif throughout the interviews. - That one's pretty easy, but it is in fact there (and mentioned in the commentary) - Over 20 interviews have boom mikes CGI'd out. Thought I'd mention. - Secret message in the packaging (duh) - All sorts of bonus crap in the DVD-ROM (not much secret, though) I don't know if there's much else that would count as "secret". GET LAMP (the next documentary) will have literately dozens of secrets.
  17. And here's my photos, hosted on the slow and beta album.textfiles.com: http://album.textfiles.com/v/CONFERENCES/2...KNIC/?g2_page=1
  18. You have to be careful how you phrase that. It's not a case of drive or will. It's a case of realistically looking at time and project limitations and creating a work that takes those into consideration, AND lets you exploit the advantages. Otherwise, it sounds like anyone who hasn't created a 100-show run is a "failure". Which they most certainly are not. Guys like Dual and Stank are the exception, not the rule. And they both paid heavy prices personally to bring those shows together. The textfiles.com podcast, should it ever come to fruition, will definitely be a limited series, and I hope nobody questions my drive or will. It's just a case of setting the right boundaries and working within them so the final work seems intentful, functional, and completely well-done.
  19. Hi, maniacs. Bearing in mind that I live in kind of a dreamworld and with me not actually being involved in active production of any of these works, here's my take. First of all, there aren't "too many shows". That's a non-starter. Life's processes will cull out people faster than you can create them; we're in a small burstlet that will fade, trust me. You're standing on the corner of Haight-Ashbury in 1968 going "too many hippies" or listening to the radio in 1994 going "too many grunge bands from Seattle". It'll all work itself out that way. That said, I would instead like to propose a way to get away from the natural fade-out a lot of shows have. This has been mentioned a hundred times on this forum and elsewhere, but the general structure of these shows are: Episode 1: Welcome to cockknock radio, whoops we fucked up sound Episode 2: Episode two is here. Hacking hacking hacking! Episode 3: Hey, new cockknock co-host trans1st0r-r4d10, news and hacking Episode 4: Sorry we're late with Episode 4, hacking, hacking Episode 5: Oh, crap, it's the summer. No idea where r4d10 is. .... It's a common problem; you sign up for the pain and there's little feedback to insist on going through the pain further. After the first few shows, you start to lose track, stuff interests you, and then the next thing you know you've missed a week and then whoops, it's been a month and now you're just not able to keep up, the caravan is going on without you. American TV series are generally cut into "seasons", where each season has a number of "episodes", followed by time off, and then another "season". A lot of this comes from the episodes being generated by third-party production firms, who are able to put together a product for the year and get a contract. There's a lot of history in there and I'm cutting a lot of crap out, but there we are. In British and Japanese (and other) countries, the TV channels (primary) are generally controlled by the state, and as a result, they often contract shows out in specific "arcs", where you say 'This is a series about a restaurant', and it has 12 contracted episodes, and they shoot them, and they're done. If they want to do a sequel, the next "season" (as we in America would think of it) is in fact another named series. For example, there was a 25 episode series called "Love Hina" in Japan, followed by "Love Hina Again" (a 3 episode series for DVD), and two or three "Love Hina Specials" (Spring Special, Winter Special) that were two-hour stories. This is about as extreme as it gets. In England, more and more of these series are being refashioned for american audiences, so they're called "Seasons" for the purposes of BBC America and other such channels, but they generally aren't like that. And in the case of shows where there's an actual plotline going through the episodes, i.e. dramas, they definitely stick to the "closed circuit" approach. As a result of this thinking, a lot of these hacker radio shows end up being open ended "seasons", emulating a magazine more than a show, and with the sky being the limit. But on the other hand, the names are often the big initial effort put in (instead of planning), followed by a petering off as the drudgery kicks in. My advice then, for a group of people who have generally low ultimate attention spans for projects (but not for being involved in projects in general!) would be to change how you go about this nomenclature, and instead refocus the whole thing towards your skill-set. Instead of open-ended numbering, create a "series". Name it whatever you want to, let's say, "C0CK-KN0X RADIO" and declare it will be 10 1-hour episodes. Spend a little time beforehand and decide what the 10 will likely have in each episode (generally). Then start doing them, numbering the filenames correctly (01, 02) and then, when you get to the end, have a little party, wrap up the previous episodes, and bing, C0CK-KN0X is now done. This will fix several things. First of all, a pause becomes a case of working on the quality of that part of the train, not "what the fuck happened to your weekly show". Second, with the end in sight and defined, you'd be surprised how effective that is in helping you carve out your time leading up to it. ("Just three more... just three more...") Finally, when you're done, you're DONE. You ACCOMPLISHED it, instead of it always being this open-ended Sword of Damocles. Then, if you've finished your little marathon and you've decided you want to do it again, just give it a variant name, and do another. ("C0CK-KN0X II: THE POSTMAN ALWAYS C0CK-KN0X TWICE") and go through the process again. And I'll bet you do it better, too. Anyway, I throw that one to the crowd.
  20. You probably saw this on Slashdot (or maybe you're too cool for Slashdot) but I've started the somewhat-arduous process of releasing basically all the interview footage I shot for the BBS Documentary on archive.org. This will be likely 190-195 of the 205 interviews I did (some were done under circumstances where they can't be released this way) and they'll all be CC licensed and available as MPEG-2. It will be at least 100 hours, and it will be at least half a terabyte. Make yer own damn documentaries! Anyway, I just uploaded an interview that may be of interest to this crowd: Minor Threat, creator of Tone-Loc. Link is: http://www.archive.org/details/20040130-bbs-mthreat Have at. And like I said, there'll be many more. If I think they'll appeal to binrev folks specifically, I'll let you know.
  21. I look forward to seeing additional interview material with Tom Jennings and the many other Fidonet people. I've been curious about the social dynamics of Fidonet for a long time. Your documentary segment answered many of my questions, but it also whet my appetite for more information. I'd like to know more about how the Fidonet "policy5" document came to be. Do you mean Policy 4? There's an enormous amount of Fidonet-related material among my interviews. It's a LOT more jumpy than the episode, though, with a lot of variant talk about different parts of it. Rick Siegel was very lucid and went into specifics, as did Mark Grennan, Dave Drexler, and a handful of others. Tom Jennings says things in his interview that are nearly legally actionable. It will take me a little while to go through and vet it. Actually, I forgot Frank Vest! He had a bunch too! This is going to be quite a dump of information. I'm noticing that after cutting out the "cruft", a lot of these hour interviews are becoming 30-40 minutes.
  22. All over the place in terms of quality (still learning how to deal with weird lighting situations) but feel free to use any in any way you wish: http://album.cow.net/2005.07.29.DEFCON/ In the case of any specific photo, remove the "/.m/" part of the URL to get the full multi-meg megapixel image. And remember: DEFCON IS FOR LOVERS
  23. Just wanted to pass along to people. I like this forum, so it seemed like the place to do it. I was really active downloading shows for a while, and then we got to the intense part with that little documentary project of mine, and then I dropped off a bit. Now audio.textfiles.com is a goddamned mess. Also, the connection is slow. I just wanted to mention that textfiles.com is 1. Moving to a new colocation facility and 2. getting my full attention again. So expect it to be taking in shows and putting them up and generally being the library it should be. On a side note, I am collecting over 2,000 podcasts and growing. For fun.
  24. A little side-note. I switched servers for textfiles.com from one going into a strapped line in my home to an externally-served site. This machine was sent away a while ago, and audio.textfiles.com is out of sync. I have to fix a dead drive downstairs on the stager box, but after that, I'll have everything running fine again. Some people wondered why their shows "disappeared". They're here, just not on the new box. Yet.
  25. Yeah, I know, but it didn't seem right to crop Droops out.