there ain't no such thing as a free lunch

April 15, 2019
My friend Erica suggested a diet for me - "Have a quasi-religious taboo against free food". Admittedly, this is only really relevant for people with jobs where free food is handy - like many dot com's ever-full snack kitchens.

Of course my place is in full on Google-wanna-be mode and provides free lunch, which I think explains at least part of the "Freshman 15" I put on there and still haven't lost.

And it's tough, that's like $8-12 a day easy, or a greater amount measured in food prep and thoughtfulness- I can afford it, sure. But between that and the giving up of snacks... oy.

Still, that's the whole dilemma of modern weight control. Most people reading this are living in food cornucopias of such abundance and variety that we would be seen as like unto gods by most of our ancestors. Even the ones that managed to arrange plenty for themselves would be impressed by the year round variety of super-flavors we have access to - to quote Matt Crowley:‏
We take it for granted today, but a single Dorito has more extreme nacho flavor than a peasant in the 1400s would get in his whole lifetime.
When you combine that with zero cost (save for strolling over to the kitchen area and peering into a cupboard) - that means most folks attempts not to indulge will be a constant drain of willpower.) The "quasi-religious" aspect is an attempt to piggyback on other bits of human weirdness. Which, frankly, is one of the better parts of religion, when it provides a framework we can hang on to climb above our all-too-human natures.
Star Wars: Episode IV sound design explained by Ben Burtt:

Always satisfying to hear a friendly professional pull back the curtain on his craft. If you're in a hurry, the best part is the antepenultimate bit on Tie Fighters and elephants at 39:10, and then the "Sound People... or Worse" shtick to end it was amusing.

It's rather easy to forget how important soundscapes are to movies - until you try assembling your own videos by splicing shorter scenes (and of course in some ways the advent of "talkies" set the visual part of film construction back decades.) And I think he underplays how cool the radio voices (36:58) trick was - hearing the voice of the pilot currently shown "flat", then having that pilot continue to talk but the visual and audio switches to a different cockpit so the voice is distorted, is enormously effective, parallel to a deep focus change.

Also he mentions making frequent use of "worldizing", playing back constructed audio and then using recording of that, which adds a lot of acoustic life to it. To me it sounds similar to the echo chamber in Phil Spector / Larry Levin's "Wall of Sound" recording style.
The Starks are a family who chilled in their own segregated neighborhood, not bothering anybody. Ned was the father, and he had five kids. He was also raising his nephew Jon Snow. (His sister got knocked up by this crazy guy, and ... you know how we do.) Anyway, Ned let his homeboy convince him to take this "good job," let his daughter marry a white boy and moved his family into a white neighborhood. Ned fell for the trap, and the Lannister/Trumps cut his head off because Ned knew about the Russian collusion.