Great band. They sing partly through this tinfoil-wrapped cluster of mics hanging from a bling-chain, running through a bunch of pedals. Unfortunately the sound guy decided, hey, maybe I won't bother amping that, so we got to hear like half of the vocals. Still a good show, though.
I have a bunch of email identities I have to use. My "email address" in Mail on both desktop and iPhone is set to a list, which causes the From field to be a menu.
On the desktop, it defaults to the one of those addresses that was in the To field of the message you're replying to, which is great; and on iOS, it used to just default to the last one used.
In iOS 6 it is doing... Something else.
My list of addresses is: jwz@jwz.org, jz@jwz.org, jwz@dnalounge.com, booking@dnalounge.com, orders@dnalounge.com, manager@dnalounge.com, webmaster@dnalounge.com, jwz@dnapizza.com, booking@dnapizza.com, orders@dnapizza.com, manager@dnapizza.com, webmaster@dnapizza.com, jz480@jwz.org
And it is always defaulting to "orders@dnalounge.com" now.
You will notice that that address is neither the first, last, nor alphabetically first or last in the list.
If it is to default to one address all the time (which sucks), then i at least want to pick which one, without having to delete all the others as options.
Any ideas what the fuck it is doing? Or how to apply the Stick of Correction?
Update, Sep 2013: A year later, iOS 6.1.4, and I still haven't found a solution to this, but I collected some more data.
I tried all 24 permutations of these four addresses: "jwz@jwz.org, jwz@dnalounge.com, booking@dnalounge.com, orders@dnalounge.com". The address it chose was always "jwz@dnalounge.com". This tells me that the order of the addresses in the field doesn't matter. I assume it is hashing them somehow and picking the first one in hash order.
If I take that set of 4 addresses, and add a random address to the end of the form "a@jwz.org" through "z@jwz.org", sometimes the address it picks switches from "jwz@dnalounge.com" to "orders@dnalounge.com", or sometimes the new address at the end. I never got it to pick "jwz@jwz.org", but YMMV because your email addresses will hash differently than mine do.
Therefore, it does not seem to be the case that address A is always chosen in preference to address B. It's not merely hashing them and then sorting by the hash, or else the ordering of "jwz@dnalounge.com" and "orders@dnalounge.com" would be stable. So something else is going on too. Maybe the "hash" is actually "address of the string", so malloc behavior is involved.
Some people suggested "put double-quotes around your default address". That does in fact make it pick that one (possibly the quote makes it hash to a lower number) but you can't send mail that way. Contrary to what others have reported, I get an "invalid address, send anyway?" error dialog. This may be IMAP-server-specific, I dunno.
Summary: this sucks.
Now this is a smackdown!It was redolent, he said, of the days when "a dark veil" hung over dance music, before he and others had "taken EDM so goddamn far". By this "dark veil" period, he presumably meant the 35 years when dance music had to content itself with merely providing a glorious, euphoric voice for disenfranchised minorities, being a genuine countercultural phenomenon, repeatedly revolutionising music and changing the face of popular culture. This, of course, was before it found its true, noble calling: soundtracking Las Vegas pool parties and providing music for gurning frat boys to mosh to.
Perhaps Deadmau5 appeals to a middle-American audience traditionally resistant to dance music because he seems to have taken a genre born out of a largely black, largely gay club scene and ruthlessly expunged any lasting sonic evidence of its birthplace. You can hear his style's roots in the big stars of 90s electronica, their respective sounds adjusted to cut them adrift from the music that inspired them. It's the Chemical Brothers without their love for hip-hop and Detroit techno; Daft Punk without their deep understanding of Chicago house; the Prodigy without their roots in breakbeat hardcore. What's left is bizarrely unfunky, unambiguous, unsexy and unreconstructedly macho: Maths or Fn Pig offer a noisy euphoria that makes you think not of the communal transcendence of the dancefloor, but a bloke from sales with his tie wrapped round his head, waving a can of Relentless in the air and roaring. It's house music that Frankie Knuckles wouldn't understand, but Finchy from The Office would get straight away.
For all his dismissal of pop's co-opting of EDM, Deadmau5 deals in an amalgam of sounds indistinguishable from those you'd find on a pop R&B single -- the distorted bass wobble of dubstep, Auto-Tuned vocals, 80s synths (including, on Channel 42, the kind of piercing electronic wail that preceded Ray Parker Jr's insistence that he wasn't 'fraid of no ghost), epic breakdowns. All this is set to beats that steadfastly decline to swing, a lock-stepped quick march across the dancefloor. It's The Triumph of the Will.i.am.
I don't think I've ever even heard a song by Deadmaus. Not that I was aware of, anyway. He's the guy with the helmet, right? No, I mean that other guy with the helmet.
Dubstep means progressive trance with 3 minute tracks instead of 20 minute, and the phaser-sound in the break replaced with wubwubs, right?
