調べたとこだと あいつは "Frankie Goes To Hollywood" のギタリストだったんだ だけどあの大ヒット作の"Relax"を出す前に バンドから追い出されてるんだ
Apparently, the guy was the original guitar synth player, for that band Frankie Goes to Hollywood, but he got kicked out, before they hit it big with that song Relax.
Now I'm gonna run this against the DMV database and see what we come up with. The use of a generic skull is gonna result in far too many hits. You don't have many friends, do you?
いくつかの数値タトゥを スキャンして − データベースに その中の一つが − ヒットしました
So, as we scanned some of the numerical tattoos into the database, one of them just jumped out at me.
判明してる 容疑者の - №プレートを 探した ヒット...
I started to look for plates having any connection to do with our known suspects, and I got a hit...
(Laughter) And then I got excited when it started getting tens of hits, and then I started getting excited when it started getting dozens and then hundreds and then thousands and then millions.
One of the weird things that's happened is, after the TED explosion, I got a lot of offers to speak all over the country -- everyone from schools and parent meetings to Fortune 500 companies.
Like, a few years ago, I made a video series called "Every Single Word" where I edited down popular films to only the words spoken by people of color, as a way to empirically and accessibly talk about the issue of representation in Hollywood.
"The Grey Album" becomes an immediate sensation online, and the Beatles' record company sends out countless cease-and-desist letters for "unfair competition and dilution of our valuable property."
The moment I really understood that something was happening, a friend of mine told me, "Google the word 'Israel.'" And those were the first images on those days that popped up from Google when you were typing, "Israel" or "Iran."
Albums like De La Soul's "3 Feet High and Rising" and the Beastie Boys' "Paul's Boutique" looted from decades of recorded music to create these sonic, layered masterpieces that were basically the Sgt. Peppers of their day.
Now, if you put that word into the web, as you may have done, you'll come up with millions of hits, and almost all of those sites are trying to sell you something to make you irresistible for 10 dollars or more.
You followed that up with a string of hits that to this day is unmatched in Hollywood: "Sanford and Son, " "Maude, " "Good Times, " "The Jeffersons, " "One Day at a Time, " "Mary Hartman, Mary Hartman, " to name literally a fraction of them.
All this in the hope of finding the next big thing or the next big writer who can deliver something that can make you and your company the next big thing.
This was not an appeal for the scripts that would be the next great blockbuster, not an appeal for the scripts that will win the Academy Award, they didn't need to be scripts that their bosses loved or that their studio wanted to make.
We can use keywords to search that database, and when we do that, we discover nearly a million articles about pregnancy, but far fewer about breast milk and lactation.
CS: So when you have all those different people making stories and only some of them are going to break through and get that audience somehow, how do you think storytellers will get paid?
I rewrote that story, and in my version, the librarians find out that this is going to happen -- and here's a side note: if you want a comic book to do well, make the librarians the hero. It always works well.
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