Links — May 12, 2009, 2:55 pm

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Previously, some researchers and law-enforcement officials have raised red flags. In a paper published in Nature Biotechnology in 2007, a group of scientists and FBI officials called for better oversight of so-called synthetic DNA, an ingredient widely used by professional biologists and hobbyists, saying it could theoretically lead to the creation of harmful viruses like Ebola or smallpox, since their genomes are available online. ‘Current government oversight of the DNA-synthesis industry falls short of addressing this unfortunate reality,’ the paper said. Ms. Aull, who lives with a cat and three roommates who are ‘a little bit weirded out’ by her experiments, says the worries are overblown. DIY biologists are trying to ‘build a slingshot,’ she says, ‘and there are people out there talking about, oh, no, what happens if they move on to nuclear weapons?’”

In California, the Hayward Area Planning Association is developing a… community called Quarry Village on the outskirts of Oakland, accessible without a car to the Bay Area Rapid Transit system and to the California State University’s campus in Hayward. Sherman Lewis, a professor emeritus at Cal State and a leader of the association, says he ‘can’t wait to move in’ and hopes that Quarry Village will allow his family to reduce its car ownership from two to one, and potentially to zero. But the current system is still stacked against the project, he said, noting that mortgage lenders worry about resale value of half-million-dollar homes that have no place for cars, and most zoning laws in the United States still require two parking spaces per residential unit.”

This evening, the president and first lady will host what Michelle Obama’s press office describes as ‘an evening celebrating poetry, music and the spoken word in the East Room of the White House.’ That’s right: The first family is hosting a poetry jam… As White House Social Secretary Desiree Rogers made clear in an email to Lynn Sweet, tonight’s event is not a poetry ‘slam’– which is different than a poetry ‘jam.’ ‘Slam is a competition,’ she noted. ‘There will be no competition.’”

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Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

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"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
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He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
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The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

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With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
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Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

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An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.

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