ChicagoLobbyists.org is a great example of what can be done with open data: create a Web app that increases governmental transparency and informs citizens about a key aspect of contemporary governance.
From the creators:What is this?
ChicagoLobbyists.org is an open data, open government, and open source project intended to improve the transparency of interactions between the City of Chicago and lobbyists and their clients. All data comes from the City of Chicago Data Portal.Who built it?
This is a project by Chad Pry, Derek Eder, Paul Baker and Ryan Briones. It started on July 16th, 2011 at the Google Hackathon with some amazing help from Chirag Patel, Ruthie BenDor and Nick Rougeux. Paul noticed the lobbyist data, conceived the project, and got the team together. Chad and Ryan did the bulk of the backend development with help from Derek and Chirag. Derek and Ruthie did the frontend development. Nick and Paul worked on the user interface prototypes.
Would be great to see this on a state by state and federal level.
This isn’t a rhetorical question; I’ve been thinking about it for a bit and still am not sure of the answer, if there even is one. But, now that the fervor over Roman Reloadedhas died down, I think it’s interesting to think about what the album means to pop. Is Nicki currently unable, or maybe unwilling, to navigate the waters of pop without resorting to the lowest common denominator, or is she a woman out of time?
My lasting thought reRoman Reloaded has switched from, “Wouldn’t it be great if she made a whole rap album?” to, “How would this album have turned out if Nicki had people like Timbaland and the Neptunes at her disposal?” My hope would be that if Nicki could work with peak-era Tim or the Neptunes, that the pop that she would create would be much more adventurous, something that bridged the gap between “Beez in the Trap” and the Billboard Top 10. (Or maybe “Beez in the Trap”will do that.) But maybe that wouldn’t happen, or wouldn’t even be possible considering the market.
Nicki is a singular voice in pop, but she’s come up in a time where basically no producers and/or writers are consistently bridging the gap between rap/r&b and pop in a way that doesn’t seemingly make massive concessions. Forget Tim and Neptunes, there isn’t really anyone out there right now that could even hit Nicki with a “London Bridge.” Wouldn’t it be great to hear what Nicki and Pharrell and Chad would’ve done with the “I’m a Slave 4 U” beat?
Whether listeners have pushed what would be (or could be) the next Pharrell out of pop or whether a lack of Pharrells has allowed pop to submit itself to Europe is something I also don’t really know the answer to. Would Nicki over the “Southern Hospitality” or “Gossip Folks” beats be top 20 hits right now? If not, would that be Nicki’s fault? Or would it be the marketplace’s fault?
I realize I’m sort of creating an alternate universe here that contains an irreconcilable number of variables, but Roman Reloaded leaves me with a lot of questions about pop music in 2012, and a much smaller number that I can answer. At some point, I think the back-and-forth contrarian arguing over whether the pop parts ofRoman Reloaded are “right” or “good” will look silly to us in retrospect, as the next few years of Nicki’s career should help us answer a lot of the questions that we — or at least I — have right now.
Maybe here’s a better way of putting it (or maybe not): despite what you heard on Watch the Throne, it’s really Nicki that’s the LeBron James of pop.