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The ‘Neurotic Little Freak’ Behind the Curtain

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This story originally appeared in The Stranger’s 2026 Queer Issue.

Photos by Billie Winter

Above a winding maze of clothing racks, dozens of styrofoam heads stare down at me. Sitting on three long rows of shelves, each head supports a carefully coiffed wig, tall, teased, and organized by color. Long pins stick out of some of them to hold them in place. Others have pins sticking out of their cheeks, lips, and chins like voodoo dolls. In the corner, one wig is sliding over the styrofoam head’s eyes. 

Looking up at the menagerie of hair, Sam Pierce shakes their head. “I put all these shelves up,” they say. “When we first got here, all these wigs were just in piles.” 

My eyes got wide imagining all of the work that goes into shaping, gelling, and perfecting each wig on the wall. 

Sam shrugged when they saw my face. “Don’t worry, they’re plastic,” they said. “They don’t have souls.” (They later clarified: “Some of them do. I try not to come in here at night.”)

We’re standing in the center of a drag studio in a Capitol Hill basement, the home base for local legends Jane Don’t and Bosco (you might recognize them from Drag Race Seasons 14 and 18, respectively). A corset made of monster faces hangs from the ceiling. A giant bird-shaped headpiece named Denise is perched on a pipe. Mannequins of every size and gender watch over vanities and sewing machines. 

It’s clearly a second home for Sam. They aren’t a drag queen, but in every corner of the studio, you can find something they’ve touched. The shelves, obviously. Every carefully bedazzled five-inch heel. The drawers, labeled “Spikes/Chains,” “Crystal,” “Pearls/Bangles,” “Glasses,” “Nails,” “Miscellaneous Jewelry.” The feather boa stitched into the hem of Jane’s dress. The “Samdega” full of makeup, hairspray, and other essentials. The suitcases in the corner? They’ve packed them. The Grindhaus posters on the wall? They co-produce the show. 


“There are people like Sam all over the drag world—you’d be surprised how many.”

Jane Don’t

Sam doesn’t have a formal job title in the studio. Sometimes they’re described as a studio manager. Sometimes as an assistant. A stage manager. An all-purpose them. A handythey. Whenever I ask them to put a name on their position, they struggle to find an answer. But what’s not up for debate is that some of Seattle’s biggest drag acts could not happen without Sam. 

They’re part of what Jane Don’t calls an “unseen force” behind the drag world: the people who do everything in the drag world but the drag. “I always joke that behind every amazing creative person that you know, there’s a neurotic little freak hiding back there, taking care of all the weird little things that the creative person can’t do,” Sam tells me. 

“There’s people like Sam all over the drag world—you’d be shocked how many,” says Jane Don’t. “But my Sam is the best Sam.”  

Sam was introduced to the Seattle drag scene in 2018. They were newly out, looking for community, and started hanging around Queer/Bar. “I had friends that had gotten me into Drag Race,” they told me over coffee. “But this was like a way to reach out and touch it, you know? I could walk up and be like, ‘Hello, I’m gonna talk to you,’ which
was exciting to me.”

They were drawn to the pageantry of drag. “They’re so not normal,” they say. “So larger than life. I feel at home here.” 

“I was determined to get involved somehow, in whatever way,” they say. “The shows used to have dancers, and they would pick up the money after each number. But when the show couldn’t afford to pay the dancers anymore, Visage Legs LaRue was there at the time, and I had just been around a lot. I think she felt my urge to get involved and reached out to me on Facebook Messenger.” She offered 50 bucks a night, and Sam jumped at it. 

In burlesque, they’re called Stage Kittens—picking up clothes and tips so the performers don’t have to. “They shouldn’t have to scoop their own dirty, wet money off the floor,” Sam says. “Sometimes they physically can’t, they’re wearing too much stuff.”

From there, they started noticing more and more things that could be made better, or easier, or more organized. “I just found myself being too neurotic,” they say. “I just didn’t want to watch the drag queens struggle. I just started seeing problems and being like, ‘I can fix that.’”

Queer/Bar’s also where they met Bosco. “She became one of my close friends. We started doing crafts together,” Sam says. She got cast on Drag Race Season 14 in 2021. “I ended up helping her with her whole package and getting everything ready. There were three of us that made all of her stuff that went on her original season.”

That’s when they discovered their knack for rhinestoning. “I’m apparently very fast at it. So, the girls love to be like, ‘Can you do this project in 24 hours?’ And I’m always like, ‘Fine.’” 

“It’s fun to take something that’s not shiny and make it shiny,” they say. “I do a lot of pasties.”

Their role organically grew from there. It was all guided by what they called their “brain worms,” which made them fix things. “Let me help you buy some shelves and hang things up and make it efficient in here, instead of just…piles.”

They paused for a second. “This is gonna make them sound really unorganized and messy. But they are.” 

Sam is quick to downplay how much they contribute to the queens they work with. When they told me that they helped build entire outfits for Bosco’s  Drag Race run, my jaw dropped a little, and they shrugged. “It was mostly bras and panties.” 

I asked Jane Don’t if she’d noticed how quickly Sam shrugs off their work, and I could hear her rolled her eyes through the phone. By the time Jane Don’t was getting ready to go onto RuPaul’s Drag Race, Sam had already prepped two other queens for the show. They were a rare pro. 

Jane says 14 or 15 people worked on her building out her outfits for the show, but Sam had something to offer that no one else did: experience organizing and packing a whole season’s worth of sparkling, larger-than-life looks. 

“It’s funny, because it’s like you think, ‘Oh, I just have to sew everything, and I put them in a box and I take them,’” Jane told The Stranger. “But it’s also about organizing things—having systems that make it easier for you to just do what you have to do when you’re there. That’s really Sam’s forte. And they had just done it so many times that it wasso streamlined.”

Jane calls Sam her “life preserver.” “When I think of Sam, it’s me crashing out and Sam just being like, “Hey, dumb dumb, go sit on the couch, I’ll just let me do it.’”

“They just do a lot to make all of our sort of quality of life a lot better. We’ve known each other for so long and worked together so closely that now they’re also just like extended family—my little/sometimes older sibling, and also kind of my assistant, and our studio manager, and the show runner, and my personal organizer.”

But she wanted to make sure we didn’t overlook the fact that Sam is a creative force on the team, too. And it’s not just they co-produce Grindhaus with Bosco every quarter. “Bosco will be like, ‘I need a giant cage on wheels,’ and Sam will figure out how to make it. Or ‘I need a big box that I have to come out of,’ and Sam will sit there and sculpt it out of foam. They are an artist and a craftsperson in their own right.”

“Drag is so interdisciplinary,” Jane says, “and it’s fundamentally goofy.”

“It’s the classic story of drag and and queer art. It demands so much labor that people don’t see,” she says. “The drag world runs on people like Sam.” 


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The post The ‘Neurotic Little Freak’ Behind the Curtain appeared first on The Stranger.

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How Cain Culto Forged a Path in the Fire

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How Cain Culto Forged a Path in the Fire

Going Up is a profile series featuring artists we love who are on the verge of breaking through.


Cain Culto is a paragon of artistic confidence: a vamping, twerking powerhouse with a sly, silver-grilled smile. He's a shredder on the violin whose lyrics, in English and Spanish, meld his political consciousness with his penchant for shaking ass. On his 2025 breakout hit with fellow rapper-violinist Sudan Archives, “KFC Santería (Remix),” Culto rapped about “American dollars fundin’ genocide” alongside “daddies in my DMs tryna pay for that,” and it did not sound incongruous at all. On his most recent single, “Cucuru,” he cranks up his suave voice to the pitch of a kewpie doll to sing lyrics like, “Let me be brash and abrasive/Speaking my truth with a brave tongue,” over a dollop of Afro-Colombian bullerengue, a philosophical statement from a fearless shapeshifter. He's a musical omnivore who stands on business in every song, conjuring spells against malignant forces with the self-assuredness of an artist who knows exactly who he is.

But for Andrew Estevan Padilla, it’s been a long path to develop his superheroic musical alter ego. Growing up in Kentucky and South Florida, he served as a youth pastor in an evangelical church, where he repressed his true self and devoted his music to God. Then his mind and body rebelled, and he embarked on a journey of embracing his queerness through his music. 

“In my earlier songs, I’m still very fragile and afraid and working through many things,” Padilla says on a video call from his home in Los Angeles. “And then you hear me build confidence, willing to stand alone and present more authentically. Maybe the mischievous aspect of me birthed from there, too—like, Well, I’m so misunderstood, let me just troll a little bit. All these things everyone’s telling me I’m not supposed to become feel so liberating and true.”

He was always a little rebellious, though, starting from his insistence in playing bluegrass instead of classical when he first took up the violin in fourth grade. The son of immigrants from Colombia (dad) and Nicaragua (mom), he spent his first several years in South Florida before moving to Lexington, Kentucky, with his family. “When I was young, my dad always had this dream of assimilation—his fantasy of this American dream,” Padilla says. “And there was something quaint and beautiful about moving to a small town in Kentucky.” The Padillas were among the first Latine families in a predominantly white neighborhood, and he remembers when “probably some idiot kid” once spraypainted “KKK” on their garage door. But he also learned about Southern politeness, and his parents placed him in a magnet art school and found him a fiddle instructor who taught him bluegrass technique.  

As an adolescent, Padilla and a friend began posting covers of hits by Karmin and Fun on YouTube. Looking back, he sees those early videos as planting the seeds of his maximalist production style, where he translated his love of big pop songs via GarageBand and Logic. He began writing his own music then, too—worship songs for his church, but also those for himself. He recalls one of the first songs he ever wrote, “When Pigs Fly,” in which he started to express his own teen rebellion. “It was about, like, ‘I’ll care about what you say when pigs fly,’” he says, chuckling. “So bad, but in my mind, I thought I was so cunty with that.” 

Padilla wasn’t sure he could be a professional musician, though. So one weekend at a men’s retreat he attended with his father, he decided to put it to God, praying that if anyone read a certain Bible verse to him during the trip, he would know to follow his musical dreams. At the retreat, he played a song he had written and all the men sobbed. “It was the first time I experienced my work affecting people in such an intense way,” he remembers. But by the last day, no one had said the fated Bible verse—until the preacher stopped mid-sermon and read it. “Obviously, I've gone through my own deconstruction [with the church],” Padilla says, “but for a long time in my early young-adult life, that experience of having something so concrete to hold onto in my emotional self gave me that delusional belief that this is my path.”

How Cain Culto Forged a Path in the Fire
Photo by @xingerxanger. Styling @sebastienhohl_. Make-up @vittorianaifymua.

Padilla’s self-belief as Cain Culto, mischievous gay superhero, is kinetic. On “Bimbaubau,” a summery party track, he analogizes the pop divas he loves to what sounds like extremely fine booty. Set to the melody of Gloria Estefan and Miami Sound Machine’s 1985 single “Conga”—a South Florida classic that still resonates with Latines across the diaspora—and embellished with staccato violin stabs, he delivers his missive with the sensual self-possession of his many singles and last year’s Occulto 001 EP. “Tu culo me habla catalán com Rosalía/Nalgas como Kali Uchis hablan por telepatía,” he raps, talking about a remarkable ass that both speaks Catalan and is telepathic. And his ability to weave through genres—Colombian vallanato and bluegrass, cacophonous and sproingy rap, Brazilian samba and funk, big and bright pop, and more—has enabled him to sound natural alongside collaborators across the spectrum, including the rappers Xiuhtezcatl and Snow tha Product, singer Jarina de Marco, and fellow provocateurs like Peaches and Brooke Candy.

While Padilla’s talent was never in question, his cuntiness and Godliness were destined to converge and, eventually, explode. In 2021, he was working as a worship leader for various churches in South Florida and touring with a rising Christian band called Ecclesia. He was also closeted and, he says, “actively kind of preaching against being queer. I hold a lot of regret and shame—I was a young kid, I didn’t have it figured out. But at the same time, I was placed in certain positions of influence, and I impacted people with that messaging.”

The cognitive dissonance became too much, and it led to what he calls a “mental break” that was exacerbated by fasting, praying, and touring with his band. He eventually had to be hospitalized due to a “split from reality.”

“I came out in those moments, essentially, because I was in a mental state where I couldn't repress anything,” Padilla says. “All my church leaders and family thought I was possessed. I mean, it looked like it. There were these feral parts of my shadow that were just out.” With medication, he says, he was able to have a fuller perspective on what was transpiring in his life. “I just had this moment of reflection of being like, Whatever led me to this really rock-bottom place, something is not right in my life. I needed to practically confront that and be willing to change to find something that’s more sustainable and healthy.”

Padilla will release the Occulto 002 EP in July, and after that, a full-length record. He’s excited to further expand his vast musical range, showing off epic orchestral work that zooms past algorithmic limitations. And he sees his forthcoming music as a manifestation of everything he’s been through, as he further embodies the ferocious pop persona that is Cain Culto. 

“The split aspect of myself is just becoming more unified. Looking back at that traumatic moment where my mind literally did split, there was this severing, and everything had to be in two different boxes: My sexual self is here, my spiritual self is here. But it’s like, Actually, no, let’s just integrate everything,” he says. “Instead of finding myself, it feels like I’m telling people who I am.”

How Cain Culto Forged a Path in the Fire
Photo by @xingerxanger. Styling @sebastienhohl_. Make-up @vittorianaifymua.
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Your Rage Won't Fix the Bike Lane - Streets.mn

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There’s a specific kind of anger that lives in the space between almost getting hit and not getting hit. I know it well. I’ve felt it on Marshall Avenue climbing into Saint Paul, Summit Ave over and over, the bad part of Bryant Ave that is north of Lake Street. In Rochester where the bike lane just stops, mid-block, for no apparent reason (2nd Street headed east, Center Street headed west — I hate you both), and you’re suddenly just a person on a bicycle in a traffic lane hoping everyone behind you is paying attention. I’ve felt it on the narrow shouldered highways in the aptly named Dodge County, where the corn is too high to see around the curves and trucks blow past close enough that you feel the air move. In Duluth, where the hills are steep, the sight lines are short and punish-passes on a descent are a different kind of terrifying than a punish-pass on a flat road.

The anger is fast and bright and for a moment, the idea of yelling feels like cathartic justice.

And then you scream at the driver.

Maybe you catch them at the next light. Maybe you don’t and you yell into their exhaust anyway, because what else are you going to do with it? I’ve done both. Most of us have. I bike year-round — to work, to meetings, through February when the bike lanes are packed with tire-rut ice and the drivers are already irritable before anyone has done anything — and I’ve had more of these moments than I can count. I also spend a lot of time, as the communications manager for the Bicycle Alliance of Minnesota, thinking about how we talk to people who don’t already agree with us. And I keep coming back to the same problem with the screaming.

It feels good to yell at bad drivers. But it doesn’t do anything.

You’ve given them a story. They only know their side, and we’re all our own protagonist. They’ll tell it at dinner. They’ll tell it at work. They’ll pull it out every time someone brings up bike lanes and they need a reason to fold their arms. I had a cyclist scream at me once. That story will outlive the incident by years, building in self-righteousness, and somewhere downstream it becomes the anecdote a city council member hears when they’re already on the fence about a new bikeway.

Shame and aggression make people dig in. The driver who punish-passed you probably isn’t calculating malice — they’re running on a startle response, the same adrenaline you’re running on, they’re just behind two tons of steel. They’re scared or angry too. They are still behind the wheel of something that, in the wrong and sudden moment, becomes a weapon. Power asymmetry matters. Approaching a driver mid-adrenaline, at their window, is not always safe. But a large body of research shows that even a short interaction based in kindness can have effect dramatic changes in behavior

Most car operators genuinely don’t know what they don’t know. The driver who brushed past you on the county road shoulder probably has no idea that Minnesota law required them to leave at least three feet of clearance, and that they’re actually allowed to cross a double yellow to pass a cyclist when it’s safe to do so. The law gave them an out. They just never learned it existed, because driver education hasn’t kept up or they haven’t had to retest in decades.

Not an excuse. Merely a diagnosis.

A bikepacking trip in Southeastern Minnesota (Photo by author)

The Twin Cities cycling conversation can get insular. We fight over Hennepin Avenue and Marshall and Summit like those are the only streets in the state. They’re not.

I lived in Rochester for three years — all of which were intentionally car-lite or ‘mostly car free’. Rochester earned a Bronze-level Bicycle Friendly Community designation in 2010 and has held it since — the same Bronze, re-designated, for going on fifteen years. Which sounds reassuring until you try to bike to work across town on a Tuesday in November and discover that “bicycle friendly” and “safe” are doing completely different amounts of work in that sentence. The trail system is genuinely great — but it was built mostly for recreation, and it shows. Getting from the trail to your job, your grocery store, your kid’s school, still requires the kind of improvisation and geographic know-how that shouldn’t be necessary in a city that’s been designating itself bike-friendly since 2010 without really moving the needle.

And then there’s everywhere else. Through my day job, I learn about it constantly — riders in Mankato, Duluth, the river towns, the Heart of the Lakes region, the farming communities, people describing what it’s like getting passed on a roadway shoulder with no margin. Leave most downtowns behind and the bike infrastructure just stops — if there was any to begin with. The drivers out there aren’t worse people. They’ve just never been asked to think about this, and nothing in the built environment has asked it of them either.

The anger is the same everywhere. So is the futility of aiming it at individuals.

A bike rider having to inch past an illegally parked car that is all but blocking a bike lane in Rochester, MN (Photo by author)

Not every post-incident conversation is a bad idea. Some are worth having.

I’ve started doing something I think of as virtue-signal triage. A Prius. A small EV. A bumper sticker that suggests shared values. Specialty plates — the kind that tell you something about who this person wants to be. None of it is a guarantee, but it shifts the odds. The person behind the State Parks and Trails plate is more likely to be reachable in the thirty seconds you have at a red light than the person behind the blacked-out windows who just had both hands on the horn.

I had an interaction once that I still think about. An SUV with a Pollinator plate had just close-passed me after honking repeatedly. We ended up at a red light. I rolled up, knocked on the window, and instead of leading with what they’d done wrong I asked a question: did they know that in Minnesota, drivers are actually allowed to cross the center line — even a double yellow — to give a cyclist adequate space when it’s safe to do so? They didn’t. We talked for the length of that red light. They apologized, said they’d do better, and seemed to mean it.

That’s not the template for every encounter. Most can’t end that way, and the first question is always whether approaching is safe at all. A driver who is still furious, not looking at you — that is not a door you knock on. But a lot of what reads as hostility is actually ignorance in a hurry, and when both groups treat each other as adversaries, the chances of anything productive drop to nearly zero. The calm version of that conversation — “hey, that was pretty uncomfortable back there, huh? Just wanted to let you know that you can actually legally cross the center line to give us both enough safety” — doesn’t confirm the stereotype or accuse anyone of anything. It disrupts what they were probably expecting. Sometimes that’s enough.

BikeMN Executive Director Michael Wojcik speaking in favor of protected bike infrastructure at Rochester, MN City Council Meeting March 2nd, 2026 (Screenshot courtesy of City of Rochester)

Minneapolis passed its Complete Streets Policy, Vision Zero Action Plan, 2040 Plan, and Transportation Action Plan because people showed up to meetings and public comment periods and kept showing up. None of it happened because a cyclist yelled at a driver.

In Saint Paul, the updated Bicycle Plan that passed in April 2024 is a genuine win, especially paired with the sales tax for infrastructure. The Saint Paul Bicycle Coalition was in the room for years of drafts and public hearings, getting people to show up and speak at the moments that mattered. The plan exists because of that. And it will only be as good as the advocacy that follows it, because recent street reconstructions on Fairview and Prior came and went without meaningful protected infrastructure. That’s why we need to be building this movement and that is always aided by kindness.

BikeMN works this statewide — tracking legislation, hosting the annual Transportation Equity Day on the Hill, pushing for mandatory bike and pedestrian safety education in schools and infrastructure investment in the rural communities where the gap is worst. Their chapter network is pretty much unprecedented when compared to the rest of the transportation landscape. The Greater Mankato Bike & Walk Advocates down south, Vibrant Streets Duluth up north, chapters in smaller communities — these are the people changing what actually gets built. One email from someone a Greater Minnesota legislator has never heard from carries real weight. I say this not because I work at BikeMN now. I wouldn’t be working there if I didn’t start out organizing with their Rochester chapter. 

As Streets.mn has pointed out before, even good plans get watered down when advocates stop watching. It’s just the nature of it. Grow it all with kindness so that the resulting movement is the kind of place you and people like you will want to spend time. There’s a term for that: Prefigurative Politics

A letter writing event (Photo by U. Sorsberg – Unsplash)

Document dangerous intersections and use 311 – even when we know how many of the reports aren’t acted on. Patterns in service request data justify investment, and the spot that almost certainly got you almost got someone else last week.

On the subject of documentation: Bike Lane Uprising is worth knowing about and worth using. Their data has been used to directly reach out to companies who block bike lanes, has been used in court cases where bicyclists have been injured or killed, has gotten laws passed, and has pressured cities to build safe bike infrastructure. The mechanics of it are particularly clever: they systematically send legal notices to companies reported to their database, informing them they’ve been added to a national registry of bike lane obstructers — which means that if that company is later involved in a crash with a cyclist, they can be shown to have had prior knowledge that their drivers were breaking the law. Negligence becomes a lot harder to deny. Report what you see.

Go to the neighborhood meeting about the street reconstruction when you can. Write to your council member when a project goes sideways. Show up to the public hearing in person, because three people in a room still outweigh thirty emailed comments in the political math of a small city council.

The Minnesota bike law FAQ at <a href="http://BikeMN.org" rel="nofollow">BikeMN.org</a> is a great resource — not just for your own safety but because knowing it opens up those red-light conversations when the moment is right. (I am working on a pedestrian companion too!)

Photo of bike rider (Daniel Frank, Unsplash)

I describe myself as a climate-anxiety enthusiast. The deep-set rage I feel watching a city stall on a protected lane, or a state legislature quietly defunding active transportation, or another driver treating a bike lane like a parking spot — that fury is connected to something larger and older in me: dread. Low-frequency, helplessly watching the world make preventable choices in slow motion. That feeling doesn’t go away. I’ve stopped trying to make it go away. Instead I’ve learned to run it through something useful.

Community organizing runs on this. The people I’ve met through the BikeMN chapter network, through Transportation Equity Day on the Hill, through We Bike Rochester and the Saint Paul Bicycle Coalition’s monthly meetings — almost none of them showed up because things were going well. They showed up angry. They stayed because anger, aimed at systems instead of individuals, turns out to be surprisingly durable. It doesn’t burn out the way confrontation does. Confrontation spikes and crashes. Advocacy accumulates.

The driver who punish-passed you and sped off already forgot it happened. You’re still thinking about it a week later. That gap — between their indifference and your rage — is the energy source. The only question is whether you spend it yelling into a rearview mirror or spend it somewhere the system actually feels it.

Crash rates for cyclists have dropped even as commuting numbers tripled — because of infrastructure, and because more people came to understand that cyclists belong on the road. That progress came from people who took the slow, boring work of changing the environment seriously, and didn’t waste their best energy on someone who was already gone. It is shocking, compared to somewhere like Rochester, to do bike advocacy work in Minneapolis and find that essentially no major local candidates openly oppose the idea of bike infrastructure investments as being worthwhile. That is the work of concerted advocacy within institutions. 

The screaming is understandable. It just isn’t moving us forward.

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Outside-the-Box Design: The Barbican's Unusual Bathroom Sinks

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The design of the Barbican Estates, London's residential Brutalist masterpiece, was finalized in 1959. Many of the apartments had bathrooms where the toilet was in its own little room, separated from the sink and bathtub. (This is an arrangement you often see in Japan.)

But in the 1960s, as construction began, the housing codes changed. Any room that contained a toilet now had to have its own sink. As-designed, there was simply no room to add a conventional sink to the separate toilet rooms. It fell to German architect Michael Hohmann to solve the problem.

Hohmann collaborated with Twyfords, a British sink manufacturer, and their in-house designer Munroe Blair on a radical design that would fit within the space. Because of the sink's unusual shape, it reportedly took six months for the firm to perfect the unusual mold and firing conditions required to create the porcelain sink within the tight tolerances.

Today the Barbican basin, as it's known, has become something of an icon, and an example of outside-of-the-box design thinking. It was also long-lived; it remained in production for over 50 years.



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Microsoft Deliberately Bricking All Office For Mac 2019/2021 Installations

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Microsoft Office 2019 and 2021 for Mac will reportedly drop into "reduced functionality mode" on July 13, 2026, when a license-validation certificate expires, leaving perpetually licensed apps able to open files but not edit or save them. Slashdot reader joshuark shares a report from OSnews: "Microsoft Office 2019 and 2021 for Mac view-only conversion (2026) is a scheduled remote degradation of perpetually-licensed Microsoft Office software for macOS and iOS, set for July 13, 2026 when a license-validation certificate used by the Office apps expires," reports the Consumer Rights Wiki. "After Office 2019 for Mac reached end of support in October 2023, Microsoft assured customers their installed apps would 'continue to function.' The July 13, 2026 conversion instead drops the apps into a Microsoft-defined 'reduced functionality mode,' in which files can be opened and viewed but not edited or saved. By May 30, 2026, the original 2023 end-of-support page had been re-dated and rewritten on Microsoft's site; the 'continue to function' clause was removed." Microsoft's advice to the users they're stealing from is to keep using the applications as mere viewers, switch to the free Office 365 web applications, pay for a 365 subscription, or buy a brand new regular copy of Office 2024. None of these make any sense, and clearly, all of this should be illegal, but it's not because the software industry is a clown show.

Read more of this story at Slashdot.

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