Thanks! That was built with D3.

Yep – much to my dismay, after Slashdot was bought by Dice they decided to kill off the original reporting division, and also even took down the existing sites completely and imported all the old articles into Dice News.

Perhaps a paragraph about the GPL / LGPL might have been appropriate too?

and finally.
As your article was primarily composed of discussion of the relationship between browsers it might have been nice to have read some about Mosaic and the relationship that Internet Explorer and Netscape Navigator have to that piece of software:
http://en.wikipedia.org/wiki/Mosaic_(web_browser)

1) First: shit, goddamnit, you’re right! No idea how I missed that; just got lost juggling 20-some songs and 80-some scores, I guess. Egg on my face.

2) This article has been out for a few days and even though Adele certainly has her supporters, you’re the first one to point this out. Well done! I’m pretty surprised that nobody else noticed my mistake, though — I could launch into a rant here about how this indicates the need for improved arts education in public schools, but I think I’ll save that for another post.

3) With that said, saying it was “severely underscored” overstates the extent of the problem — Adele actually already scored quite high on cohesion anyway. I said in the introduction that there are many ways to “sound like a Bond theme,” and Adele has already won 8 out of 10 of those points based more on texture and mood. Which is to say — even considering your point, which is correct, there’s not much room to increase on this axis, because we’re already in agreement that her song is excellent in the cohesion arena.

4) Both Adele and Jack White actually already got half-credit for cohesion even as it applies to the suspense motif because of their use of a compatible chord sequence. Apologies if I’m diving in too deep into music theory dork mode for you here, but in composition there’s something called “voice leading,” which is the arrangement of specific notes within a chord. It can be hard for the human ear to pick out notes that are buried in the middle of a chord, but we usually hear the highest and lowest notes quite clearly as the “lead melody” and “bass” voices. Since those other notes are still flopping about in between, though, the presence of the chords often implies the presence of the specific melody, even if it’s harder to hear. Most of my chatter on this point in the article was about more obvious melodic applications because I think all this was a bit too much to delve into with the readers, but the points for this are already there, even if the article text doesn’t get into it too much.

5) It’s in a way that’s different from point #4 but has the same effect, I’d argue that Adele’s use of the suspense motif was likewise understated. It only appears once, at the specific point you mention, and it’s never in the foreground — she’s always singing on top of it. So in my defense, it’s kind of mind-boggling to me that they would under-utilize such an important element to such an extent that I could miss it completely. Compare this to Chris Cornell, who used the suspense motif repeatedly and prominently, and then also filled the song with similar chromatic motion that parallels and evokes the suspense motif even when it’s not actually being played. Check out the diminished fifth that appears under the last syllable of the lines “I’ve seen angels fall from blinding heights” and “I’ve seen this diamond cut through harder men” — that’s not actually the suspense motif, but the chord is dramatically outside the expectations outlined by tonal harmony, and once that grabs your attention, a flatted-fifth diminished chord is also just about the Bond-iest thing you can play in that sequence. I know I’m already coming across as a huge fanboy for his song, but for my money it’s the most compositionally clever of the bunch, sunk more due to dull and inappropriate production details more than anything else.

6) I’m still hesitant to bump Adele up to a perfect 10 on cohesion. Back when her song was first released, Daphne Carr of Capital New York wrote a much more attentive takedown than I’d care to, so I’ll just quote her:

To fit the definition of a “theme song,” a song must really engage with the thematic material in a way that is recognizable and memorable. Like Bond, it must be bold… [Adele has] fulfilled the definition of the term “theme song” without doing much about the spirit of it.

7) The article’s conclusions still hold because Adele could only numerically tie Bassey if she had a perfect 10 on both cohesion and reach, and no other song in the series scored a perfect 10 in multiple categories. You clearly like her song more than I do, but I suspect you’ll understand why I’m skeptical that she’d be the one to break this barrier. Even if Adele were to numerically tie with Shirley Bassey and Garbage for the #1 slot, we resolved numerical ties through human editorial decisions and wouldn’t have given her the edge over those other two. But in any case, Adele is currently unranked pending a reach score, so altering her points doesn’t have any effects. I’ll happily meet you back here in twenty years to continue this debate, though.

So: you are correct, but there are only two cohesion points in dispute here, and I’d be willing to concede one of them, but that doesn’t really change much else. Great sleuthing though, and I appreciate the close read.

http://youtu.be/7HKoqNJtMTQ?t=1m51s

This song, to me, is one of the all time great Bond themes. Adele has a big voice that melds perfectly with the signature themes of the series. Plus, she’s British, which should get her a couple of extra points.