Sublime

The final selection, made by the Zappa office from albums supplied by Rhino employee Tom Brown, comprised, As An Am (New York, 1981), Live At The Ark (Boston, 1968), Freaks & Motherfuckers (New York, 1971), Unmitigated Audacity (Indiana, 1974), Any Way The Wind Blows

“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)

These are the scales of modern human networks, and it’s Dunbar’s number multiplied by millions. In these large-scale communities, standards and self-governance can’t be maintained by people simply running around and talking to each other. Instead, the builders of these networked products must create features that nudge the interactions in the right

Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix