Nineteen-year-old Stanley Kubrick explains how he took these photographs:

“I wanted to retain the mood of the subway, so I used natural light,” he said. People who ride the subway late at night are less inhibited than those who ride by day. Couples make love openly, drunks sleep on the floor and other unusual activities take place late at night. To make pictures in the off-guard manner he wanted to, Kubrick rode the subway for two weeks. Half of his riding was done between midnight and six a.m. Regardless of what he saw he couldn’t shoot until the car stopped in a station because of the motion and vibration of the moving train. Often, just as he was ready to shoot, someone walked in front of the camera, or his subject left the train.

Kubrick finally did get his pictures, and no one but a subway guard seemed to mind. The guard demanded to know what was going on. Kubrick told him.

“Have you got permission?” the guard asked.

“I’m from LOOK,” Kubrick answered.

“Yeah, sonny,” was the guard’s reply, “and I’m the society editor of the Daily Worker.”

For this series Kubrick used a Contax and took the pictures at 1/8 second. The lack of light tripled the time necessary for development.

— “Camera Quiz Kid: Stan Kubrick,” The Camera, October 1948

On Friday afternoon, after my panel on the mobile revolution, I headed down to the corner of Second and Lavaca for the unveiling of a statue of Willie Nelson, who came to Austin forty years ago. Through a diaphanous khaki tarp, all you make out was the neck of the guitar.

Both Second (now known as Willie Nelson Boulevard) and Lavaca were closed to traffic, and two vehicles parked in the middle of Lavaca: a flatbed truck to give camera crews a better view, and an blue-and-red Airstream with Shiner Bock, Tito’s Handmade Vodka, and other refreshments for working press.

Katherine Stolp, the weekend anchor for Austin’s CBS affiliate, was on hand to cover the ceremony, which was streamed live on the KEYE Web site and would lead the 6 p.m. news. She hadn’t covered the Cronkite event, but KEYE had. When asked who she admired more, the anchorman or the outlaw country-music pioneer, Stolp at first said Cronkite, but then said, “It’s really a toss-up.” Cronkite, she said, “was always genuine. You felt like could believe him. Kind of like I feel about Willie Nelson when I watch him.”

Josh McHenry and Allyson Stephens took the day off—she’s the assistant manager at an apartment complex, he does maintenance—to attend the unveiling. “I was supposed to be in California today, but this took precedence,” added McHenry, who wore a red bandana and a pair of yarn braids, in tribute to his musical idol.

So did Eddy Wilson, who is almost four months old, according to Kacie Case, who was wearing Eddy, facing inward, in a sling.

Even the sans-serif W of Austin’s new W hotel, which is right next to the statue, dressed for the occasion.

The ceremony was scheduled for 4:20 pm on April 20th—a numerologically significant moment for Nelson and other supporters of legalizing marijuana. It began a few minutes after four, and the emcee introduced Lawrence Wright, the president of Capital Area Statues, Inc., the nonprofit organization which raised the money for the statue, its third. (Read about the first and second.)

Then Mayor Lee Leffingwell took the podium. As he thanked various municipal officials, three guys upwind of me started passing around joints. (Can you imagine Mayor Bloomberg helping a weed-friendly crowd to canonize one of their idols on their high holiday?) To the right, someone looked at his phone and noticed that it was already 4:22. “They blew it on the timing,” he grumbled. “Maybe they got stoned earlier.”

At 4:27, the khaki tarp was removed, and the crowd cheered. Willie Nelson looked at the larger than life bronze of himself. He felt the smiling statue’s arm, then the guitar neck. He posed for a photograph with the sculptor, Clete Shields. Nelson thanked the Austin, then said, “While I’ve got this guitar…” and the whooping crowd drowned out the rest of his sentence. He sang “On the Road Again,” with help from the audience, then “Roll Me Up and Smoke Me When I Die” before slowly making his way to the pastel-painted tour bus with indian chief on the side.

He sang both songs again on Saturday night at the Backyard, out in Bee Cave, plus a whole lot more—but not my favorite, “Sad Songs and Waltzes.”

Mail recognizes keyboard shortcuts for cut, paste, and undo, but it could easily use basic keyboard commands for replying to messages. And Safari could also support keyboard commands that send me to the status bar or search box. And neither application supports Textexpander, unfortunately. (MarkdownMail lets you write e-mail using Textexpander, but it’s not a mail client.) Although they probably could; the Settings have an option for shortcuts. So I’m writing this post in the Web browser without the benefit of my own personal shorthand.

Also, power is a problem. With Bluetooth enabled, the iPad battery drains much more quickly, even when you’re not using the keyboard. So you have to remember to disable Bluetooth before you put the machine back in your bag.

It wouldn’t take much for Apple to make the iPad plus keyboard a better laptop replacement. But then fewer people would need to buy laptops?