Friday, October 23, 2009

Tuesday, April 21, 2009

Media & Architecture: Reading Response for 4/22

The readings for this week were a little bit different. We read from a couple of novels, which was fitting because the theme of this week is architecture's relationship to the book and the printed page. Distinctly removed from the printed work we talked about last week, the zines and publications, books are a solid work like any stone building. They stand on their own as monolithic accomplishments.

I've read a great many books, I hope to read many more books, and yet there are still so many books out there that I don't even know to seek out. I have always wanted to read Victor Hugo's The Hunchback of Notre Dame, and this week we read the second chapter. I'll have to run out to Strand and buy a copy because the chapter we read was simply fascinating. Hugo talks about architecture as the great art of mankind prior to the invention of the printed word, which he goes on to say will "kill" architecture. Now he obviously doesn't mean this in the most literal sense, but I find his argument distilled in the following quote:

The great accident of an architect of genius may happen in the twentieth century, like that of Dante in the thirteenth. But architecture will no longer be the social art, the collective art, the dominating art. The grand poem, the grand edifice, the grand work of humanity will no longer be built: it will be printed.


As we have seen through our study of architecture and media, Hugo's prophecy has more or less come true. Architecture in the 20th century focused almost exclusively on the private home and the corporate headquarters. With a few deviations here or there this is pretty much the rule. Through media like magazines, radio, television and now the internet and beyond we have cultivated an architecture which is infinitely more personal than the classical architecture Hugo calls "the great book of humanity." We no longer create great buildings to awe and inspire, we create buildings to turn a profit or show off our wealth. As Hugo says, the most inspiring works to come out of the 20th century were "printed"...or I would also argue photographed, recorded, filmed and programmed.

We have been somewhat removed from the arduous work of building the monument, the temple, the castle and have internalized our collective aspirations, dreams and beliefs. Instead of experienced them in the Parthenon or the cathedral we want to see them on the screen, listen to them in a song or read them in a book. Architecture was not killed in the strictest sense, but it was all but rendered impotent to move and inspire us. We will see great buildings as long as we still have great architects with us. They will remain works of art, but as Hugo says, never again will they be "the total art."

Tuesday, April 14, 2009

Media & Architecture: Reading Response for 4/15

I began this week's readings with the McLaren piece on importance of publication to the history of architecture. As examples he looked at two pre-war Italian publications, Casabella and Architettura, comparing their differences in philosophies and aesthetics. The former, the more modernist and avant-garde, the latter the fascist-aligned and conservative, McLaren takes a look at how they covered an event, the Mostra della Rivoluzione Fascista. I thought it was interesting how he was able to draw parallels between the representations of each publication and their political bent. Architettura presented a stark and straightforward documentary overview of the exhibition, with more classical photos of exteriors that presented a strong "modern militaristic aesthetic." In contrast Casabella ran coverage which used close-cropped and angled photos which were more avant-garde and disorienting. He claims that this latter approach allows the reader of the article more leeway to make a decision about the exhibition, while the Architettura piece is trying to display one interpretation to the reader. In this way he argues that the reproduction of these images is architecture in itself in the case of Casabella, because they are trying to recreate the experience of the exhibit in the mind of the reader. This was an intriguing reading. I found it more accessible than the Wright reading, which is to say I could more easily tie McLaren's positions to the blogs and modern-day architecture publications I am more familiar with.

The Mumford reading on the "Paper Dream City" gave me a chuckle. Living in the modern city of the future like I do it's hard to think that at one time the city could have been so strongly related to paper. Although we've recognized that the idea of the "paperless office" and all-digital communication is a joke even in 2009, paper just doesn't factor into my day as much as it did in Mumford's I guess. This is Plato and the Phaedrus argument all over again...new technologies will poison our minds and make us less potent, less real, dilute us to the point that we are ghosts inhabiting a dream world. It hasn't happened yet, but with Web 2.0 funneling us ever faster toward the singularity you don't have to look very far to see the gray goo on the horizon I suppose.

Friday, April 10, 2009

More Halping

I'm helping Ben and Matt again. This time with something that will end up on RealTube(TM) aka the TV. It's a lot of fun learning to do something that a) I like and b) is actually kind of useful. Plus I get to help my buds who are hella busy and have a lot on their plates.

Fun times!

Wednesday, April 8, 2009

Media and Architecture Response: Chicago

I was in Chicago this past weekend visiting a couple of good friends of mine. Being influenced by the readings in architectural photography, and looking through that massive tome Building With Light, I was inspired to try to create some architectural photography of my own. Although I am not strictly an artist or photographer, I think the weather I was blessed with gave me a distinct advantage and I was able to get some "okay" pictures. Enjoy.




Frank Gehry's Jay Pritzker pavilion. I think this photo was able to capture the way this oddly-shaped structure rises out of Millennium Park in the revitalized heart of downtown Chicago. Too bad I wasn't able to catch a free outdoor concert, but I was able to see how using techniques we read about in the Radio City Music hall readings this massive metal net carries a network of monitors all the way to the cheap seats. I would imagine the sound is pretty impressive if a bit unnatural for an outdoor venue.




Anish Kapoor's "The Bean." Oh, pardon me, I mean "The Cloud Gate." But here we have yet another example of people naming a structure for its shape. The prominent and unmistakable landmark of the AT&T Plaza (mere feet from Gehry's pavilion, which is reflected almost perfectly in its surface), this giant steel coffee bean is the new, hip place to snap a tourist shot or meet up downtown. Unfortunately for the artist, unless on a guided tour it will probably never been seen as a cloud.




Adventures in Babysitting anyone? The Smurfit-Stone building stands as obviously in the Chicago skyline as the Sears Tower or the John Hancock building. With its famous gashed center and diamond shape it can hardly be missed. What is missed, however, are the days when this building was considered a "smart" building, meaning environmentally friendly and high-tech in 1984. (Hey, it's as old as I am!) It would be interesting to see how it measures up now during the current green craze, especially to that glass monstrosity next to it.




Buckingham Fountain, or that fountain from the opening credits of Married With Children. The sun was really giving me a hard time with this one, so I took about 20 photos trying to capture exactly what I was seeing. Now I know how Le Corbusier felt, but I think I got the weird texture that was being created by the reflection of the light on the water. Sadly I wasn't there for when the fountain blows its top once an hour, but I'm sure I would have missed the shot messing around with camera settings.




This old stately gal is Lake Point Tower. Built in the 60s, I think its style and appeal still stands up to modern scrutiny. Plus it's the only building east of Lake Shore Drive, so if you want to pay to move in I bet you have an unparalleled view of both city and lake. And hey, with neighbors like Sammy Sosa, Alice Cooper and Oprah the price may just be worth it. I intentionally cut out the rest of the skyline and the lake for this shot to show the building's isolation from the city. Did I do a good job, who knows?




Last but not least, it can't be Illinois without McDonalds. Here is the famous Rock N Roll McDonalds in its shiny, new incarnation. Rock N Roll McDonalds was famous both as a MickeyD's location and rock n roll museum, as well as for appearing in a ridiculously entertaining song by outsider artist Wesley Willis. In the photo I caught the glint of the sun on the exterior to emphasize the controversial newness of this building over the more traditional McDonalds exterior of the old one. Part restaurant, part museum, part publicity stunt...but most assuredly all-American, this is a perfect place to leave off with my Chicago trip.

So anyway, I hope this post worked as a "creative" response submission. I enjoyed taking these photos and hope to take more on future trips. Buildings are just so darn photogenic. Most information in this post was either from my friend Pat (a Chicago resident) or the architecture foot tour we took downtown.

Friday, February 27, 2009

Media Practices: Reading Response for 2/27/09

When I was younger my father used to buy the family sets of radio dramas on cassette tape. I think a lot of these programs had just fallen into public domain and you could find nearly complete collections at your local bookstore. (This is to say nothing of archive.org, but that's another story) The Shadow, Suspense, Sherlock Holmes, I was introduced to all these radio dramas at a young age. My family would gather around the fireplace and pop them in the stereo or listen to them on long car trips. The Arnheim essay immediately reminded me of this time in my life. As someone who had grown up with an overabundance of television and radio simply as a means to listen to the Top 40, talk radio or baseball games, it was both frustrating and intriguing when I encountered tales constructed solely for the ear.

Arnheim raises the point that when we listen to the live broadcast of a real life event we often feel left out. There is a “happier audience” somewhere out there that isn't us. That we feel we are being led through the events as if by a seeing-eye dog. It's funny that I've never really thought about how true this is. But as a child when I was more or less forced into a situation where I was exposed to radio dramas, I slowly came to understand what made them so unique and special. I think I was most compelled by the series Suspense with it's Twilight Zone-esque mysterious story of the week. I never failed to be drawn in completely to the story with their expert crafting of sound and dialogue. This is the type of show that Arnheim says needs to visual accompaniment, because it drops you right in the middle of a world it has expertly constructed for you.

The things Arnheim says about news and music are also quite interesting. As for the news, he draws a line in the sand between say, talk radio and programming like This American Life. The talk radio show is done for hours at a time on a daily basis and probably for that reason has an “off the cuff” feel to it. You hear multiple announcers and you imagine the room they're sitting in. You can hear their chairs and their body movements. These are all things Arnheim says should be avoided. However with a well-produced radio-journalism show like This American Life you get a much more accomplished stab at the form. Pieces are expertly recorded so that you experience just the voice of the narrator or other important sounds.

So I would have to say I agree for the most part with Arnheim's characterization of “good” wireless broadcasting. It should be timeless, deliberate, and executed with a certain amount of clarity in order to paint a special picture which can only be enjoyed by the ear.

Wednesday, February 25, 2009

I Halped

Ben has been teaching me how to drive yourself crazy how to animate. I did some very basic scanning and photoshopping on the most recent Ronin Dojo cartoon:



It was a lot of fun and only a little bit frustrating. But then again, I only did a very small amount of the actual work. What I don't understand is why Ben and Matt aren't in the nuthouse.

Tuesday, February 24, 2009

Media & Architecture: Reading Response for 2/25/09

This week we read the book Make Room for TV by Lynn Spigel. This discussion of the relationship between television and the family was pretty interesting. The author begins by talking about middle-class ideas of family from Victorian times to the postwar era. Then she discusses the invention and spread of TV and its impact on those previously stated ideas of family (as well as gender roles, labor, etc). She discusses in-depth the impact of TV on the lives of women, as well as the other way around. She then discusses the meeting of the public and private that the TV achieved in the home. Lastly she discusses sitcoms and their varied depictions of family ideals.

As far as our class is concerned I found most of the relevant information to come from the discussion of the family's relationship to their domestic space and how that relationship was affected by the introduction of TV. One of the major themes from the early portion of the book was that the Victorian home promoted isolation while the postwar suburban home was supposed to promote more family unity. The TV was instrumental in the tension between these two extremes. Spigel shows that while watching the TV promoted a kind of "togetherness" it was obvious that different members of the family were interested in different kinds of programming. While the TV room was designed to bring families together, "this spatial proximity did not necessarily translate into better family relations."

It is also interesting to highlight the fact that while postwar suburban homes were initially based on Victorian ideals and separation/segregation of space, they developed architecturally to include a space specifically designed for public gathering for the consumption of television. Spigel demonstrates that because there was a room specified as public in the home it therefore allowed other rooms and spaces to be that much more private.

I also found it interesting that appliance and furniture sets were marketed strongly after the introduction of television as a way for housewives to organize their days around doing their chores and labors in an efficient manor while still being able to consume TV. I guess it should be no surprise to anyone that the goal of television from its outset was to train viewers to be better consumers, but it is interesting to see how this effects architecture and design even through the modern day.

Otaku, Triumphant

This is why nerds always win (always):

Wednesday, February 18, 2009

/b/-tards can track down a cat abuser based on the color of his blinds...

And our fucking government can't even find Osama Bin Laden.

I'm speaking of course of this item. The TL;DR version is a dude posted videos of himself abusing a cat on YouTube and 4chan's /b/ decided to bring him to justice for the lulz. The kid is being charged with whatever you get charged with for being a total fuckwit, and the cat is safe in a shelter with a couple thousand basement-dwelling parents-to-be beating down the door to adopt him.

Why is this significant? Well I bet it's something my father could comment on, and it is something Bisceglie and I jawed about while enjoying one too many brewskis the other night. That something is the beauty of open-source. Be it intelligence or code or whatever really...open exchange of information is always superior to proprietary need-to-know data hoarding.

The members of /b/ were successful in their attempt to track down good old Kenny Glenn because they literally posted new info every 5 seconds until the kid was outed and apprehended. It was like a manhunt conducted by a hivemind...and believe me...you cannot outrun that.


Of course I have my crazy conspiracy notions that our government could find Bin Laden if they wanted to, but I prefer to let the thought that they are simply incompetent trump that indication the majority of the time.

Friday, February 13, 2009

Media Practices: Reading Response for 2/13/09

Those of you at home can read along this week because the piece was online.

From the readings this week I think I was most intrigued by the blog post by Errol Morris of the New York Times. In trying to reconstruct the story of the two photos of the Crimean War by Roger Fenton he made some interesting discoveries about the nature of photography in general. The meat of the article was about the forensic reconstruction of the photos and of the events which led to the photos, with the intent of placing which one came first. Beginning with people who were making assumptions about the photographer's intentions, he quickly shifted to a more quantifiable way of explaining the time line. This obviously appeals to me as my scientific sensibilities are often at odds with explanations that seem to come from the gut.

When I studied physical anthropology in my undergraduate education I was often a little dismayed by the amount of assumption that goes in to identifying remains and objects of ancient origin. It seems that every scientist wants to have their own significant discovery, to put their name on the map. In pursuit of this I used to get the feeling that they would bend reality a bit to achieve their preconceived goal. How can you establish a new species based on some minute skull fragments? As we can see from the Morris blog post, even a veritable army of experts working on the same problem will come up with a variety of intriguing answers.

However Morris states that the beauty of photography is that it records data "not because of our intentions, but often in spite of them." In the case of Fenton's photos it was eventually possible to come to an almost airtight explanation through observation of the placements of certain rocks and the general laws of physics. Even light and shadow were unreliable...time was an illusion because of the nature of the equipment Fenton had used. But as he ends the piece saying, if a third picture were ever discovered it could throw the explanation into doubt once more. I also have to wonder that as technology improves will we reach a point where photographs can no longer be considered evidence because of the sophistication and availability of high-powered photo editing software?

Obligatory Darwin Post (A Few Minutes Late)

I've been reading a lot of crap out there...but I feel like I really have to say: There is no ongoing debate about the theory of evolution. There may possibly be a "debate" about its finer points amongst people who still accept its basic tenets to be true, but that doesn't mean that it isn't the best explanation we've got for species diversity on this planet. Anyone who claims that there is a debate to whether or not the overall theory is sound is out of their goddamn mind.

End of story.

TL;DR

The Flintstones wasn't a documentary. Your silly book isn't true. Deal with it.

Friday, February 6, 2009

Fake Michael Bay

At Alex's recommendation I started following the "fake" Michael Bay on Twitter. It's a guy who posts fake tweets, I suppose in a style he imagines Michael Bay would tweet were he one for such nonsense. (Seriously, the man is busy blowing things up and wrestling with his pet tiger.)

Well...throughout the day there has been a bit of drama as Twitter removed the picture of the real Michael Bay that was being used in the fake MB's profile. As well they appended "fake" to his twitter ID, "michael_bay." You can read about it here.

Funny. Interesting. But also a good example of how a company can handle a situation without losing the fucking plot over it. They didn't lock out fake MB and block the user from submitting posts, they simply removed all the legally-questionable ties to the real Michael Bay (whose lawyers apparently filed a very real legal complaint). I think big websites could learn something from this...the virtue of moderation. Not every action on the web requires an unequal and disproportionate reaction.

Media Practices: Reading Response for 2/6/09

We read Susan Sontag In Plato's Cave:

In the very beginning of the Sontag piece she introduces the idea that we see in "an anthology of images," brought on by the relative ease of photography to capture images and the varied and infinite subject matter that has been captured on photograph to date. She stresses that photographic images are "cheap to produce, easy to carry about, accumulate, store." It's staggering then to think of her words in context of the digital photograph or digital image. Infinitely easy to store and collect in a space which is negligible compared to the trunks and boxes of photos older generations stuffed away in attics and basements, in the present day we have to ability to not only collect the photos we have taken, or those gifted to us, but we have an infinite resource in the internet to research and hunt down photos, claiming them as our own. They go into folders on hard drives titled "lolcats" and "miley cyrus."

In fact it is easy to think of the internet and the prime way we interact with it, the browser, as simply an "anthology of images." Sure there is plenty of useful written media on the internet, and in recent years audio and video, but the base unit of media on the internet would still have to be the image, if not the digital photograph. Sontag brings up the fact that "photographs furnish evidence," and this immediately makes me think of the old imageboard proverb, "Pics or it didn't happen." We rely on digital images in our news, blogs, feeds, etc to ensure for us in a sense that things are actually happening outside our computer. This idea can be extremely dangerous based on the fact that digital image manipulation has never been more sophisticated or malevolent. Swimmer Michael Phelps has recently admitted to using marijuana based on a picture that was circulated on the internet. However, had this been a relatively good photoshop that showed the same thing would he have any case to dispute it? "Pics or it didn't happen..." or "If it didn't happen...why is there a picture?"

Sontag also touches on the democratizing nature of the camera...that it went from a relatively complicated apparatus requiring a lot of technical knowhow to the point and shoot variety that nearly any person can opperate. This ubiquity has never been more clear than now, when nearly every teenager in America owns not only a digital camera, but a cell phone which also contains a digital camera. Sontag says it "has become one of the principal devices for experiencing something..." Although such as in the case of Mr. Phelps, or teenagers who are sending nude pics over their cell phones, it seems that not everything is ready to be experienced through the lens of the camera. In fact the popularization of digital photography and displaying said images in a public forum like the internet has seen such rapid growth that we are scarcely able to catch up and attach meaning or levy restrictions against these experiences. Photos are taken and go live on Facebook in a matter of moments. As Sontag concludes this is the "aesthetic consumerism to which everyone is now addicted," a compulsive need to collect and catalog images, or experiences.

Tuesday, February 3, 2009

Media & Architecture: Reading Response for 2/4/09

Jumping back into an academic mindset after several years of relative inactivity can be difficult...

With that said, up first this week is Umberto Eco's Function and Sign: The Semiotics of Architecture. As I saw it Eco was trying to break the assumption that architectural objects cannot communicate. With cute examples like the first half-monkey to think to take shelter in a cave, he sets about achieving his goal with relative ease. How can we not agree that architectural objects not only communicate to us their primary purpose, but any number of secondary purposes and meanings as well? Next he explains that over time both the primary and secondary functions of architecture may change. He then describes how architecture fits the mold as a means of mass communication ending on the conclusion that in the future the architect "should be designing for variable primary functions and open secondary functions."

I think the part that struck me most was his statement that "there are no 'mysterious' expressive values deriving simply from the nature of forms themselves..." This was in reference to the way fantastic gothic-styled churches in New York City are dwarfed by skyscrapers on all sides, yet they haven't lost their inherent meaning, it has simply been altered. It particularly made me think after reading Walter Benjamin's explanation that architecture is engaged with "by a collectivity in a state of distraction." Benjamin argued that architecture, as perhaps the oldest consistently practiced art-form, "has never been idle." I suppose it is this fluidity and longevity of architecture as a medium that makes it so interesting as a subject for a media studies course.

So these thoughts were in my head when I began reading the book Learning From Las Vegas. Venturi, Brown and Izenour use the example of 1960s Las Vegas to illustrate that "an architecture of inclusion" is superior to "too great an occupation with tastefulness and total design." They use examples such as speedy drivers on a highway encountering signage in comparison to more historical forms of interacting with architecture, like shoppers on Main Street or in the market square. They explain that it's good advertising to illustrate the differences in two products, which is why the varied and many styles of the Las Vegas casinos (as well as the restaurants and gas stations) simply work. There was some more specific discussion of finer architectural points which distracted me more than anything else, but I enjoyed the overarching concept...and hey, the book also had wonderful pictures!

The final reading was a piece from an essay by Stan Allen called Dazed and Confused. Perhaps I shouldn't have saved this for last, but it left me in a state not unlike the title. While I could identify with Allen calling back to Benjamin's discussion of distraction, citing many of the points which had also jumped out at me, the second half of the essay began to lose me. I want to say he was arguing against the inclusiveness that was so championed in Las Vegas, but after several re-readings I find myself unable to decipher his conclusion completely. Although this does leave me with questions for class.

2/3/09

Tuesday, January 27, 2009

First Day

Today was my first day of grad school. The class was Understanding Media Studies, which our professor proceeded to tell us should really be called "Intro to Graduate Studies." Apparently it's going to be a series of readings and exercises, as well as lectures with various members of faculty, which are meant to prepare us for the challenges of graduate education.

The class was more boring than intriguing, which is often the case with the first class of a semester. I'm going to put in orders for books soon and look forward to future sessions with more exciting topics than the syllabus...which I could have read myself in the comfort of my own room.

Additionally, this blog may soon serve the secondary purpose (or in reality, the main purpose) of being my workblog for school. Expect to see much of the academic work I complete posted here for review by both you and my professors/TAs.

Friday, January 23, 2009

More pixels

So I wanted to practice a little more. Reimu from the Touhou games:

Shit is hard. I'm gonna try to do a whole series of these little people though.

Mother...tell your children not to draw my way...

Matt has been trying his hand at pixel art lately and it brought me back to a time when I honestly thought that I might be a pixel artist. Today I dusted off the old GraphicsGale software and whipped up a wee little Glenn Danzig sprite:



He'd probably kick my ass if he knew.

Wednesday, January 21, 2009

4chan can still, on occasion, deliver the goods

Chances are everyone who reads my blog (cricket...cricket...) will fail to get this one, but I found a particularly delightful image macro on 4chan the other day.



It blends two of my favorite things. Ridiculous internet subculture and the X-Files. Most will recognize the poster as a riff on the one that hung behind Special Agent Fox Mulder's desk in the bowels of the J. Edgar Hoover building.



The giant floating girl head, however, is a riff on the Touhou series of shooting games. You can read more here, but the Touhou series is a set of DIY games for Windows with music, design, code, etc. all by one mysterious Japanese guy named ZUN. They are immensely popular, both in their homeland and abroad. The games and their cute lolita-esque characters have spawned numerous internet memes, one of the biggest being the "yukkuri" or "take it easy" phenomenon.

Yukkuris (again, details here) are giant heads filled with bean paste which engage in their life pursuit of trying to take it easy. The meme is built on a poorly drawn ASCII image gone awry, and its legend is completely fan-built but has been more or less accepted by ZUN as canon.

It's an extremely intriguing example of the impact of fans on the creative process, especially when fans are given near complete freedom by a creator to remix his work. In fact tons of (read, "the majority of all") Touhou material is built on fan labor and love. Fans make comics, music CDs, character goods and figures, other video games; nearly anything they desire they have to make themselves because the creator of the series has almost no urge to merchandise it beyond the games and the occasional book or comic. The creator is happy, the fans are happy...and no one is suing anyone.

Monday, January 19, 2009

On (The) Edge

So I'm about to head back into school. My first day is Tuesday. I am excited about this, but definitely not as excited as I used to be as an undergrad. Perhaps just arriving on the scene, picking up my ID card, registering for classes, buying books (sweet, delicious books)...perhaps all that will get me more in the mood. I wonder how much of this has to do with the fact that it isn't fall...

Anywho. Settling back into NYC is also taking a little while. I've yet to really find my groove, but then again I don't have a "schedule" to speak of. I hope to get a couple things going soon. I'd love to start playing music ASAP. I also want to get a podcast thing going with my friend Matt and some of my other goofball Queens people.

So basically here's to tomorrow being the last of my "in-between" days. It can only go up from here.

EDIT for roomporn:

Wednesday, January 7, 2009

No Shit Sherlock

Or maybe I should have saved "It's been a long, long time coming" for the title of this post.

Apple has decided to strip DRM from all songs bought through iTunes. It's about time. They've introduced a new pricing plan as well. I'm sure there will be some BAWWWing over the fact that premium songs have had their prices increased to $1.29...but I am fully in support of this. It seems older songs and labels' back catalogs will be getting a nice $0.69 price tag. I know this will bring me and people like me flocking to iTunes to see what we can get on the cheap to flesh out or music collections.

The fact that it took labels and Apple so long to realize that DRM is broken and work out a simple pricing scheme like this shocks me. It just goes to show you that hubris isn't limited to the executive branch of our government. Every study and self-righteous blog post on the subject in the past five years has shown that people don't like having their music essentially loaned to them. When people pay for something they want to own it, but the labels had a hard time getting this concept through their head in the world of digital files and that constant specter known as file sharing.

Home taping didn't kill the music industry...in fact it barely changed it. Digital music on the other hand is threatening to completely upend the system and the dinosaurs are having to adapt or die. Capitalism is pretty sweet sometimes. Problem is people are falling into some old, time-tested traps. New bands are being shackled by the bullshit that is MySpace...having money made off of them at every turn while giving up control for convenience that isn't even that convenient. But that's the subject for another blog post.

For now...I'm off to iTunes to buy some DRM free music. w00t

Thursday, January 1, 2009

Welcome To The Return Of The Return

Happy New Year internet people!

In a few short weeks I will be moving to NYC to attend grad school. This means re-launch for the tired old blog I was neglecting. Expect posts with more substance; intense focus on all the the highly important stuff I'll be learning. Less bile and more...style?

Yes.

Welcome to the brave new blog that has such content in it.