Technofetishism
With some Christmas money from my grandmother and a recent FC bonus, I've gone on a bit of a technology buying spree lately. My VCR at home isn't working very well, so I just bought a new VCR. And falling prey to the recent DVD craze, I've also gotten a DVD player and signed up for NetFlix. Woohoo! The movies in my queue have already begun to ship.
Add to that one cell phone. I used to have a cell phone for work but turned it in to help FC save money. I've been missing it lately, so on Sunday, I signed up with AT&T wireless for a cell phone. The plan is good, the cost isn't too bad, and it's nice to have a phone with me while I walk again. I was even able to check voicemail from my mom and dad while standing in the shelter and sanctuary of a church doorway on Union Square while waiting for the bus Sunday night in the midst of the cold, cold wind and rain. Now that's progress!
Tuesday, January 08, 2002
From the In Box: Turning the Page
Howdy. I found you via Google. Like you, I swear by my Mead Fat Little Wireless Neatbook. I'm the TV critic at the Kansas City Star and have a daily Web site.
It appears Mead has discontinued the product! Walgreen's ran out of them, Staples no longer carries it, and meadweb.com is bogged down. But a Web search for the product number (57190) came up empty.
Have you run into a shortage of Neatbooks? And what will we possibly do without them? -- Aaron Barnhart
I've contacted the Executive Assistant to Neil McLachlan, President of Mead School and Office Products in Dayton, Ohio, to see what the deal is. I, myself, haven't noticed a lack of Neatbooks, and truth be told -- I haven't used too many in the last 6-9 months... I wrote that review a couple of years ago... and tend to use standard reporter's notebooks or scrap paper now. I'll pass on word when I head back from Mead.
Howdy. I found you via Google. Like you, I swear by my Mead Fat Little Wireless Neatbook. I'm the TV critic at the Kansas City Star and have a daily Web site.
It appears Mead has discontinued the product! Walgreen's ran out of them, Staples no longer carries it, and meadweb.com is bogged down. But a Web search for the product number (57190) came up empty.
Have you run into a shortage of Neatbooks? And what will we possibly do without them? -- Aaron Barnhart
I've contacted the Executive Assistant to Neil McLachlan, President of Mead School and Office Products in Dayton, Ohio, to see what the deal is. I, myself, haven't noticed a lack of Neatbooks, and truth be told -- I haven't used too many in the last 6-9 months... I wrote that review a couple of years ago... and tend to use standard reporter's notebooks or scrap paper now. I'll pass on word when I head back from Mead.
Meeting I Never Miss
Videoconferencing From a Sauna??
Last Updated: January 04, 2002 11:19 AM ET
HELSINKI (Reuters) - Boardroom meetings could get steamy if a Finnish company's idea of fitting its new sauna with a Web camera for videoconferencing catches on.
"I thought a firm like ours should be able to get in touch with the outside world from the sauna when there is something important to discuss," Jarkko Lumio, head of digital media development group Media Tampere, told Reuters Friday.
The sauna has played a key role in Finnish business and politics over the decades, with much wheeling and dealing done in the heat of the steamy room.
Four bathers will fit into Media Tampere's sauna, which will have a window onto a computer screen outside. A portable web camera and microphone will be installed so bathers can interact with discussion partners online. "The sauna goers can decide for themselves what to wear for the Web casts," Lumio
said.
Finns traditionally enjoy the sauna in their birthday suits.
Videoconferencing From a Sauna??
Last Updated: January 04, 2002 11:19 AM ET
HELSINKI (Reuters) - Boardroom meetings could get steamy if a Finnish company's idea of fitting its new sauna with a Web camera for videoconferencing catches on.
"I thought a firm like ours should be able to get in touch with the outside world from the sauna when there is something important to discuss," Jarkko Lumio, head of digital media development group Media Tampere, told Reuters Friday.
The sauna has played a key role in Finnish business and politics over the decades, with much wheeling and dealing done in the heat of the steamy room.
Four bathers will fit into Media Tampere's sauna, which will have a window onto a computer screen outside. A portable web camera and microphone will be installed so bathers can interact with discussion partners online. "The sauna goers can decide for themselves what to wear for the Web casts," Lumio
said.
Finns traditionally enjoy the sauna in their birthday suits.
From the In Box: From the Reading Pile V
Big thanks for the heads-up, and the terribly kind and insightful review of The Comics Interpreter. It was a very pleasant surprise.
It's true that seemingly everyone in small press comics pays fealty to Jordan these days, if only because he either has a hand directly in the design of their books or has lent invaluable advice via phone or email regarding layout, marketing, or niggling technicalities of printing. I'm happy to say that TCI interviewed Jordan a bit before everyone jumped the ever-expanding Crane bandwagon, and a good two years prior to The Comics Journal turning the reins of one issue over to Jordan and Highwater Books impresario Tom Devlin.
Now skipping away from any noxious ME-centrism: All of the reviews in Media Diet were exceptionally well-written, and I was immediately inspired to nab at least of few of the zines you covered. Certainly you seem to know a helluvalot more about comics than I do (which I guess is no big feat).
Anyway, who knows why you do it, but regardless I'm sure Media Diet is vastly appreciated by the unwashed minions of neurotic, self-pubbing types out there who aren't exactly sure why they're doing it either. -- Robert Young
Thanks for the kind words, Robert. Perhaps we should start our own little Mutual Appreciation Society! Heh. Because sometimes doing this sort of stuff is frustrating. Case in point: I don't know what Media Diet's traffic is, but I can tell you that very few people ever visit. This is even more true in the discussion forum adjacent to Media Diet. So even though I feel like I'm shouting into a canyon sometimes -- doing this blog is way different than when I used to publish zines because then at least, I knew that I had 250 copies floating around somewhere; with Media Diet, it's all electrons -- I really enjoy keeping this going.
Why do I do Media Diet? I haven't really thought about this, but here's a stab at a rationale:
to document and catalog some of the small-press ephemera that crosses my path (I donate everything I receive to DePaul University's library in Chicago)
to help improve the state of self-publishing and DIY media by highlighting some of the best (and worst, sometimes) examples of personal media -- and connecting the respective media makers
to meet creative, productive, fun, talented, and slightly crazy people
to get the proverbial free stuff occasionally
I like telling people I don't know what I think, feel, and do
I doubt I know more about comics than you do. It's all in the appearing to be smart -- just like it says in ReadyMade.
Why do you do what you do?
Big thanks for the heads-up, and the terribly kind and insightful review of The Comics Interpreter. It was a very pleasant surprise.
It's true that seemingly everyone in small press comics pays fealty to Jordan these days, if only because he either has a hand directly in the design of their books or has lent invaluable advice via phone or email regarding layout, marketing, or niggling technicalities of printing. I'm happy to say that TCI interviewed Jordan a bit before everyone jumped the ever-expanding Crane bandwagon, and a good two years prior to The Comics Journal turning the reins of one issue over to Jordan and Highwater Books impresario Tom Devlin.
Now skipping away from any noxious ME-centrism: All of the reviews in Media Diet were exceptionally well-written, and I was immediately inspired to nab at least of few of the zines you covered. Certainly you seem to know a helluvalot more about comics than I do (which I guess is no big feat).
Anyway, who knows why you do it, but regardless I'm sure Media Diet is vastly appreciated by the unwashed minions of neurotic, self-pubbing types out there who aren't exactly sure why they're doing it either. -- Robert Young
Thanks for the kind words, Robert. Perhaps we should start our own little Mutual Appreciation Society! Heh. Because sometimes doing this sort of stuff is frustrating. Case in point: I don't know what Media Diet's traffic is, but I can tell you that very few people ever visit. This is even more true in the discussion forum adjacent to Media Diet. So even though I feel like I'm shouting into a canyon sometimes -- doing this blog is way different than when I used to publish zines because then at least, I knew that I had 250 copies floating around somewhere; with Media Diet, it's all electrons -- I really enjoy keeping this going.
Why do I do Media Diet? I haven't really thought about this, but here's a stab at a rationale:
I doubt I know more about comics than you do. It's all in the appearing to be smart -- just like it says in ReadyMade.
Why do you do what you do?
Monday, January 07, 2002
From the In Box: From the Reading Pile V
Hey, now that's cool! Haven't had any feedback in a while, much less a critique/review thingie. Thanks for the words, Heath. Can I ask where you managed to pick up Engine! #5? It's the most widely distributed one, and I never know how it gets itself out there.
Also, you mentioned you liked the watercolor stuff. Well, most of my work is done with brush, ink, and watercolor. The no-light-box interior art was kinda rushed for SPX 2000, as well as being just black washes. Anyway, please check out "Flora" on my Web site if you get a chance. The story is from my first three Engine! books, but it's in color. I also need to re-upload the color pages from Stone Cold Fish (Engine! #6). I took it down because all I had were grayscale scans left over from getting the book printed.
Anything I do in the future will have more of the same, hopefully better. Most reviews (mainly from distributors) think it's all too sloppy. -- Toby Craig
I probably picked up Engine! at the Million Year Picnic in Cambridge. Don't worry about being too sloppy. I wasn't struck by sloppiness at all when I read your stuff. But maybe distributors are more important than readers. ^_^
Hey, now that's cool! Haven't had any feedback in a while, much less a critique/review thingie. Thanks for the words, Heath. Can I ask where you managed to pick up Engine! #5? It's the most widely distributed one, and I never know how it gets itself out there.
Also, you mentioned you liked the watercolor stuff. Well, most of my work is done with brush, ink, and watercolor. The no-light-box interior art was kinda rushed for SPX 2000, as well as being just black washes. Anyway, please check out "Flora" on my Web site if you get a chance. The story is from my first three Engine! books, but it's in color. I also need to re-upload the color pages from Stone Cold Fish (Engine! #6). I took it down because all I had were grayscale scans left over from getting the book printed.
Anything I do in the future will have more of the same, hopefully better. Most reviews (mainly from distributors) think it's all too sloppy. -- Toby Craig
I probably picked up Engine! at the Million Year Picnic in Cambridge. Don't worry about being too sloppy. I wasn't struck by sloppiness at all when I read your stuff. But maybe distributors are more important than readers. ^_^
Friday, January 04, 2002
From the In Box: From the Reading Pile V
As you said, I should have a new issue out now, but unfortunately I don't. My new deadline is Beantown Zinetown at the end of March. I have been doing some smaller mini-comics. -- Dan Moynihan
As you said, I should have a new issue out now, but unfortunately I don't. My new deadline is Beantown Zinetown at the end of March. I have been doing some smaller mini-comics. -- Dan Moynihan
From the In Box: From the Reading Pile V
Thanks for the review. It's been a while, hasn't it? I'm no longer unemployed -- now working for the city government (an extension of the volunteering I was doing before). -- Larry-Bob
Wow. Congratulations on landing the job!
Thanks for the review. It's been a while, hasn't it? I'm no longer unemployed -- now working for the city government (an extension of the volunteering I was doing before). -- Larry-Bob
Wow. Congratulations on landing the job!
From the In Box: From the Reading Pile V
Thanks for the great review. It's nice to know that someone notices and appreciates the interviews about zines (They don't generate as much feedback as the band interviews do.). -- Mike Faloon
Really? I wonder why that is! I think that the people behind the zines and comics I read have probably put way more thought into what they're doing -- as well as how and why -- than the folks in the bands I like. And they're rarely given a forum other than their own zines for sharing those ideas, motivations, and values.
If anyone has any thoughts on this, please start a topic in the discussion forum.
Thanks for the great review. It's nice to know that someone notices and appreciates the interviews about zines (They don't generate as much feedback as the band interviews do.). -- Mike Faloon
Really? I wonder why that is! I think that the people behind the zines and comics I read have probably put way more thought into what they're doing -- as well as how and why -- than the folks in the bands I like. And they're rarely given a forum other than their own zines for sharing those ideas, motivations, and values.
If anyone has any thoughts on this, please start a topic in the discussion forum.
From the Reading Pile V
Cars-R-Coffins #10
Why do the best bicycle messenger zines always come from the Twin Cities? Hurl's slim but extremely well-designed read quickly touches on bike event news, the allure of winter bikes, Congressman Jim Oberstar (also chairman of the House of Transportation Ways and Means Committee), and punk rock. It's a quick read, but it captures the energy and enthusiasms of single-speed riders. The mindful political undercurrent is also welcome. I'd read the next issue of this with no hesitation, and I think I need to order a T-shirt. Cars-R-Coffins, Hurl Everstone, 117 Washington Ave. N, Minneapolis, MN 55401.
Engine! #5
Toby Craig and Todd Gail's 48-page comic is a two-part example of what happens when Futuroid meets Brian Ralph and Paranoia. The first story, "No Light Box," exemplifies the first two influences, telling the story of a group of gladiator-style robots who fight, discuss, remember, and fight again. The panel sequence on p. 27 is an impressive bit of comics cinematography. Then, "Robot Free" adds Gail and the Paranoia roleplaying element. Two people answer a jobs ad only to find themselves testing robots: one wheeled, one an overly agressive chair, one a washing machine, and one... well, let's just say that the Fred Hembeck- and Phil Foglio-styled artwork adds a light touch to the ending's heavy hand. I'd like to see more watercolor work as displayed on the cover, but otherwise, I'm not sure how long this'd hold my interest. Little Engine Studios, 116 Natures Way, Huntsville, TX 77340.
Fragments #2
Five years coming since #1, this 48-page zine focuses on the theme Power -- of community, over nature, and sex, of belief, of fear, and of the military. The editor and contributors offer interesting perspectives on the power of small groups, animal rights, the funeral of Orlando Letelier, and the Gulf War, but I have some trouble wading through the contributors near-academic language and postmodern posturing, as well as the zine's clip art-ridden design. That said, two pieces hit me extremely hard. The narrative "Jason" recounts encounters between activists and police, as well as an attempt at dialog. And Maureen Milton's "Girl in the World" shares her appreciation for a man she'd perhaps never pursue but who "made me realize that, as a girl, I have all the power." The whole zine is worth reading for this line alone: "I have the power. I have it and they are afraid of it. They may run banks, drive fire trucks, and tinker with the government, but these guys can't toy with me. Ultimately, they can't do anything without me." Right on. Hey. Don't take five years to make #3, OK? Fragments, P.O. Box 28253, Santa Ana, CA 92799.
Go Metric! #13
If you've ever been into Bunnygrunt or the Mutant Pop back catalog, chances are you'll dig this fully fledged pop music and punk culture zine. Ostensibly trying to become a general interest lifestyle magazine, this issue opens with a hilarious sex quiz rivaling those in Maxim. Brian Logan pens excerpts from an imagined Chicken Soup for the Punk Rock Soul. Kimmie Varsity shares some stories from Junior Varsity's tour of Japan, including a shop run by Sachiko and Ronnie of the 5,6,7,8s. Mike Faloon comments on some recent Plastic Man reprints. Rev. Norb rants about the X-Men movie. Johnny DIY anthropologizes some stereotypical mail order customers, including Anarchy Dude and the Girl Band Geek. And John David Cawley asserts Why Mod Matters. While there are scads of interviews in this issue -- the Sissies, the Figgs, the Young Fresh Fellows, and Swearing at Motorists -- Mike's conversation with Michelle and Doug Daugherty, makers of the zine Spank, might be the most insightful. While thousands of zines document emerging culture, very few people look at the motivations and background of zine publishers. Michelle and Doug have a lot to say about how Spank has changed since 1994, how people react to reviews, and the self-publishing process. And Mike has a lot to say, too; this issue weighs in at a whopping 56 pages, well worth the $2. (Full disclosure: Mike reviewed a CD by my band, the Anchormen, in this issue. He liked it, and dare say, I like Go Metric!) Mike Faloon, 2609L Village Court, Raleigh, NC 27607.
Mreowkoblast! #17
Another charming comic from the local talent Dan Moynihan. Combining his old Microblast comics with his new Mreow project, this issue is a clever assortment of John Porcellino-simple comics, writing, and photography. Dan and Leslie demonstrate how the game Caption is played. Nixon the cat goes on an adventure. Ethylene treats Crash to her own version of Understanding Comics ("I draw pictures and you come into my world."). Dan skates to MassArt. And a closing wordless comic about music brings Megan Kelso's Queen of the Black Black to mind. #18 should be ready by now -- it was going to be done in time for the canceled SPX. Get this. You won't be sorry. Dan's quickly becoming one of my favorites. And he has a Web site!
Off My Jammy #13
Lisa Kalner went to Brazil. And while there she met various filmmakers and zinemakers. So doing, she spent a lot of time learning about the country's indie rock scene, but she also roped in a bunch of notable Americans to share their Brazilian experiences. Mac McCaughan from Superchunk recalled the country's 1977 state of punk rock infrastructure. Chris, editor of the Brazilian zine Tudo E, addresses how Brazilian bands look to America for inspiration. The Donnas listen to a Brazilian musician's demo tape. Ian Svenonius of the Make-Up recalls their Brazilian tour. Lisa shares tips on how to eat vegan overseas. And Tom Ze schols Cibo Matto. As always, Lisa brings music together with multiculturalism and somehow ends up looking at something other than music. Something more real. Off My Jammy, P.O. Box 440422, Somerville, MA 02144.
Paul the Punker #2
This Sharpie marker-made photocopied cmic is a silly example of what happens when someone gets into punk rock and self-publishing. Unlike the thoughtful and highly stylized Arnie comics, Paul the Punker is a 12-page series of profanities, racism, and crotch jokes. While there is one clever sequence -- p. 4's paranoid obsession with a lighter that doesn't work and is "but a soldier for some large conglomerate fat cat [who] has sent you to throw a 'wrench in my works'" -- too much of this is poorly drawn and overly dependent on punk-rock cliches: squats, beer, anarchy, and vomit. There's some promise here in terms of dialogue, so perhaps the creator will improve as he continues to experiment. FNS Publishing, 24 Bynner St. #1, Boston, MA 02130.
Ponytale of Tears
A brilliant comics/zine from Da Claw. Starting with some found text and art, Mr. Claw builds a mystery story about four friends' bad haircuts that reminds me of the Three Investigators, Behind the Music, and the Blair Witch Project. Might even be a little Bloodhound Gang (not the band) in there. While trying to solve the mystery, the four friends -- Alexis, Patsie, Stacie, and Christie -- suspect each other, skate the "peace full pipe," write each other notes, and encounter the elusive Mr. Claw himself(!). A wonderful combination of found and fake text and comics. Probably available via Paper Radio.
Queer Zine Explosion #19
Larry-Bob hasn't put out an issue of Holy Titclamps or QZE since mid-1999. But he's started organizing a queer comedy showcase, volunteering at KPFA, working on local political campaigns, and been laid off for more than a year, so it's understandable. And it's super good to see him dabbling in zines again. This four-page newsletter reviews almost 60 queer-related zines, including notables Batteries Not Included, People Under No King, and RFD. His reviews are constructively critical, friendly, and in depth. QZE is international in scope, although if zine production is any indication, there are no queers in Massachusetts. There goes my idea for a zine column in Bay Windows! If you live in the Bay Area and want to see more of QZE, you can help by volunteering to catalog Larry-Bob's zine library, which he hopes to donate to the SFGLBT Historical Society. Larry Roberts, Box 590488, San Francisco, CA 94159-0488.
Seattlite #19
Part of Imageanation's Spacecamp series of comics, this edition focuses on Seattle: its rain, the space needle, and the WTO. Starting with a couple of choice word pictures -- the fan and pipe -- the comic's trenchcoated narrator realizes that the WTO wasn't only a trade organization, gets some alien assistance, and kicks some tentacled-alien butt Raymond Chandler style. Mission accomplished, our hero sets the "culture dial at twenty years." and so ends another cryptic of Imageanation. Equal parts Yul Tolbert and Max Traffic, these comics increasingly intrigue me. Who makes them? How can you get them? Where are they going story wise? Good stuff.
The Comics Interpreter Interview SPX 2000 edition
There's a reason why everyone who's anyone in self-publishing these days thanks LA-based comics maestro Jordan Crane in their books: He rocks. And Robert Young's interview in this edition of the Comics Interpreter's interview counterpart indicates why. Jordan reads the right comics, and he firmly believes in editing self-published work (his anthology Non). The interview also addresses the unwanted role of publisher, inspirations, how to surpass your own work, and why good comics belong in bookstores. Jef Czekaj talks abut the Star Wars bug, the New England comics scene, the distractions of making music, the value of doing mersh work, and why it's good to make fun of your friends. Jesse Reklaw touches on dreams, spoofing other artists, distribution, and comics networking. And David Choe expands on his cultural influences, artistic process, how to make your own comics, and how people -- including his father -- respond to his work. There are few good comics magazines and zines today. Read this. Then read the Comics Journal. Robert Young, TCI, 5820 N. Murray Ave. D-12, Hannahan, SC 29406.
The Wurst
This is the best zine I've seen in awhile without any contact information. But maybe you'll find it somewhere; if you have any leads on how to contact the folks behind the worst, let me know. Ilene Ree contribues an article on various drugs and how they affect the author's irritable bowel syndrome. The cocaine and acid vignettes are especially colorful, and the piece is noteworthy because it was supposed to appear in Vice magazine. Then the Wurst's pig mascot interviews "No-Smoke Sally" about when she started smoking, smoking rituals, what brands she smoked, and why she quit. LL contributes a story about an ice cream truck that serves as cover for a crack dealer. And "Alice's Story" is a sad, sad almost poem about a dope addict. All are solid stories about substance abuse, done in a variety of styles. Wish I knew who did this!
What are you reading?
Cars-R-Coffins #10
Why do the best bicycle messenger zines always come from the Twin Cities? Hurl's slim but extremely well-designed read quickly touches on bike event news, the allure of winter bikes, Congressman Jim Oberstar (also chairman of the House of Transportation Ways and Means Committee), and punk rock. It's a quick read, but it captures the energy and enthusiasms of single-speed riders. The mindful political undercurrent is also welcome. I'd read the next issue of this with no hesitation, and I think I need to order a T-shirt. Cars-R-Coffins, Hurl Everstone, 117 Washington Ave. N, Minneapolis, MN 55401.
Engine! #5
Toby Craig and Todd Gail's 48-page comic is a two-part example of what happens when Futuroid meets Brian Ralph and Paranoia. The first story, "No Light Box," exemplifies the first two influences, telling the story of a group of gladiator-style robots who fight, discuss, remember, and fight again. The panel sequence on p. 27 is an impressive bit of comics cinematography. Then, "Robot Free" adds Gail and the Paranoia roleplaying element. Two people answer a jobs ad only to find themselves testing robots: one wheeled, one an overly agressive chair, one a washing machine, and one... well, let's just say that the Fred Hembeck- and Phil Foglio-styled artwork adds a light touch to the ending's heavy hand. I'd like to see more watercolor work as displayed on the cover, but otherwise, I'm not sure how long this'd hold my interest. Little Engine Studios, 116 Natures Way, Huntsville, TX 77340.
Fragments #2
Five years coming since #1, this 48-page zine focuses on the theme Power -- of community, over nature, and sex, of belief, of fear, and of the military. The editor and contributors offer interesting perspectives on the power of small groups, animal rights, the funeral of Orlando Letelier, and the Gulf War, but I have some trouble wading through the contributors near-academic language and postmodern posturing, as well as the zine's clip art-ridden design. That said, two pieces hit me extremely hard. The narrative "Jason" recounts encounters between activists and police, as well as an attempt at dialog. And Maureen Milton's "Girl in the World" shares her appreciation for a man she'd perhaps never pursue but who "made me realize that, as a girl, I have all the power." The whole zine is worth reading for this line alone: "I have the power. I have it and they are afraid of it. They may run banks, drive fire trucks, and tinker with the government, but these guys can't toy with me. Ultimately, they can't do anything without me." Right on. Hey. Don't take five years to make #3, OK? Fragments, P.O. Box 28253, Santa Ana, CA 92799.
Go Metric! #13
If you've ever been into Bunnygrunt or the Mutant Pop back catalog, chances are you'll dig this fully fledged pop music and punk culture zine. Ostensibly trying to become a general interest lifestyle magazine, this issue opens with a hilarious sex quiz rivaling those in Maxim. Brian Logan pens excerpts from an imagined Chicken Soup for the Punk Rock Soul. Kimmie Varsity shares some stories from Junior Varsity's tour of Japan, including a shop run by Sachiko and Ronnie of the 5,6,7,8s. Mike Faloon comments on some recent Plastic Man reprints. Rev. Norb rants about the X-Men movie. Johnny DIY anthropologizes some stereotypical mail order customers, including Anarchy Dude and the Girl Band Geek. And John David Cawley asserts Why Mod Matters. While there are scads of interviews in this issue -- the Sissies, the Figgs, the Young Fresh Fellows, and Swearing at Motorists -- Mike's conversation with Michelle and Doug Daugherty, makers of the zine Spank, might be the most insightful. While thousands of zines document emerging culture, very few people look at the motivations and background of zine publishers. Michelle and Doug have a lot to say about how Spank has changed since 1994, how people react to reviews, and the self-publishing process. And Mike has a lot to say, too; this issue weighs in at a whopping 56 pages, well worth the $2. (Full disclosure: Mike reviewed a CD by my band, the Anchormen, in this issue. He liked it, and dare say, I like Go Metric!) Mike Faloon, 2609L Village Court, Raleigh, NC 27607.
Mreowkoblast! #17
Another charming comic from the local talent Dan Moynihan. Combining his old Microblast comics with his new Mreow project, this issue is a clever assortment of John Porcellino-simple comics, writing, and photography. Dan and Leslie demonstrate how the game Caption is played. Nixon the cat goes on an adventure. Ethylene treats Crash to her own version of Understanding Comics ("I draw pictures and you come into my world."). Dan skates to MassArt. And a closing wordless comic about music brings Megan Kelso's Queen of the Black Black to mind. #18 should be ready by now -- it was going to be done in time for the canceled SPX. Get this. You won't be sorry. Dan's quickly becoming one of my favorites. And he has a Web site!
Off My Jammy #13
Lisa Kalner went to Brazil. And while there she met various filmmakers and zinemakers. So doing, she spent a lot of time learning about the country's indie rock scene, but she also roped in a bunch of notable Americans to share their Brazilian experiences. Mac McCaughan from Superchunk recalled the country's 1977 state of punk rock infrastructure. Chris, editor of the Brazilian zine Tudo E, addresses how Brazilian bands look to America for inspiration. The Donnas listen to a Brazilian musician's demo tape. Ian Svenonius of the Make-Up recalls their Brazilian tour. Lisa shares tips on how to eat vegan overseas. And Tom Ze schols Cibo Matto. As always, Lisa brings music together with multiculturalism and somehow ends up looking at something other than music. Something more real. Off My Jammy, P.O. Box 440422, Somerville, MA 02144.
Paul the Punker #2
This Sharpie marker-made photocopied cmic is a silly example of what happens when someone gets into punk rock and self-publishing. Unlike the thoughtful and highly stylized Arnie comics, Paul the Punker is a 12-page series of profanities, racism, and crotch jokes. While there is one clever sequence -- p. 4's paranoid obsession with a lighter that doesn't work and is "but a soldier for some large conglomerate fat cat [who] has sent you to throw a 'wrench in my works'" -- too much of this is poorly drawn and overly dependent on punk-rock cliches: squats, beer, anarchy, and vomit. There's some promise here in terms of dialogue, so perhaps the creator will improve as he continues to experiment. FNS Publishing, 24 Bynner St. #1, Boston, MA 02130.
Ponytale of Tears
A brilliant comics/zine from Da Claw. Starting with some found text and art, Mr. Claw builds a mystery story about four friends' bad haircuts that reminds me of the Three Investigators, Behind the Music, and the Blair Witch Project. Might even be a little Bloodhound Gang (not the band) in there. While trying to solve the mystery, the four friends -- Alexis, Patsie, Stacie, and Christie -- suspect each other, skate the "peace full pipe," write each other notes, and encounter the elusive Mr. Claw himself(!). A wonderful combination of found and fake text and comics. Probably available via Paper Radio.
Queer Zine Explosion #19
Larry-Bob hasn't put out an issue of Holy Titclamps or QZE since mid-1999. But he's started organizing a queer comedy showcase, volunteering at KPFA, working on local political campaigns, and been laid off for more than a year, so it's understandable. And it's super good to see him dabbling in zines again. This four-page newsletter reviews almost 60 queer-related zines, including notables Batteries Not Included, People Under No King, and RFD. His reviews are constructively critical, friendly, and in depth. QZE is international in scope, although if zine production is any indication, there are no queers in Massachusetts. There goes my idea for a zine column in Bay Windows! If you live in the Bay Area and want to see more of QZE, you can help by volunteering to catalog Larry-Bob's zine library, which he hopes to donate to the SFGLBT Historical Society. Larry Roberts, Box 590488, San Francisco, CA 94159-0488.
Seattlite #19
Part of Imageanation's Spacecamp series of comics, this edition focuses on Seattle: its rain, the space needle, and the WTO. Starting with a couple of choice word pictures -- the fan and pipe -- the comic's trenchcoated narrator realizes that the WTO wasn't only a trade organization, gets some alien assistance, and kicks some tentacled-alien butt Raymond Chandler style. Mission accomplished, our hero sets the "culture dial at twenty years." and so ends another cryptic of Imageanation. Equal parts Yul Tolbert and Max Traffic, these comics increasingly intrigue me. Who makes them? How can you get them? Where are they going story wise? Good stuff.
The Comics Interpreter Interview SPX 2000 edition
There's a reason why everyone who's anyone in self-publishing these days thanks LA-based comics maestro Jordan Crane in their books: He rocks. And Robert Young's interview in this edition of the Comics Interpreter's interview counterpart indicates why. Jordan reads the right comics, and he firmly believes in editing self-published work (his anthology Non). The interview also addresses the unwanted role of publisher, inspirations, how to surpass your own work, and why good comics belong in bookstores. Jef Czekaj talks abut the Star Wars bug, the New England comics scene, the distractions of making music, the value of doing mersh work, and why it's good to make fun of your friends. Jesse Reklaw touches on dreams, spoofing other artists, distribution, and comics networking. And David Choe expands on his cultural influences, artistic process, how to make your own comics, and how people -- including his father -- respond to his work. There are few good comics magazines and zines today. Read this. Then read the Comics Journal. Robert Young, TCI, 5820 N. Murray Ave. D-12, Hannahan, SC 29406.
The Wurst
This is the best zine I've seen in awhile without any contact information. But maybe you'll find it somewhere; if you have any leads on how to contact the folks behind the worst, let me know. Ilene Ree contribues an article on various drugs and how they affect the author's irritable bowel syndrome. The cocaine and acid vignettes are especially colorful, and the piece is noteworthy because it was supposed to appear in Vice magazine. Then the Wurst's pig mascot interviews "No-Smoke Sally" about when she started smoking, smoking rituals, what brands she smoked, and why she quit. LL contributes a story about an ice cream truck that serves as cover for a crack dealer. And "Alice's Story" is a sad, sad almost poem about a dope addict. All are solid stories about substance abuse, done in a variety of styles. Wish I knew who did this!
What are you reading?
From the In Box: From the Reading Pile IV
For Press Release ASAP:
Hey, you are the only one who buys those comics. We usally sell them to the MYP to get money for food that day, then go home, eat food, laugh, and make more shit. We rarely all smoke pot or drink beer. However, the "MJ" comic you can buy at Twisted Village. Maybe you even reviewed that; I forget. Anyway, that is an example of, like, just sitting around and drawing while having fun. The "Mass Art News Paper," though it maybe looks SILLY, is a very long process. All the stuff is like treasure, meets our high diamond standards, and is never fun to make, even though only one of us makes it, while all of us wait at Kinko's. That's when we make most of those shitty zines.
POINT BEING, PAPAR RAD (NOT RADIO)* IS MAINLY FOCUSING ON OUR MUSIC VIDEOS NOW SEE THIS SNEAK PREVIEW: Goo-Goo, and 13 Monsters. (P.S. Both have sound.) Also, Joe and I are working on a print project for real print.
Anyway, the Mass Art News Paper I think is really cool and is such an important newspaper, really. Also, all those books on the paperrad Web site are really good, and proof that not all we make is funky. So thank you for being the only one to buy them. And we have plenty of books in store to make the spooky ones seem cool. Thank you. -- Ben Jones
For Press Release ASAP:
Hey, you are the only one who buys those comics. We usally sell them to the MYP to get money for food that day, then go home, eat food, laugh, and make more shit. We rarely all smoke pot or drink beer. However, the "MJ" comic you can buy at Twisted Village. Maybe you even reviewed that; I forget. Anyway, that is an example of, like, just sitting around and drawing while having fun. The "Mass Art News Paper," though it maybe looks SILLY, is a very long process. All the stuff is like treasure, meets our high diamond standards, and is never fun to make, even though only one of us makes it, while all of us wait at Kinko's. That's when we make most of those shitty zines.
POINT BEING, PAPAR RAD (NOT RADIO)* IS MAINLY FOCUSING ON OUR MUSIC VIDEOS NOW SEE THIS SNEAK PREVIEW: Goo-Goo, and 13 Monsters. (P.S. Both have sound.) Also, Joe and I are working on a print project for real print.
Anyway, the Mass Art News Paper I think is really cool and is such an important newspaper, really. Also, all those books on the paperrad Web site are really good, and proof that not all we make is funky. So thank you for being the only one to buy them. And we have plenty of books in store to make the spooky ones seem cool. Thank you. -- Ben Jones
Thursday, January 03, 2002
From the Reading Pile IV
Book of Insomnia
Originally published four years ago, I picked this 36-page comic up at the Picnic last night in a fit of appreciation for the shop's minicomics selection -- and skilled reorganization by Cheryl. Gabrielle Bell has an awesome Bay Area Tales of Blarg-meets Leela Corman-meets Ariel Schrag style that just sings through the eight stories collected here. Parts of her page composition occasionally remind me of Richard Scarry and Edward Gorey, but to be truthful, I read this without imposing the above-named people on her art or writing. "The Dream I Had" is a William Gibson-cum-Jesse Reklaw story about an alternate future for the Bay Bridge in San Francisco. "The Bicycle Story" is a touching tale about anger and bitterness converting into love and creativity. Here, Gabrielle's portrayal of characters with lanky frames really impressed me. And "Just One Reason" sports an Emily-like waif girl who -- in a simple surprise ending -- decides not to commit suicide. Gabrielle's panel composition and character design is amazing, and this mini is delightfully dense wihout being reproduces too small or overly weighty. Awesome and well worth the reminiscent return to 1998, so write before you send money. Wonder if she's still active? Email Gabrielle or send $3 to 3288 21st St. #217, San Francisco, CA 94110.
Bus Tips
Here's a tip: If you're self-publishing comics and zines in the hipster-riddled Y2K2 and have Net access, don't assume everyone else does. You still have a mailing address, and chances are that folks still have to send you money somewhere. Soapbox stowed. Daniel Morgan's 100-copy, 24-page mini offers nine useful suggestions for people who ride the bus a lot, as well as folks who "don't and maybe never have before." Advice covers seat reclining, luggage, headphones, how to spend time, and relations with fellow passengers. The funniest tip: "Ride the train." Dan seems to alternate between a permanent marker and a heavy brush, but perhaps this is all marker. Regardless, the art is pleasant and iconic, and the writing is friendly and clever. "An informative booklet," indeed. Email Dan to ask where to send your $1.50, or visit his Web site.
Does Canada Even Have Months
Oh, those Paper Radio fellers. When will I cease being a sucker for their puckish sense of whimsy and only pick up the comics and zines "worth" documenting? Hopefully never, although some of their photocopied ephemera might not have a lasting shelf life. Take this 16-page mini, for example. The 13 stories are reproduced Mad-Libs that have already been filled in. The parts of speech don't always match the insertions, but occasionally the results are funny. Most of the time, though, the experiment fails and is probably best shared with close friends already in on the joke. Michael Jackson, city guys, and millionaires gloat, rap, and sleep over with astronaut suits, dope, and the family. The result of free photocopies ad ample free time. Costs $1. Paper Radio is on the Web.
Go-Go Girl #2
Snuggled somewhere between Andi Watson, Megan Kelso, and Maurice Vellekoop, Craig's stylish scooter-girl comic evokes the scripting of the Powerpuff Girls and Richard Salas, of all people. I haven't seen #1, so I can't speak to Craig's consistency, but with self-published comics like this around, why does Jim Mahfood have steady work? A hair stylist's clients start to be mysteriously attacked by a hideous creature, and Go-Go Girl is on the case! She meets a cute guy, infiltrates a society ball, confronts the monster, and eventually saves the day. I knew I'd like this; Craig's contribution to the Expo 2001 anthology, now available from Highwater Books, was one of the better pieces. Tailor made for an animated short, this is a wake-up call for Rick Veitch and Alan Moore, too. Let's see Craig draw a Cobweb story instead of Dame Darcy for once. Very impressive. $3 to Craig Bostick, 7 Weld St. #2R, Jamaica Plain, MA 02130. He also has a Web site.
Lady Dwenton's Matrimonial Planner
Published in March 2001, this simple, slim (eight pages) mini recalls Robert Lewis and Jhonen Vazquez, on the Lewis side of the family. Purchased as a gift for my friends -- well, acquaintances, if Sarah were to call me on it -- Matt and Mary, this mini offers wedding planning tips that touch on musical group selection, flowers, dresses, and uncertainty. Probably worth expanding into a full-fledged DIY wedding planner to match the pocket-sized goodness of the Slingshot annual planner I just picked up in Brooklyn over New Year's. 25 cents to Bruce Orr, 1601 S. 8th St., third floor, Philadelphia, PA 19148. Published by Immersion Press.
Landfill Anxiety
Gods love Allison Cole and the comics she's making at the Rhode Island School of Design. This beautifully printed eight-page mini tells the story of a broken turntable, a broken heart, and a kept promise. Allison name drops John Porcellino and Ron Rege, Jr., in another comic, so it's somewhat clear where her influences and inspirations lie, but her comics -- like her previous mini Record Love (dreamy!) -- are current faves of mine... ranking among the work of folks like Megan Whitmarsh and Dan Moynihan. Her work is a tad more Fort Thunder- and Paper Radio-inspired, but her simple linework and understated bittersweet pacing and writing elicits a tender melancholy that's right up my alley these days. And I think her comics carry a lasting impact, so snatch them up now. Allison's been self-publishing thread-bound limited editions of 30 or 40 comics. Fingers crossed that she keeps them coming. A sure-to-be hit. Sigh! $5. Email Allison for more information.
Macros2000 #7
Macros are "tiny community/media-inspired phrases, actions, and concepts that get together and have little parties but you're not invited because you're way too big!" This recent 12-page collection -- released into the wild in November 2001 -- gives nod to David Eggers, even though he didn' invent parenthetical indicia, and Nicholas Baker, even though he's not the only person who loves the library, and is uncestually related to Media Diet because I'm hosted by the same nice man. I bask in the glow of my comrades, comrades more talented than I am. The macros pay heed to Shake 'n' Bake, my friends at Audi, the Peace Corps, Hasil Adkins, 2001: A Space Odyssey, Captain Kangaroo, gender identity, Sizzlea, and Mr. Show. That might explain the excellent Molly Kiely artwork on the cover. There's also an insert that explains why there's been no issue of Macros since 1998: printers are weird, software is hard to use, and Evan Dorkin uses a lot of black. Not as awesome as past issues, but still awesome. $1 to Jeff, Box 476, Palo Alto, CA 94302. Macros is also on the Web
Not in Order #4
Max and Danny O.'s hardcore zine is a slim shade akin to HeartAttack or Maximum Rocknroll. Amidst the requisite hardcore and straight-edge record ads, there are interviews with Salem resident and show organizer Matt Pike, Over My Dead Body's Daniel Sant, and Blood for Blood's Ian McFarland, a couple of puerile "new band notices" written by people in the bands, record reviews, and show reviews -- mostly in the immediate Boston area. Even though the zine pushed me over the edge to pick up the Moment CD, "Songs for the Self-Destructive," which I've been enjoying, I can hardly recommend this zine. The writing is short, shallow, and sketchy in terms of values (like tattoos, drinking, and gossip means anything; I have no idea who these people are, what their bands sound like, or what they think -- and after reading this zine, I couldn't care less), and your quarter is probably better spent. Room for improvement. 25 cents to 372 Russett Road, Brookline, MA 02467.
Poush Comics #14
J.R. Poush's 20-page, pocket-sized perzine blends page-long comics art with writing about his (?) time in Thailand. The zine concentrates on his flight overseas, Puk's becoming a monk (ordination?), how he met Puk's family, Jim's Vietnam memories, and J.R.'s time in and around Bangkok. While the writing borders on the dramatic -- Nanthana's disapproval and J.R.'s pending solo adventure in Phuket -- this stuck me as surprisingly bland and restrained. Still, it's better than Joe Chiapetta and Tony Consiglio's experiments with text comics. Kudos for format and presentation even if the art doesn't relate to the writing. The ad "How to Subscribe" alludes to what J.R. can do in full comics form, and the back-page "Adding an Extra Comic Book Isn't Splurging... It's Living!" shows that J.R. has a sense of humor he doesn't show in the main body of the comic -- even if it is appropriated text. So... points for trying. I look forward to a regular issue of Poush. $1 to J.R. Poush, P.O. Box 1236, Cooper Station, New York City, NY 10276-1236.
Sketchbook of Frustration
Self-published in November 2001, this 52-page mini of sketchbook comics lacks the production values -- multiple color printing and thread binding -- of Allison's previous minis, but it still results in a tidy item. Allison's apologetic that this is one of those "I don't have any ideas" self-referential DIY missives, but Sketchbook of Frustration holds up as an interesting and independent read nonetheless. Poking fun at the angst inherent in her creative process, Allison draws on her love for her cat (RIP, Marmalade) as she stresses out over her edition class, fable- and literature-oriented inspirations, opinions on the importance of art, love of coffee and comics, consignment sales success (I was probably one of the five!), and productivity. Well, if Record Love and Landfill Anxiety resulted from this process and her new sewing machine, I gather that everything turned out OK. More John Porcellino- and Ron Rege, Jr.-inspired comics from my pick of the litter this batch. Major comics crush! $3. Email Allison.
Vehicles
Everyone's sewing their comics together these days! Another cryptic mini assumedly from the Paper Radio crew, this limited edition of 60 (what's with the edition counts all of a sudden? Are folks in art school or something?) is a collection of sketches, found text and art, prose poetry, and detourned comics. Themes addressed include freedom, the male gaze, holidays, risk, technology, and pop culture. While not as nonsensical as Does Canada Even Have Months, this continues Paper Radio's recent rash of disposable one-offs. Bring back the likes of the characters that populate the previous, longer comics works, I say! $2. Paper Radio is on the Web.
What are you reading?
Book of Insomnia
Originally published four years ago, I picked this 36-page comic up at the Picnic last night in a fit of appreciation for the shop's minicomics selection -- and skilled reorganization by Cheryl. Gabrielle Bell has an awesome Bay Area Tales of Blarg-meets Leela Corman-meets Ariel Schrag style that just sings through the eight stories collected here. Parts of her page composition occasionally remind me of Richard Scarry and Edward Gorey, but to be truthful, I read this without imposing the above-named people on her art or writing. "The Dream I Had" is a William Gibson-cum-Jesse Reklaw story about an alternate future for the Bay Bridge in San Francisco. "The Bicycle Story" is a touching tale about anger and bitterness converting into love and creativity. Here, Gabrielle's portrayal of characters with lanky frames really impressed me. And "Just One Reason" sports an Emily-like waif girl who -- in a simple surprise ending -- decides not to commit suicide. Gabrielle's panel composition and character design is amazing, and this mini is delightfully dense wihout being reproduces too small or overly weighty. Awesome and well worth the reminiscent return to 1998, so write before you send money. Wonder if she's still active? Email Gabrielle or send $3 to 3288 21st St. #217, San Francisco, CA 94110.
Bus Tips
Here's a tip: If you're self-publishing comics and zines in the hipster-riddled Y2K2 and have Net access, don't assume everyone else does. You still have a mailing address, and chances are that folks still have to send you money somewhere. Soapbox stowed. Daniel Morgan's 100-copy, 24-page mini offers nine useful suggestions for people who ride the bus a lot, as well as folks who "don't and maybe never have before." Advice covers seat reclining, luggage, headphones, how to spend time, and relations with fellow passengers. The funniest tip: "Ride the train." Dan seems to alternate between a permanent marker and a heavy brush, but perhaps this is all marker. Regardless, the art is pleasant and iconic, and the writing is friendly and clever. "An informative booklet," indeed. Email Dan to ask where to send your $1.50, or visit his Web site.
Does Canada Even Have Months
Oh, those Paper Radio fellers. When will I cease being a sucker for their puckish sense of whimsy and only pick up the comics and zines "worth" documenting? Hopefully never, although some of their photocopied ephemera might not have a lasting shelf life. Take this 16-page mini, for example. The 13 stories are reproduced Mad-Libs that have already been filled in. The parts of speech don't always match the insertions, but occasionally the results are funny. Most of the time, though, the experiment fails and is probably best shared with close friends already in on the joke. Michael Jackson, city guys, and millionaires gloat, rap, and sleep over with astronaut suits, dope, and the family. The result of free photocopies ad ample free time. Costs $1. Paper Radio is on the Web.
Go-Go Girl #2
Snuggled somewhere between Andi Watson, Megan Kelso, and Maurice Vellekoop, Craig's stylish scooter-girl comic evokes the scripting of the Powerpuff Girls and Richard Salas, of all people. I haven't seen #1, so I can't speak to Craig's consistency, but with self-published comics like this around, why does Jim Mahfood have steady work? A hair stylist's clients start to be mysteriously attacked by a hideous creature, and Go-Go Girl is on the case! She meets a cute guy, infiltrates a society ball, confronts the monster, and eventually saves the day. I knew I'd like this; Craig's contribution to the Expo 2001 anthology, now available from Highwater Books, was one of the better pieces. Tailor made for an animated short, this is a wake-up call for Rick Veitch and Alan Moore, too. Let's see Craig draw a Cobweb story instead of Dame Darcy for once. Very impressive. $3 to Craig Bostick, 7 Weld St. #2R, Jamaica Plain, MA 02130. He also has a Web site.
Lady Dwenton's Matrimonial Planner
Published in March 2001, this simple, slim (eight pages) mini recalls Robert Lewis and Jhonen Vazquez, on the Lewis side of the family. Purchased as a gift for my friends -- well, acquaintances, if Sarah were to call me on it -- Matt and Mary, this mini offers wedding planning tips that touch on musical group selection, flowers, dresses, and uncertainty. Probably worth expanding into a full-fledged DIY wedding planner to match the pocket-sized goodness of the Slingshot annual planner I just picked up in Brooklyn over New Year's. 25 cents to Bruce Orr, 1601 S. 8th St., third floor, Philadelphia, PA 19148. Published by Immersion Press.
Landfill Anxiety
Gods love Allison Cole and the comics she's making at the Rhode Island School of Design. This beautifully printed eight-page mini tells the story of a broken turntable, a broken heart, and a kept promise. Allison name drops John Porcellino and Ron Rege, Jr., in another comic, so it's somewhat clear where her influences and inspirations lie, but her comics -- like her previous mini Record Love (dreamy!) -- are current faves of mine... ranking among the work of folks like Megan Whitmarsh and Dan Moynihan. Her work is a tad more Fort Thunder- and Paper Radio-inspired, but her simple linework and understated bittersweet pacing and writing elicits a tender melancholy that's right up my alley these days. And I think her comics carry a lasting impact, so snatch them up now. Allison's been self-publishing thread-bound limited editions of 30 or 40 comics. Fingers crossed that she keeps them coming. A sure-to-be hit. Sigh! $5. Email Allison for more information.
Macros2000 #7
Macros are "tiny community/media-inspired phrases, actions, and concepts that get together and have little parties but you're not invited because you're way too big!" This recent 12-page collection -- released into the wild in November 2001 -- gives nod to David Eggers, even though he didn' invent parenthetical indicia, and Nicholas Baker, even though he's not the only person who loves the library, and is uncestually related to Media Diet because I'm hosted by the same nice man. I bask in the glow of my comrades, comrades more talented than I am. The macros pay heed to Shake 'n' Bake, my friends at Audi, the Peace Corps, Hasil Adkins, 2001: A Space Odyssey, Captain Kangaroo, gender identity, Sizzlea, and Mr. Show. That might explain the excellent Molly Kiely artwork on the cover. There's also an insert that explains why there's been no issue of Macros since 1998: printers are weird, software is hard to use, and Evan Dorkin uses a lot of black. Not as awesome as past issues, but still awesome. $1 to Jeff, Box 476, Palo Alto, CA 94302. Macros is also on the Web
Not in Order #4
Max and Danny O.'s hardcore zine is a slim shade akin to HeartAttack or Maximum Rocknroll. Amidst the requisite hardcore and straight-edge record ads, there are interviews with Salem resident and show organizer Matt Pike, Over My Dead Body's Daniel Sant, and Blood for Blood's Ian McFarland, a couple of puerile "new band notices" written by people in the bands, record reviews, and show reviews -- mostly in the immediate Boston area. Even though the zine pushed me over the edge to pick up the Moment CD, "Songs for the Self-Destructive," which I've been enjoying, I can hardly recommend this zine. The writing is short, shallow, and sketchy in terms of values (like tattoos, drinking, and gossip means anything; I have no idea who these people are, what their bands sound like, or what they think -- and after reading this zine, I couldn't care less), and your quarter is probably better spent. Room for improvement. 25 cents to 372 Russett Road, Brookline, MA 02467.
Poush Comics #14
J.R. Poush's 20-page, pocket-sized perzine blends page-long comics art with writing about his (?) time in Thailand. The zine concentrates on his flight overseas, Puk's becoming a monk (ordination?), how he met Puk's family, Jim's Vietnam memories, and J.R.'s time in and around Bangkok. While the writing borders on the dramatic -- Nanthana's disapproval and J.R.'s pending solo adventure in Phuket -- this stuck me as surprisingly bland and restrained. Still, it's better than Joe Chiapetta and Tony Consiglio's experiments with text comics. Kudos for format and presentation even if the art doesn't relate to the writing. The ad "How to Subscribe" alludes to what J.R. can do in full comics form, and the back-page "Adding an Extra Comic Book Isn't Splurging... It's Living!" shows that J.R. has a sense of humor he doesn't show in the main body of the comic -- even if it is appropriated text. So... points for trying. I look forward to a regular issue of Poush. $1 to J.R. Poush, P.O. Box 1236, Cooper Station, New York City, NY 10276-1236.
Sketchbook of Frustration
Self-published in November 2001, this 52-page mini of sketchbook comics lacks the production values -- multiple color printing and thread binding -- of Allison's previous minis, but it still results in a tidy item. Allison's apologetic that this is one of those "I don't have any ideas" self-referential DIY missives, but Sketchbook of Frustration holds up as an interesting and independent read nonetheless. Poking fun at the angst inherent in her creative process, Allison draws on her love for her cat (RIP, Marmalade) as she stresses out over her edition class, fable- and literature-oriented inspirations, opinions on the importance of art, love of coffee and comics, consignment sales success (I was probably one of the five!), and productivity. Well, if Record Love and Landfill Anxiety resulted from this process and her new sewing machine, I gather that everything turned out OK. More John Porcellino- and Ron Rege, Jr.-inspired comics from my pick of the litter this batch. Major comics crush! $3. Email Allison.
Vehicles
Everyone's sewing their comics together these days! Another cryptic mini assumedly from the Paper Radio crew, this limited edition of 60 (what's with the edition counts all of a sudden? Are folks in art school or something?) is a collection of sketches, found text and art, prose poetry, and detourned comics. Themes addressed include freedom, the male gaze, holidays, risk, technology, and pop culture. While not as nonsensical as Does Canada Even Have Months, this continues Paper Radio's recent rash of disposable one-offs. Bring back the likes of the characters that populate the previous, longer comics works, I say! $2. Paper Radio is on the Web.
What are you reading?
Wednesday, January 02, 2002
New Year's Daze
So my new year has begun on an upbeat note. Until Sunday, it looked like I'd be spending New Year's Eve at home alone with nothing but a six pack of Red Hook ESB and Dick Clark on the telly. All of my friends -- well, almost all, all who are involved in the Handstand Command music collective -- were in Long Island, I had no ride down to New York, and I didn't know about anything else that I could step into the slipstream of. Until Sunday night.
Then, at the Dilboy Jam, a wonderful party organized by my pal Leslie Case -- a party that featured several bands, including Scrapple Jr., the No-Nads, Asian Babe Alert, Chromium, and the college-rock jam band of the man for which the fete was thrown -- I learned that one of my friends who was planning on heading to Long Island wasn't driving down until Monday. Score! I also learned about two other parties on New Year's Eve. So everything came together, I spent the holiday in Long Island with the crew, and I didn't have to spend a sad spell at home with Dick Clark. Happy new year, everybody!
So my new year has begun on an upbeat note. Until Sunday, it looked like I'd be spending New Year's Eve at home alone with nothing but a six pack of Red Hook ESB and Dick Clark on the telly. All of my friends -- well, almost all, all who are involved in the Handstand Command music collective -- were in Long Island, I had no ride down to New York, and I didn't know about anything else that I could step into the slipstream of. Until Sunday night.
Then, at the Dilboy Jam, a wonderful party organized by my pal Leslie Case -- a party that featured several bands, including Scrapple Jr., the No-Nads, Asian Babe Alert, Chromium, and the college-rock jam band of the man for which the fete was thrown -- I learned that one of my friends who was planning on heading to Long Island wasn't driving down until Monday. Score! I also learned about two other parties on New Year's Eve. So everything came together, I spent the holiday in Long Island with the crew, and I didn't have to spend a sad spell at home with Dick Clark. Happy new year, everybody!
Dirty Linen
No, this has nothing to do with the wonderful folk music magazine. It has everything to do with not doing my laundry. I've been wearing dirty clothes since Sunday. That's four days now. Too little time to do laundry, and when I do have time at home, too little inclination to spend that time doing so. So far it's been OK. Nothing's been too gamy, and nothing's been too wrinkly. But for a guy who's norm is to wash everything after one wearing, I'm curious. How dirty is too dirty?
No, this has nothing to do with the wonderful folk music magazine. It has everything to do with not doing my laundry. I've been wearing dirty clothes since Sunday. That's four days now. Too little time to do laundry, and when I do have time at home, too little inclination to spend that time doing so. So far it's been OK. Nothing's been too gamy, and nothing's been too wrinkly. But for a guy who's norm is to wash everything after one wearing, I'm curious. How dirty is too dirty?
AOHell
David Farber transmitted a hilarious report yesterday about AOL. According to the Associated Press, about 100 Harvard applicants never received email notification of whether they'd been accepted or rejected by the ivy league school because AOL bounced the emails back to Harvard as spam. Harvard started sending admissions emails this year because of the Anthrax snail-mail scares but will return to sending notification through the USPS because of the AOL spam brouhaha. While about 6,000 emails were sent and almost 100 were rejected (less than 2%), this is pretty silly. Just goes to show that people applying to Harvard should probably be smart enough not to use AOL.
David Farber transmitted a hilarious report yesterday about AOL. According to the Associated Press, about 100 Harvard applicants never received email notification of whether they'd been accepted or rejected by the ivy league school because AOL bounced the emails back to Harvard as spam. Harvard started sending admissions emails this year because of the Anthrax snail-mail scares but will return to sending notification through the USPS because of the AOL spam brouhaha. While about 6,000 emails were sent and almost 100 were rejected (less than 2%), this is pretty silly. Just goes to show that people applying to Harvard should probably be smart enough not to use AOL.
Music to My Ears
It's been awhile since I've gotten an unannounced CD in the mail (keep 'em coming!), so here's a review in honor of random promotional mailings. Ted Killian's "Flux Aeterna" solo outing CD is an exercise in emotive and ambient guitar, sample, and loop work recorded in Medford, Oregon. The opening track, "Hubble," is a brief anthem that pays tribute "The Star-Spangled Banner." But make no mistake, Ted's no Yngwie Malmsteen or Joe Satriani. Eschewing finger-fast technique for layered guitar exploration, the subsequent tracks, at their more energetic and interesting moments, remind me of a guitar-driven instrumental cross between Nine Inch Nails, Ministry, and Zirbel -- while they avoid any semblance of beat-driven techno or dance. This is experimental guitar for the Starscape set. Think Mike Hersch. While not overtly technically adept or classically composed, "Flux Aeterna" makes for some interesting background noise, if not repeated, studious listens, and its wide(ish) range of stylings -- from "Cauterant Baptism"'s eventual burst of Locust Abortion Technician-era Butthole Surfers-style noise and "Recurvate Plaint"'s more ballad-oriented approach to "Convocation Solitaire"'s near-Bill Frisell nuances -- make me wonder where Ted comes from musically... as well as where he's going. pfMentum, P.O. Box 1653, Ventura, CA 93002.
P.S. Send me your CD, and I will listen to it.
It's been awhile since I've gotten an unannounced CD in the mail (keep 'em coming!), so here's a review in honor of random promotional mailings. Ted Killian's "Flux Aeterna" solo outing CD is an exercise in emotive and ambient guitar, sample, and loop work recorded in Medford, Oregon. The opening track, "Hubble," is a brief anthem that pays tribute "The Star-Spangled Banner." But make no mistake, Ted's no Yngwie Malmsteen or Joe Satriani. Eschewing finger-fast technique for layered guitar exploration, the subsequent tracks, at their more energetic and interesting moments, remind me of a guitar-driven instrumental cross between Nine Inch Nails, Ministry, and Zirbel -- while they avoid any semblance of beat-driven techno or dance. This is experimental guitar for the Starscape set. Think Mike Hersch. While not overtly technically adept or classically composed, "Flux Aeterna" makes for some interesting background noise, if not repeated, studious listens, and its wide(ish) range of stylings -- from "Cauterant Baptism"'s eventual burst of Locust Abortion Technician-era Butthole Surfers-style noise and "Recurvate Plaint"'s more ballad-oriented approach to "Convocation Solitaire"'s near-Bill Frisell nuances -- make me wonder where Ted comes from musically... as well as where he's going. pfMentum, P.O. Box 1653, Ventura, CA 93002.
P.S. Send me your CD, and I will listen to it.
Friday, December 28, 2001
Blogging About Blogging II
Just came across the blog of a friend of a friend: Michael Dietsch. In recent entries, he recounts his vacation travels to Indiana, from where my folks hail.
Which reminds me... in May 2001, I participated in a Well discussion about zines and blogs. This is where my interest in blogging started.
Do you do a blog? Do you regularly visit any particular blogs? If so, let us know.
Just came across the blog of a friend of a friend: Michael Dietsch. In recent entries, he recounts his vacation travels to Indiana, from where my folks hail.
Which reminds me... in May 2001, I participated in a Well discussion about zines and blogs. This is where my interest in blogging started.
Do you do a blog? Do you regularly visit any particular blogs? If so, let us know.
Visceral Lit
The kind folks at Diversity Inc. have been friendly enough to send me their recent poetry booklets, and Catherine May's "Guts," which hit my P.O. Box not too many weeks ago, is of particular interest. The more than 40 poems -- grouped in thematic sections addressing devotion, people, home, and life -- are as the title implies: visceral, emotional, and raw.
Many of the poems deal with the emotional scars left by relationships and abuse -- physical, sexual, and psychological. Even though Catherine's background is largely unknown, the writing hints at experience working -- or working through -- therapy and psychiatric treatment. "Psychoanalyzing a Private Poem" speaks to this -- the assistance poetry can offer in working through problems and the emotional weight that a poem can carry for the writer, as well as the reader.
The poems -- including "Hot," "An Almost Empty Office at Sunset," and "Droll" -- invoke the idea of escape through looking for one's self in the body of another, suicide, and alcoholism. Catherine has felt and seen pain. Her poetry is one way we can escape it ourselves.
The kind folks at Diversity Inc. have been friendly enough to send me their recent poetry booklets, and Catherine May's "Guts," which hit my P.O. Box not too many weeks ago, is of particular interest. The more than 40 poems -- grouped in thematic sections addressing devotion, people, home, and life -- are as the title implies: visceral, emotional, and raw.
Many of the poems deal with the emotional scars left by relationships and abuse -- physical, sexual, and psychological. Even though Catherine's background is largely unknown, the writing hints at experience working -- or working through -- therapy and psychiatric treatment. "Psychoanalyzing a Private Poem" speaks to this -- the assistance poetry can offer in working through problems and the emotional weight that a poem can carry for the writer, as well as the reader.
The poems -- including "Hot," "An Almost Empty Office at Sunset," and "Droll" -- invoke the idea of escape through looking for one's self in the body of another, suicide, and alcoholism. Catherine has felt and seen pain. Her poetry is one way we can escape it ourselves.
A "Blast" from the Past
After posting an index of the second issue of Blast magazine, a Mad-like parody periodical from the early '70s, I emailed Marv Wolfman to see what he remembered about his work there. This is what he said:
"Nothing more than when the editor -- whose name I can't remember right now -- edited my copy he actually put in curse words, which I don't use. I wasn't pleased. However, I enjoyed working there."
So, um, if anyone else knows anything about Blast, let me know.
After posting an index of the second issue of Blast magazine, a Mad-like parody periodical from the early '70s, I emailed Marv Wolfman to see what he remembered about his work there. This is what he said:
"Nothing more than when the editor -- whose name I can't remember right now -- edited my copy he actually put in curse words, which I don't use. I wasn't pleased. However, I enjoyed working there."
So, um, if anyone else knows anything about Blast, let me know.
Sax Punk II
A continuation of the Media Diet interview with Jake Williams, tenor saxophonist for the punk band, the River City Rebels:
What's the worst show-related injury you've ever received?
The worst show related injury I've ever received was during this set we played in Warren, Vermont, in our friend Gavin's barn. The barn was pretty tightly packed, and the stage had just been repaired since the last show we played there -- but had also somehow shrunk in size. Anyway, during the very first song we played, I jumped up like I was some kinda rock star, but when I was coming down, someone knocked me over, and I fell face first into the drum set, simultaneously slamming my forehead into something hard enough to cut it open and give me a huge lump, and I also managed to practically dislocate my shoulder. I kinda stood aside for one song, and then danced cautiously for the rest of the set.
You were actually in a band called Cobra Skammander? Did the band consider any other names before they settled on that? That's pretty rad.
I honestly can take no credit for the name Cobra Skammander, unfortunately. But I think the name existed before any kind of band actually did.
You said the band wasn't able to play out very often lately because folks are in college. What are the River City Rebels studying? How does the school experience influence or inspire the band, if at all?
College is gross. I'm a writing major at Emerson in Boston. Everyone else is studying very random things. College really only makes me appreciate the opportunity that I have to play in a band that much more.
Fair enough. You also mentioned that you'd like to do more in response to the Sept. 11 tragedies. How have you been affected by the tragedies and the subsequent military actions? What role do you think the band could play in helping further the antiwar effort?
Sept. 11 was supposed to be my first day of class, but I only had the first one before the rest were cancelled. Everyone was freakin' and told me not to get on the subway. I just walked to a record store, bought the new Grade album -- and then I went to work. The truth is I haven't been affected by 911 any more than I have by any other world tragedies. Natural disasters occur all over the world, killing thousands at a time, and it's barely headline news in the US. Ethnic cleansing and civil war take place in Africa and Asia semi-frequently, and yet Americans can't be bothered with it. Just because this event occured within a few hundred miles of my home doesn't mean I would any more or less affected. I'm really unsure what the band can do except tell our fans to think for themselves about the events taking place -- and not buy into all the blind flag-waving going on right now. I'm not sure how bands in Boston are politically engaged, but if the punk scene is representative of Boston itself, it's just a bunch of "patriots" talking about justice and pride while they drink beer and watch football. I'm sure there are bands who are just as against the war effort, but I know none personally. My politics borrows from early punk ideals of an underground community that stands against a corporate government and consumer-based society. It's hard to communicate because punk rock now to me goes beyond being a music; it's an idea that transcends a musical style. The music is unimportant if the message is unpolluted. The message is unity of all people, a burning of all barriers that separate, be it by race, gender, age, class, or religion.
You went straight to work Sept. 11? Sounds like a pretty crummy job. What do you do to make it fun and worthwhile? Do you at least get to see movies for free?
There is little that makes the job fun or worthwile except the fact that I will never have to pay money to see a movie in any Boston theater again. Suckers.
Back to the engagement of the Boston-area punk-rock scene... What do you think small-town punks bring bigger-city scenes? Coming from Connecticut, what were some of the biggest differences you saw moving here?
Hmm. Small towns punks have a naivete that is quickly swallowed up once they realize how little fun big city shows actually are. The biggest change moving to Boston from Connecticut was mostly the increasing access I now had to all types of music shows -- but then quickly enough, a lack of desire to go to any after I'd seen the way kids act at them. There is little similarity between the two scenes. Kids in smaller towns sometimes wish they were in big cities, and vice versa. If you could mix the potential for big city shows with the integrity and eagerness of small town punks, you might have something there.
Feel free to email Jake. To learn more about the River City Rebels, check out the band's Web site.
A continuation of the Media Diet interview with Jake Williams, tenor saxophonist for the punk band, the River City Rebels:
What's the worst show-related injury you've ever received?
The worst show related injury I've ever received was during this set we played in Warren, Vermont, in our friend Gavin's barn. The barn was pretty tightly packed, and the stage had just been repaired since the last show we played there -- but had also somehow shrunk in size. Anyway, during the very first song we played, I jumped up like I was some kinda rock star, but when I was coming down, someone knocked me over, and I fell face first into the drum set, simultaneously slamming my forehead into something hard enough to cut it open and give me a huge lump, and I also managed to practically dislocate my shoulder. I kinda stood aside for one song, and then danced cautiously for the rest of the set.
You were actually in a band called Cobra Skammander? Did the band consider any other names before they settled on that? That's pretty rad.
I honestly can take no credit for the name Cobra Skammander, unfortunately. But I think the name existed before any kind of band actually did.
You said the band wasn't able to play out very often lately because folks are in college. What are the River City Rebels studying? How does the school experience influence or inspire the band, if at all?
College is gross. I'm a writing major at Emerson in Boston. Everyone else is studying very random things. College really only makes me appreciate the opportunity that I have to play in a band that much more.
Fair enough. You also mentioned that you'd like to do more in response to the Sept. 11 tragedies. How have you been affected by the tragedies and the subsequent military actions? What role do you think the band could play in helping further the antiwar effort?
Sept. 11 was supposed to be my first day of class, but I only had the first one before the rest were cancelled. Everyone was freakin' and told me not to get on the subway. I just walked to a record store, bought the new Grade album -- and then I went to work. The truth is I haven't been affected by 911 any more than I have by any other world tragedies. Natural disasters occur all over the world, killing thousands at a time, and it's barely headline news in the US. Ethnic cleansing and civil war take place in Africa and Asia semi-frequently, and yet Americans can't be bothered with it. Just because this event occured within a few hundred miles of my home doesn't mean I would any more or less affected. I'm really unsure what the band can do except tell our fans to think for themselves about the events taking place -- and not buy into all the blind flag-waving going on right now. I'm not sure how bands in Boston are politically engaged, but if the punk scene is representative of Boston itself, it's just a bunch of "patriots" talking about justice and pride while they drink beer and watch football. I'm sure there are bands who are just as against the war effort, but I know none personally. My politics borrows from early punk ideals of an underground community that stands against a corporate government and consumer-based society. It's hard to communicate because punk rock now to me goes beyond being a music; it's an idea that transcends a musical style. The music is unimportant if the message is unpolluted. The message is unity of all people, a burning of all barriers that separate, be it by race, gender, age, class, or religion.
You went straight to work Sept. 11? Sounds like a pretty crummy job. What do you do to make it fun and worthwhile? Do you at least get to see movies for free?
There is little that makes the job fun or worthwile except the fact that I will never have to pay money to see a movie in any Boston theater again. Suckers.
Back to the engagement of the Boston-area punk-rock scene... What do you think small-town punks bring bigger-city scenes? Coming from Connecticut, what were some of the biggest differences you saw moving here?
Hmm. Small towns punks have a naivete that is quickly swallowed up once they realize how little fun big city shows actually are. The biggest change moving to Boston from Connecticut was mostly the increasing access I now had to all types of music shows -- but then quickly enough, a lack of desire to go to any after I'd seen the way kids act at them. There is little similarity between the two scenes. Kids in smaller towns sometimes wish they were in big cities, and vice versa. If you could mix the potential for big city shows with the integrity and eagerness of small town punks, you might have something there.
Feel free to email Jake. To learn more about the River City Rebels, check out the band's Web site.
Thursday, December 20, 2001
'Tis the Season to Be... AWOL
I'm heading to Wisconsin from Dec. 21-28, 2001. While I hope to update Media Diet while in the Midwest, if I don't, that doesn't mean that Media Diet is dead (long live Media Diet!). It just means that it's resting. Happy holidays!
I'm heading to Wisconsin from Dec. 21-28, 2001. While I hope to update Media Diet while in the Midwest, if I don't, that doesn't mean that Media Diet is dead (long live Media Diet!). It just means that it's resting. Happy holidays!
Sax Punk
Jake Williams plays tenor saxophone for the punk band River City Rebels. Media Diet recently interviewed him about what it means to play sax in a punk band, the Boston punk scene, and what small-town punks bring big-city scenes. If you have additional questions, you can ask them in the Media Diet forum and I'll add his responses to the interview.
Simple statistics
Age, horoscope sign: I'm a vital 21-year-old, but my sign is kind of a different story. My birthday is May 21, which is on the cusp between Gemini and Taurus, and I've yet to determine which is my official sign. I usually just say Gemini.
Hometown: The lovely, yet terribly consumer driven South Windsor, Connecticut.
Saxophone make and model: Well, I usually just play a Yamaha student model tenor. I tend kick the crap out of it at shows, and right now it's in pretty bad shape, but I've got no substantial cash flow with which to repair it.
Mouthpiece make and model: I think it's a Selmer Paris. It's sweet.
Reed brand and hardness: Rico Royal, 3 yo.
Favorite saxophonist: Hmm. Angelo from Fishbone is a total badass, and I always really dug Derron, the original baritone sax player for Less Than Jake, but I'd probably have to say... Roland Alphonso, formerly of the Skatilites. He was one smooth mofo.
The questions
Having seen you guys play at the Middle East Upstairs and listening to your records, I've noticed some differences between the live shows and the recordings. Live, the Rebels evoke some kind of youth crew ska punk; on record, the band seems more assertive, a la Black 47 or the Strike. I've noticed a similar difference in your role in the band. Live, you're overshadowed by Brandon's fist pumping and trombone enthusiasm; on record, you stand out in several songs -- at the end of Long Lost Life and at the beginning of 22 Years, particularly. How do you see your role as saxophonist for the Rebels? What do you bring the band?
Well, Brandon might overshadow me physically because he's way bigger than me. I just like to dance, jump, and get down on stage, and Brandon likes to pump his fist and toss his bone around, and get right in the kids' faces. Just different approaches I guess. I tend to be left holding down the fort while Brandon drops his horn and gets in the crowd. As saxophonist for the Rebels, I'm supposed to play the horn lines, sing backing vocals, and dance in between. That's pretty much it, and I'd like to think I do it pretty damn well. I bring to the band some crappy emo glasses, and more dyed black hair. Go figure.
Are you ever concerned that Brandon's going to hit you or knock you into the wall when he's jumping around? He's got a lot of energy for a big guy.
After a show on a small stage, everyone in the band has pretty much had the crap beaten out of him. It's OK; there's never any hard feelings. Brandon will run me over sometimes. Drew will slam everyone in the back of the head with his guitar, and I tend fall over a lot. It's just how it is, and everyone's OK with it. No one really bitches about injuries. And yes, Brandon does indeed have a lot of energy for a big guy. He's very virile.
I understand you're relatively new to the band. How did you connect with the Rebels? What got you into sax and punk in the first place? Have you played sax in other bands?
I've been with the Rebels since February 2000. They posted an ad on http://www.justanotherscene.com, and I was bored, so I responded. Bopper liked my creepers, so they let me in. I started playing the saxophone because it was cooler than the clarinet. I started listening to punk because it was cooler than Pearl Jam. I've played sax in local Connecticut ska-punk bands, most notably the ridiculous Cobra Skammander and the illustrious Glueseaspiders.
Why did Dan McCool step away from the trumpet to sing? Now that he's switched from trumpet to vocals, is the horn section now a farm league for the next front man? Do you want to sing for the Rebels?
McCool switched to vocals following the original vocalist leaving the band. However, Bopper has now switched to vocals from guitar following McCool's departure. As far as me singing goes, I'm content to do my crappy screaming backing vocals. I'm really bad at screaming, but if I don't practice I'll never be any good at all.
Listening to the new record, there's a certain amount of youth crew trappings -- many of the songs deal with topics like being in a band, playing shows, hopes for the future of the band, going on tour, and getting into punk. That's a lot of songs about being in a band! What's the reason for the self-referential song writing? What's the biggest challenge or issue facing the folks in the band right now? Any pet causes?
Our former singer, Dan McCool is responsible for some of the lyrics on the album, and no one in the band is exactly sure why he got so stuck on the topic of being in a band as inspiration for writing songs. The biggest challenge facing the band right now is the lack of time we actually have to play shows, on account of almost everyone attending college in Massachusetts, Vermont, and New Hampshire. The biggest issue is of course the atrocities being committed in Afghanistan, and the compromise of human rights for national safety. My pet cause would have to be the antiwar effort.
In the CD's thank-you list you give props to the Kendall for not firing you. The Kendall Cafe in Cambridge? If so, what do you do there? If not, what's the Kendall?
Actually, I'm thanking the Kendall Movie Theatre for not firing me (it's right up the street from the Kendall Cafe however). It's the indie movie theater I've been working at for almost year, and it's a very hip place with some of my favorite people in Boston being employed there. Essentially, my job is to cater to the petty whims of the predominantly rich white wannabe cultured intellectual crowd. This includes fetching their mineral water, making change from their $100 bills, and sweeping up the insane amounts of trash they manage to leave beneath their seats in the theater. It's great. Really.
Do you think the Rebels will ever play at the Kendall Cafe? There aren't many clubs in the Boston area that hold punk shows regularly. What do think of the state of the scene these days? What do you think needs to happen to improve it? What's the neatest stuff going on?
The Boston scene is in serious trouble right now. My friend Kim actually explained to me that no one in Boston actually plays music; they just wait for bands to come through so they can stand in the back in their hip mod clothes and talk shit about the kid wearing a ska shirt (not necessarily her exact words). But seriously, what bands are there playing Boston right now? The clubs are very unsupportive of the bands, but then again, so are the kids who go the clubs. The neatest things going on where I live are Aurora Seven Records and the Panda Squad, the best goddamn band in Boston.
Where are you from originally? How long have you lived here? In Small Town Pride, the band paints a pretty divisive picture of punks in rural and urban areas. How do you think the two groups are different? What do you think small-town punks bring bigger-city scenes?
I was born in Connecticut and then moved to Boston. But in general, small towns are better scenes. True, more kids might come to shows in a larger city, but the kids in smaller towns appreciate the shows so much more because they occur with less frequency. Small town kids aren't into the scenester shit that city kids are. There's just the scene without pretense to fashion or elitism. It's the jam.
What do you want to ask Jake?
(Thanks to Kathi Haruch of Victory Records for her help.)
Jake Williams plays tenor saxophone for the punk band River City Rebels. Media Diet recently interviewed him about what it means to play sax in a punk band, the Boston punk scene, and what small-town punks bring big-city scenes. If you have additional questions, you can ask them in the Media Diet forum and I'll add his responses to the interview.
Simple statistics
Age, horoscope sign: I'm a vital 21-year-old, but my sign is kind of a different story. My birthday is May 21, which is on the cusp between Gemini and Taurus, and I've yet to determine which is my official sign. I usually just say Gemini.
Hometown: The lovely, yet terribly consumer driven South Windsor, Connecticut.
Saxophone make and model: Well, I usually just play a Yamaha student model tenor. I tend kick the crap out of it at shows, and right now it's in pretty bad shape, but I've got no substantial cash flow with which to repair it.
Mouthpiece make and model: I think it's a Selmer Paris. It's sweet.
Reed brand and hardness: Rico Royal, 3 yo.
Favorite saxophonist: Hmm. Angelo from Fishbone is a total badass, and I always really dug Derron, the original baritone sax player for Less Than Jake, but I'd probably have to say... Roland Alphonso, formerly of the Skatilites. He was one smooth mofo.
The questions
Having seen you guys play at the Middle East Upstairs and listening to your records, I've noticed some differences between the live shows and the recordings. Live, the Rebels evoke some kind of youth crew ska punk; on record, the band seems more assertive, a la Black 47 or the Strike. I've noticed a similar difference in your role in the band. Live, you're overshadowed by Brandon's fist pumping and trombone enthusiasm; on record, you stand out in several songs -- at the end of Long Lost Life and at the beginning of 22 Years, particularly. How do you see your role as saxophonist for the Rebels? What do you bring the band?
Well, Brandon might overshadow me physically because he's way bigger than me. I just like to dance, jump, and get down on stage, and Brandon likes to pump his fist and toss his bone around, and get right in the kids' faces. Just different approaches I guess. I tend to be left holding down the fort while Brandon drops his horn and gets in the crowd. As saxophonist for the Rebels, I'm supposed to play the horn lines, sing backing vocals, and dance in between. That's pretty much it, and I'd like to think I do it pretty damn well. I bring to the band some crappy emo glasses, and more dyed black hair. Go figure.
Are you ever concerned that Brandon's going to hit you or knock you into the wall when he's jumping around? He's got a lot of energy for a big guy.
After a show on a small stage, everyone in the band has pretty much had the crap beaten out of him. It's OK; there's never any hard feelings. Brandon will run me over sometimes. Drew will slam everyone in the back of the head with his guitar, and I tend fall over a lot. It's just how it is, and everyone's OK with it. No one really bitches about injuries. And yes, Brandon does indeed have a lot of energy for a big guy. He's very virile.
I understand you're relatively new to the band. How did you connect with the Rebels? What got you into sax and punk in the first place? Have you played sax in other bands?
I've been with the Rebels since February 2000. They posted an ad on http://www.justanotherscene.com, and I was bored, so I responded. Bopper liked my creepers, so they let me in. I started playing the saxophone because it was cooler than the clarinet. I started listening to punk because it was cooler than Pearl Jam. I've played sax in local Connecticut ska-punk bands, most notably the ridiculous Cobra Skammander and the illustrious Glueseaspiders.
Why did Dan McCool step away from the trumpet to sing? Now that he's switched from trumpet to vocals, is the horn section now a farm league for the next front man? Do you want to sing for the Rebels?
McCool switched to vocals following the original vocalist leaving the band. However, Bopper has now switched to vocals from guitar following McCool's departure. As far as me singing goes, I'm content to do my crappy screaming backing vocals. I'm really bad at screaming, but if I don't practice I'll never be any good at all.
Listening to the new record, there's a certain amount of youth crew trappings -- many of the songs deal with topics like being in a band, playing shows, hopes for the future of the band, going on tour, and getting into punk. That's a lot of songs about being in a band! What's the reason for the self-referential song writing? What's the biggest challenge or issue facing the folks in the band right now? Any pet causes?
Our former singer, Dan McCool is responsible for some of the lyrics on the album, and no one in the band is exactly sure why he got so stuck on the topic of being in a band as inspiration for writing songs. The biggest challenge facing the band right now is the lack of time we actually have to play shows, on account of almost everyone attending college in Massachusetts, Vermont, and New Hampshire. The biggest issue is of course the atrocities being committed in Afghanistan, and the compromise of human rights for national safety. My pet cause would have to be the antiwar effort.
In the CD's thank-you list you give props to the Kendall for not firing you. The Kendall Cafe in Cambridge? If so, what do you do there? If not, what's the Kendall?
Actually, I'm thanking the Kendall Movie Theatre for not firing me (it's right up the street from the Kendall Cafe however). It's the indie movie theater I've been working at for almost year, and it's a very hip place with some of my favorite people in Boston being employed there. Essentially, my job is to cater to the petty whims of the predominantly rich white wannabe cultured intellectual crowd. This includes fetching their mineral water, making change from their $100 bills, and sweeping up the insane amounts of trash they manage to leave beneath their seats in the theater. It's great. Really.
Do you think the Rebels will ever play at the Kendall Cafe? There aren't many clubs in the Boston area that hold punk shows regularly. What do think of the state of the scene these days? What do you think needs to happen to improve it? What's the neatest stuff going on?
The Boston scene is in serious trouble right now. My friend Kim actually explained to me that no one in Boston actually plays music; they just wait for bands to come through so they can stand in the back in their hip mod clothes and talk shit about the kid wearing a ska shirt (not necessarily her exact words). But seriously, what bands are there playing Boston right now? The clubs are very unsupportive of the bands, but then again, so are the kids who go the clubs. The neatest things going on where I live are Aurora Seven Records and the Panda Squad, the best goddamn band in Boston.
Where are you from originally? How long have you lived here? In Small Town Pride, the band paints a pretty divisive picture of punks in rural and urban areas. How do you think the two groups are different? What do you think small-town punks bring bigger-city scenes?
I was born in Connecticut and then moved to Boston. But in general, small towns are better scenes. True, more kids might come to shows in a larger city, but the kids in smaller towns appreciate the shows so much more because they occur with less frequency. Small town kids aren't into the scenester shit that city kids are. There's just the scene without pretense to fashion or elitism. It's the jam.
What do you want to ask Jake?
(Thanks to Kathi Haruch of Victory Records for her help.)
Wednesday, December 19, 2001
Other People's Reading Piles
Arizona-based Almost Normal Comics features a pretty solid review section that looks at comics and zines. The proprietor's kept it constant since April 2001, so I'll be sure to check back in a month to see what's crossed his transom.
Arizona-based Almost Normal Comics features a pretty solid review section that looks at comics and zines. The proprietor's kept it constant since April 2001, so I'll be sure to check back in a month to see what's crossed his transom.
Book 'Em II
Just got a new book in the mail from Upski Wimsatt, scribe of Bomb the Suburbs and No More Prisons. Titled Another World Is Possible, this new release from Subway & Elevated Press and New Mouth from the Dirty South is subtitled "conversations in a time of terror" and features more than 100 contributors responding to Sept. 11 and its impact. The book is accompanied by a video produced by the NY Independent Media Center, Paper Tiger TV, and Big Noise Films, as well as by a forthcoming hip-hop album. The book's editors will also be conducting a six-month, 36-city tour.
That's the neat part. In Upski's publisher's note, he puts it thusly: "This isn't just a book. It's a conversation sparking campaign. Carry the book around. Read it in public. It's not just a book to spark idle conversations. It's a book that raises the question: 'What can we do?'"
Indeed. What can we do?
Just got a new book in the mail from Upski Wimsatt, scribe of Bomb the Suburbs and No More Prisons. Titled Another World Is Possible, this new release from Subway & Elevated Press and New Mouth from the Dirty South is subtitled "conversations in a time of terror" and features more than 100 contributors responding to Sept. 11 and its impact. The book is accompanied by a video produced by the NY Independent Media Center, Paper Tiger TV, and Big Noise Films, as well as by a forthcoming hip-hop album. The book's editors will also be conducting a six-month, 36-city tour.
That's the neat part. In Upski's publisher's note, he puts it thusly: "This isn't just a book. It's a conversation sparking campaign. Carry the book around. Read it in public. It's not just a book to spark idle conversations. It's a book that raises the question: 'What can we do?'"
Indeed. What can we do?
Poli-tick, Tock, and You Don't Stop
In the news today, Mumia Abu-Jamal's death sentence has been overturned by a federal judge. The decision doesn't call for a new trial -- but there will be another sentencing hearing, at which Mumia could be sentenced to death again. (Mumia's been imprisoned since 1982 for the shooting death of a police officer.) For more information on the efforts to free Mumia, check out the Mobilization to Free Mumia Abu-Jamal.
In the news today, Mumia Abu-Jamal's death sentence has been overturned by a federal judge. The decision doesn't call for a new trial -- but there will be another sentencing hearing, at which Mumia could be sentenced to death again. (Mumia's been imprisoned since 1982 for the shooting death of a police officer.) For more information on the efforts to free Mumia, check out the Mobilization to Free Mumia Abu-Jamal.
Math with Mammals
Sometimes you just have to love the Web. Here's a site at which you can watch a bear poop prime numbers. Huh.
What's your favorite weird Web site?
Sometimes you just have to love the Web. Here's a site at which you can watch a bear poop prime numbers. Huh.
What's your favorite weird Web site?
Tuesday, December 18, 2001
From the Reading Pile III
Low Tide #4
Another top-notch Paper Radio comic! This edition includes comics, fiction, and found art that touches on an early morning at work, 14 good things, a meeting in Arabia, a postal worker's adventures, art school, and food. The standout is "Tiger Threat," which entails a man's search for his tiger friend, an amplifier, and the dissipation of their friendship. The surprise ending of that story is worth the $2 alone. Box 254, Allston, MA 02134.
March Madness
Ben Jones' love of basketball is made manifest in this cryptic sketchbook-style comic. Combining images of Basketball Land, how a basketball feels when it hits you in the face, high-top shoes, a basketball juicer, ghosts, scooters, and people playing the game, this 16-page minicomic is a psychedelic ode to the game. Three points for pursuing an obsession! $1 to 23 Forrest Hills St. #2, Boston, MA 02130.
Modern Industry: Futurista!
A two-volume, 116-page anthology published early in 2001, this edition of Modern Industry would have benefited from better production. Photocopied with rubber stamp logos, these two comics would have made a nice perfect-bound book. Still, the comics are impressive. Jack Turnbull emerges as a self-publisher to watch with his piece "The Girl from Outer Space," which captures connection, frustration, and dedication quite well. Carrie McNinch's "My Dear" communicates the multiple, life-long forms of love that couples can feel -- almost all captured in drawings of photographs. F.C. Brandt's "And Another Thing" is a Jef Czekaj-like romp through time travel, politics, and good humor. Bruce Orr's "Linka" is a two-page existential quandary. And the seven-page "... Stalin Joe Stalin" by Trevor Alixopulos is an insightful parallel between historical world politics and the current business landscape. The art is often rough, but the ideas and concepts carried by these views of the future are strong. A quality roundup of comics creators from three countries, the collection also includes work by Jason Shiga, Mike Tolento, Marissa Falco, Jess Reklaw, and Dylan Williams. $8 to TFR Industries, Shawn Granton, 3719 SE Hawthorne Blvd. #243, Portland, OR 97214..
Perfect Plastic #2
A bit pricy, but this screenprinted, handmade wonder is one of the most beautiful minicomics I've ever seen. I'd like to blame this on one of the Paper Radio or former Fort Thunder crew members, but I really have no idea who produced this amazing piece of small-press ephemera. [I didn't when I read it; I do now: Alex Barry of Jamaica Plain.] Screenprinted in three colors throughout, the booklet juxtaposes raw comic art and mysterious writing such as, "A good robot friend is hard to come by. Sure you could purchase one in a supermarket gumball machine, but those ones, oh boy, they listen to the worst albums." The art reminds me slightly of Ron Rege Jr., Gary Panter, and Ben Jones. Alex informs me that there are four editions available.
#1, $5, xerox, color and black and white ( very few copies left)
#2, $15, color silkscreen book ( currently reprinting)
#3, $5, silkscreen cover, b&w xerox, blotter paper LSD insert, 83 pages (500 copies)
#4, $10, color and b&w xerox, on executive and photo glossy stock (100 copies)
You can write Alex at 6 Pond St. #3, Jamaica Plain, MA 02130. Tell him Media Diet sent you.
Snow Bits 2001
Another mind-blowing minicomic out of Massachusetts. This almost-anonymous work [I've since exchanged emails with a Donald P. Grady.] is drawn almost entirely on graph paper, with the artist using the boxes to fill in pixels -- or as panels for non-pixellated art. It's largely a stream of consciousness story that invoked Larry Marder's process comics and former members of the Fort Thunder collective. The plot involves snow, robots, a digi-dog, a frozen castle (the best page spread!), a book, pixellated goggles called Digi-Eyes, and a bird lady who makes gift boxes. The story flows scene to scene by falling into an aspect of the art, and the resulting read is one of free association, cascading progress, and ambivalent relevance. Wonderfully done! Email Donald to request a copy.
Sparkly Angel #1
A stunningly personal zine that described encounters with physical abuse, emotional abuse, eating disorders, sleeping pill overdoses, bisexuality, stuffed animals, racial discrimination, and Harvard Square. Sara's lived a lot for a 19-year-old, and discovering zinemaking seems to be good therapy. I read almost every word, and Sparkly Angel reminded me of the zine Navelgazing in many ways, from its charmingly sloppy collation to its revealing handwriten layout. A mix of personal writing, clip art, poetry, and child-like artwork, the 52-page Sparkly Angel helped me realize that my relationship and work problems are small -- and make me want to tell Sara that she's OK, beautiful, smart, and not alone. She says her mom helped her with the zine. That's pretty cool. $2 to Sara Berry, 9 Ellsworth Road, Nahant, MA 01908.
Superflux #1
This stark, black-and-white, bile-drenched pamphlet was produced by Mr. Graham, who published these "notes from the front lines of the analog resistance" just after he quit his job this summer. Oh, how he hated that job. Here are some other things Mr. Graham hates: cell phones, yuppies, the rich, pretentious design, JFK Jr., Survivor, and the Internet. But -- lest you think that this almost all-text screed is merely a rant or whining, know that Superflux is extremely smart and very, very funny. Mr. Graham does more with these four pages than most zines can do with 48. His writing is spritely, his sarcasm is whip smart, and his sense of humor outshines even the most dire of his commentaries. Of the eight easy pieces, my favorites include "If You Have a Cell-Phone, I Hate You," "Thank God for the Rich," and "Thenewgoldenage.com." Extra punk points for the distressed typewriter on photocopier layout. Look for this in the Boston area or email Mr. Graham. He informs me that #'s 2 and 3 are now available for $1.
Have you read these? What did you think?
Low Tide #4
Another top-notch Paper Radio comic! This edition includes comics, fiction, and found art that touches on an early morning at work, 14 good things, a meeting in Arabia, a postal worker's adventures, art school, and food. The standout is "Tiger Threat," which entails a man's search for his tiger friend, an amplifier, and the dissipation of their friendship. The surprise ending of that story is worth the $2 alone. Box 254, Allston, MA 02134.
March Madness
Ben Jones' love of basketball is made manifest in this cryptic sketchbook-style comic. Combining images of Basketball Land, how a basketball feels when it hits you in the face, high-top shoes, a basketball juicer, ghosts, scooters, and people playing the game, this 16-page minicomic is a psychedelic ode to the game. Three points for pursuing an obsession! $1 to 23 Forrest Hills St. #2, Boston, MA 02130.
Modern Industry: Futurista!
A two-volume, 116-page anthology published early in 2001, this edition of Modern Industry would have benefited from better production. Photocopied with rubber stamp logos, these two comics would have made a nice perfect-bound book. Still, the comics are impressive. Jack Turnbull emerges as a self-publisher to watch with his piece "The Girl from Outer Space," which captures connection, frustration, and dedication quite well. Carrie McNinch's "My Dear" communicates the multiple, life-long forms of love that couples can feel -- almost all captured in drawings of photographs. F.C. Brandt's "And Another Thing" is a Jef Czekaj-like romp through time travel, politics, and good humor. Bruce Orr's "Linka" is a two-page existential quandary. And the seven-page "... Stalin Joe Stalin" by Trevor Alixopulos is an insightful parallel between historical world politics and the current business landscape. The art is often rough, but the ideas and concepts carried by these views of the future are strong. A quality roundup of comics creators from three countries, the collection also includes work by Jason Shiga, Mike Tolento, Marissa Falco, Jess Reklaw, and Dylan Williams. $8 to TFR Industries, Shawn Granton, 3719 SE Hawthorne Blvd. #243, Portland, OR 97214..
Perfect Plastic #2
A bit pricy, but this screenprinted, handmade wonder is one of the most beautiful minicomics I've ever seen. I'd like to blame this on one of the Paper Radio or former Fort Thunder crew members, but I really have no idea who produced this amazing piece of small-press ephemera. [I didn't when I read it; I do now: Alex Barry of Jamaica Plain.] Screenprinted in three colors throughout, the booklet juxtaposes raw comic art and mysterious writing such as, "A good robot friend is hard to come by. Sure you could purchase one in a supermarket gumball machine, but those ones, oh boy, they listen to the worst albums." The art reminds me slightly of Ron Rege Jr., Gary Panter, and Ben Jones. Alex informs me that there are four editions available.
You can write Alex at 6 Pond St. #3, Jamaica Plain, MA 02130. Tell him Media Diet sent you.
Snow Bits 2001
Another mind-blowing minicomic out of Massachusetts. This almost-anonymous work [I've since exchanged emails with a Donald P. Grady.] is drawn almost entirely on graph paper, with the artist using the boxes to fill in pixels -- or as panels for non-pixellated art. It's largely a stream of consciousness story that invoked Larry Marder's process comics and former members of the Fort Thunder collective. The plot involves snow, robots, a digi-dog, a frozen castle (the best page spread!), a book, pixellated goggles called Digi-Eyes, and a bird lady who makes gift boxes. The story flows scene to scene by falling into an aspect of the art, and the resulting read is one of free association, cascading progress, and ambivalent relevance. Wonderfully done! Email Donald to request a copy.
Sparkly Angel #1
A stunningly personal zine that described encounters with physical abuse, emotional abuse, eating disorders, sleeping pill overdoses, bisexuality, stuffed animals, racial discrimination, and Harvard Square. Sara's lived a lot for a 19-year-old, and discovering zinemaking seems to be good therapy. I read almost every word, and Sparkly Angel reminded me of the zine Navelgazing in many ways, from its charmingly sloppy collation to its revealing handwriten layout. A mix of personal writing, clip art, poetry, and child-like artwork, the 52-page Sparkly Angel helped me realize that my relationship and work problems are small -- and make me want to tell Sara that she's OK, beautiful, smart, and not alone. She says her mom helped her with the zine. That's pretty cool. $2 to Sara Berry, 9 Ellsworth Road, Nahant, MA 01908.
Superflux #1
This stark, black-and-white, bile-drenched pamphlet was produced by Mr. Graham, who published these "notes from the front lines of the analog resistance" just after he quit his job this summer. Oh, how he hated that job. Here are some other things Mr. Graham hates: cell phones, yuppies, the rich, pretentious design, JFK Jr., Survivor, and the Internet. But -- lest you think that this almost all-text screed is merely a rant or whining, know that Superflux is extremely smart and very, very funny. Mr. Graham does more with these four pages than most zines can do with 48. His writing is spritely, his sarcasm is whip smart, and his sense of humor outshines even the most dire of his commentaries. Of the eight easy pieces, my favorites include "If You Have a Cell-Phone, I Hate You," "Thank God for the Rich," and "Thenewgoldenage.com." Extra punk points for the distressed typewriter on photocopier layout. Look for this in the Boston area or email Mr. Graham. He informs me that #'s 2 and 3 are now available for $1.
Have you read these? What did you think?
From the Reading Pile II
Adam Greene expressed interest in a spare Rentals CD I had, so we traded -- the CD for his comic. Little did I know that I'd be throwing in a review! Written by Adam and drawn by Sonny Andreotte and Mark Audette, The Prince (#1, August 2000, 28pp, $2.95) is a self-published story about a "serial killer that targets serial killers." Adam's writing is relatively slow-paced and cinematic, and Andreotte and Audette's pencils and inking reminds me of many a Faust, Warren Ellis, or Grendel comic -- lots of dramatic (bordering on awkward) shadowing and Howard Chaykin-meets-Rob Liefeld hash-mark texture. Adam says there will never be a #2, which is a shame because there's a mysterious hero, a mysterious undead boy (?), anda character named Corum -- a nice tip of the hat to Michael Moorcock. Send Adam $3 and demand more. And ask him about the New Vanguard, Ikan, Cyberosia Publishing, Broken Boy, Combustible Muse, and New Toys. I smell an indie comics co-op! (Soundtrack: Propaghandhi, "Today's Empires, Tomorrow's Ashes)
What comics are you reading?
Adam Greene expressed interest in a spare Rentals CD I had, so we traded -- the CD for his comic. Little did I know that I'd be throwing in a review! Written by Adam and drawn by Sonny Andreotte and Mark Audette, The Prince (#1, August 2000, 28pp, $2.95) is a self-published story about a "serial killer that targets serial killers." Adam's writing is relatively slow-paced and cinematic, and Andreotte and Audette's pencils and inking reminds me of many a Faust, Warren Ellis, or Grendel comic -- lots of dramatic (bordering on awkward) shadowing and Howard Chaykin-meets-Rob Liefeld hash-mark texture. Adam says there will never be a #2, which is a shame because there's a mysterious hero, a mysterious undead boy (?), anda character named Corum -- a nice tip of the hat to Michael Moorcock. Send Adam $3 and demand more. And ask him about the New Vanguard, Ikan, Cyberosia Publishing, Broken Boy, Combustible Muse, and New Toys. I smell an indie comics co-op! (Soundtrack: Propaghandhi, "Today's Empires, Tomorrow's Ashes)
What comics are you reading?
The Story of Spam
Ever wonder why bulk emails and unwanted commercial messages are called spam? Brad Templeton did a bit of etymological research. According to his research using Google's new Usenet archives, the term dates back to the late '80s, when it was first used in MUD's.
Ever wonder why bulk emails and unwanted commercial messages are called spam? Brad Templeton did a bit of etymological research. According to his research using Google's new Usenet archives, the term dates back to the late '80s, when it was first used in MUD's.
Monday, December 17, 2001
Making the Move
As you might know, there's a low-traffic mailing list associated with Media Diet. I've made the executive decision to largely scotch that list and move the conversational aspect of this project over to a Web discussion area. I'll probably keep the mailing list active until the membership dwindles -- or until I decide the Web discussion thing is a Bad Idea -- whichever comes first.
In the Web discussion area, you can do more than post comments to entries here. You can start your own topics. And if you're lucky, something you post might make it back here -- and vice versa, ad infinitum. Whatever!
As you might know, there's a low-traffic mailing list associated with Media Diet. I've made the executive decision to largely scotch that list and move the conversational aspect of this project over to a Web discussion area. I'll probably keep the mailing list active until the membership dwindles -- or until I decide the Web discussion thing is a Bad Idea -- whichever comes first.
In the Web discussion area, you can do more than post comments to entries here. You can start your own topics. And if you're lucky, something you post might make it back here -- and vice versa, ad infinitum. Whatever!
Mention Me!
So, um, I'm searching Google for references to, well, me. And I'm finding all sorts of fun stuff. I'd forgotten that I'd won the Columbia Scholastic Press Association's College Gold Circle Award in 1995 for a critical piece on P.J. O'Rourke. I stumbled across Thomas Madsen-Mygdal's blog, CommonMe, a delightful commentary on all things technological, entrepreneurial, and Thomas-ish. I found a picture of me and Oil Can Boyd in a dive bar in San Diego. And one of me, Jordan Crane, and Oil Can looking for another bar in that same city. I tracked down an interview I did with Skip Williamson in 1993. Some people make fun of my name in a chat transcript. And I found an article from the New York Times Magazine about the work I do; it makes me look like some sort of rabble rouser.
Anyhoo, the upshot of this bit of self-gratification is that if you mention me in your blog or elsewhere online, I will mention you. All you have to do is let me know.
So, um, I'm searching Google for references to, well, me. And I'm finding all sorts of fun stuff. I'd forgotten that I'd won the Columbia Scholastic Press Association's College Gold Circle Award in 1995 for a critical piece on P.J. O'Rourke. I stumbled across Thomas Madsen-Mygdal's blog, CommonMe, a delightful commentary on all things technological, entrepreneurial, and Thomas-ish. I found a picture of me and Oil Can Boyd in a dive bar in San Diego. And one of me, Jordan Crane, and Oil Can looking for another bar in that same city. I tracked down an interview I did with Skip Williamson in 1993. Some people make fun of my name in a chat transcript. And I found an article from the New York Times Magazine about the work I do; it makes me look like some sort of rabble rouser.
Anyhoo, the upshot of this bit of self-gratification is that if you mention me in your blog or elsewhere online, I will mention you. All you have to do is let me know.
The Name Game
Ever wonder why Heathrow Airport is called Heathrow? Ever wonder why I'm called Heath Row? Me, too.
Ever wonder why Heathrow Airport is called Heathrow? Ever wonder why I'm called Heath Row? Me, too.
Blast from the Past
When I was in college, I wrote a paper about the history of zines. Imagine my surprise when I found it on the Web. Now if only DePaul University wouldn't confuse me with Chip Rowe, I'd be fine.
When I was in college, I wrote a paper about the history of zines. Imagine my surprise when I found it on the Web. Now if only DePaul University wouldn't confuse me with Chip Rowe, I'd be fine.
Off the Shelf II
Steve Portigal, who's been mentioned in Media Diet previously, recently started a blog called All This Chittah-Chatah. In it, he details his recent stand-up and improvised comedy performances, a new car battery, and holiday misadventures with Half.com. And... he says he's "working on a large update to the foreign grocery museum." Keep your eyes -- and those wrappers -- peeled. Huzzah!
Steve Portigal, who's been mentioned in Media Diet previously, recently started a blog called All This Chittah-Chatah. In it, he details his recent stand-up and improvised comedy performances, a new car battery, and holiday misadventures with Half.com. And... he says he's "working on a large update to the foreign grocery museum." Keep your eyes -- and those wrappers -- peeled. Huzzah!
See You in the Funny Pages III
Tom McManamon of Big Wheel Records drew this quirky Web comic "on college rule notebook paper with a pen found on the ground." It's a cautionary tale, so be... careful!
Tom McManamon of Big Wheel Records drew this quirky Web comic "on college rule notebook paper with a pen found on the ground." It's a cautionary tale, so be... careful!
See You in the Funny Pages II
This Web comic hasn't been updated since October, but there's lots here to catch up on. Demian.5's When I Am King is a beautiful, horizontal-running comic with 63 parts broken up into five chapters. What I've read so far is an interesting Chris Ware/Larry Marder/Jim Woodring-like process comic that involves a man and a horse. I'll be checking out all of this -- good to learn about, late though it be.
This Web comic hasn't been updated since October, but there's lots here to catch up on. Demian.5's When I Am King is a beautiful, horizontal-running comic with 63 parts broken up into five chapters. What I've read so far is an interesting Chris Ware/Larry Marder/Jim Woodring-like process comic that involves a man and a horse. I'll be checking out all of this -- good to learn about, late though it be.
Free Radio II
My friends Charlie and Andrew suggested I check out several other Web-based radio broadcasts, so I'm passing their suggestions on to you. You can find Vin Scelsa's freeform show online, as well as Fairleigh Dickenson University's radio station. Charlie says WFUV-FM has become a sort of refuge for great NYC DJ's who can't get hired. And pal Andrew gives props to the Milwaukee School of Engineering's WMSE-FM. Wonder if it's similar to WMBR-FM. You know, engineers and all.
My friends Charlie and Andrew suggested I check out several other Web-based radio broadcasts, so I'm passing their suggestions on to you. You can find Vin Scelsa's freeform show online, as well as Fairleigh Dickenson University's radio station. Charlie says WFUV-FM has become a sort of refuge for great NYC DJ's who can't get hired. And pal Andrew gives props to the Milwaukee School of Engineering's WMSE-FM. Wonder if it's similar to WMBR-FM. You know, engineers and all.
A Napkin for a Nickel?
The fellows at Cardhouse recently turned me on to this online museum of napkin holders that also contain coin-operated machines. You can wipe your mouth, and you can buy perfume. Now that's progress!
The fellows at Cardhouse recently turned me on to this online museum of napkin holders that also contain coin-operated machines. You can wipe your mouth, and you can buy perfume. Now that's progress!
Ignore the War VI
The president and publisher of the Sacramento Bee was booed, hissed, and heckled Saturday when he mentioned threats to civil liberties inherent in the federal government's investigation of terrorist attacks. He made the seemingly incendiary remarks during a commencement speech at California State University in Sacramento. "When Heaphy raised questions about racial profiling, limits on civil rights and the establishment of military tribunals, the audience interrupted by clapping and stomping their feet for five minutes." So much for our liberal college campuses!
The president and publisher of the Sacramento Bee was booed, hissed, and heckled Saturday when he mentioned threats to civil liberties inherent in the federal government's investigation of terrorist attacks. He made the seemingly incendiary remarks during a commencement speech at California State University in Sacramento. "When Heaphy raised questions about racial profiling, limits on civil rights and the establishment of military tribunals, the audience interrupted by clapping and stomping their feet for five minutes." So much for our liberal college campuses!
Pooch Music
Just Dogs Records recently released a CD called Just Dogs Touching Tunes: 2001. Music for pooches! Some quotes from the news release: "Our CD ... contains specialized music ... to comfort [your] canine companion in the time and space of each song. ... [The] CD is produced to bring about a greater consciousness in dogs making life more manageable for both the dog and the owner/companion. ... Take the time to use our CD and touch format with the dog and sense for yourself the calming effect and a feeling that will pulse back and forth between each of you, while lightening the burdens of the heart." For more mammalian music, check out the Furry Discography.
Just Dogs Records recently released a CD called Just Dogs Touching Tunes: 2001. Music for pooches! Some quotes from the news release: "Our CD ... contains specialized music ... to comfort [your] canine companion in the time and space of each song. ... [The] CD is produced to bring about a greater consciousness in dogs making life more manageable for both the dog and the owner/companion. ... Take the time to use our CD and touch format with the dog and sense for yourself the calming effect and a feeling that will pulse back and forth between each of you, while lightening the burdens of the heart." For more mammalian music, check out the Furry Discography.
Friday, December 14, 2001
Free Radio
Salon recently published an article on how the Digital Millennium Copyright Act might shut down college radio station Webcasts because the stations' can't afford the exorbitant streaming fees that their commercial counterparts can more easily bankroll. This is bad news, especially because college radio remains one of the bastions of independent broadcasting -- and because if you don't live on or near a campus with a station, the Web is one of the only ways you can access the broadcasts. Take some time today to tune in to a Webcast. I recommend WNUR-FM from Northwestern University, WMBR-FM from MIT, WMFO-FM from Tufts, WFMU-FM (which isn't a college station but is still independent and community-oriented), and Allston-Brighton Free Radio, a great microbroadcaster in the Boston area.
Salon recently published an article on how the Digital Millennium Copyright Act might shut down college radio station Webcasts because the stations' can't afford the exorbitant streaming fees that their commercial counterparts can more easily bankroll. This is bad news, especially because college radio remains one of the bastions of independent broadcasting -- and because if you don't live on or near a campus with a station, the Web is one of the only ways you can access the broadcasts. Take some time today to tune in to a Webcast. I recommend WNUR-FM from Northwestern University, WMBR-FM from MIT, WMFO-FM from Tufts, WFMU-FM (which isn't a college station but is still independent and community-oriented), and Allston-Brighton Free Radio, a great microbroadcaster in the Boston area.
Hot Water Muse
Turns out that Scott Sinclair, the dude who does the wonderful artwork for the Hot Water Music records, lives and works in Boston! Enough Fanzine recently interviewed Scott, and you can eye some of his artwork online. Also of note, Scott runs a local label that's released material by Pilot to Gunner and my friend Brad's band the Also-Rans. So I'm three degrees of separation from Hot Water Music. Not bad for a Friday afternoon!
Turns out that Scott Sinclair, the dude who does the wonderful artwork for the Hot Water Music records, lives and works in Boston! Enough Fanzine recently interviewed Scott, and you can eye some of his artwork online. Also of note, Scott runs a local label that's released material by Pilot to Gunner and my friend Brad's band the Also-Rans. So I'm three degrees of separation from Hot Water Music. Not bad for a Friday afternoon!
Talking Heads Are Men
The White House Project recently released a study analyzing who participates in the high-power Sunday-morning talk shows such as CBS’s Face the Nation, ABC’s This Week, CNN’s Late Edition with Wolf Blitzer, and Fox’s News Sunday. It's a pretty sad showing -- 10% of guests on these shows are women. Then, the weekend after the report was released, the shows gave women even shorter shrift: "Out of the 23 guests appearing on Sunday morning Dec. 9, NBC’s Meet the Press was the only one this week that featured a woman guest. Thus, this Sunday women comprised only four percent of all guest appearances." Just goes to show how few women are given positions of political power and how unbalanced the political talk shows are in their coverage.
The White House Project recently released a study analyzing who participates in the high-power Sunday-morning talk shows such as CBS’s Face the Nation, ABC’s This Week, CNN’s Late Edition with Wolf Blitzer, and Fox’s News Sunday. It's a pretty sad showing -- 10% of guests on these shows are women. Then, the weekend after the report was released, the shows gave women even shorter shrift: "Out of the 23 guests appearing on Sunday morning Dec. 9, NBC’s Meet the Press was the only one this week that featured a woman guest. Thus, this Sunday women comprised only four percent of all guest appearances." Just goes to show how few women are given positions of political power and how unbalanced the political talk shows are in their coverage.
Storyscapes
A San Francisco-based organization called the Cultural Conservancy is working to preserve Native American songs. In so doing, they're documenting songs about the spiritual connection the Native Americans they're working with feel with the land on which they live. This connection can then be used as a tool to better preserve Native American lands. An interesting methodology... and an interesting idea: that the places we frequent can be captured and coded in cultural artifacts such as artwork and songs. The art becomes part of our culture, and our culture can transmit the value of a place.
A San Francisco-based organization called the Cultural Conservancy is working to preserve Native American songs. In so doing, they're documenting songs about the spiritual connection the Native Americans they're working with feel with the land on which they live. This connection can then be used as a tool to better preserve Native American lands. An interesting methodology... and an interesting idea: that the places we frequent can be captured and coded in cultural artifacts such as artwork and songs. The art becomes part of our culture, and our culture can transmit the value of a place.
Thursday, December 13, 2001
Book 'Em
In my copious free time, I edit books on the side, just for kicks. My "first" book, a collection of short stories by a middle-aged brittle diabetic and cancer survivor in South Dakota named Dan Buck, is now available for sale on the Web. Check out the offerings from Highwater Books if you're interested.
In my copious free time, I edit books on the side, just for kicks. My "first" book, a collection of short stories by a middle-aged brittle diabetic and cancer survivor in South Dakota named Dan Buck, is now available for sale on the Web. Check out the offerings from Highwater Books if you're interested.
Blogging About Blogging
If you're interested in reading about what people are trying to do with their blogs and how blogs affect the people who make them -- and read them -- pop on over to Keep Trying, a wonderful new meta-blog I just came across.
If you're interested in reading about what people are trying to do with their blogs and how blogs affect the people who make them -- and read them -- pop on over to Keep Trying, a wonderful new meta-blog I just came across.
Monday, December 10, 2001
Lap Dog
A friend of mine is friends with someone who operates a dog kennel. This weekend, that kennel held a fundraiser event at which people could bring in their dogs to be photographed with a person dressed up as Santa Claus. My friend helped pose the dogs with the Santa, and the results, he says, were hilarious. I'm pushing for some of the photographs to be digitized and posted online so they can be shared with the world. Until that happens, you can whet your taste buds here, here, and, yes, here. Bow wow wow. I mean, ho ho ho.
A friend of mine is friends with someone who operates a dog kennel. This weekend, that kennel held a fundraiser event at which people could bring in their dogs to be photographed with a person dressed up as Santa Claus. My friend helped pose the dogs with the Santa, and the results, he says, were hilarious. I'm pushing for some of the photographs to be digitized and posted online so they can be shared with the world. Until that happens, you can whet your taste buds here, here, and, yes, here. Bow wow wow. I mean, ho ho ho.
Caught in a State of Address
My mailing address has changed, signaling the completion of my move -- physically and mentally -- from Somerville to Cambridge, which started back in, um, September 2000. No longer holding a P.O. Box in the 02144, my new mailing address is
Heath Row
P.O. Box 390205
Cambridge, MA
02139 USA
You may send any and all items for commentary and consideration to that new address. Fill my P.O. Box with love. Please.
My mailing address has changed, signaling the completion of my move -- physically and mentally -- from Somerville to Cambridge, which started back in, um, September 2000. No longer holding a P.O. Box in the 02144, my new mailing address is
Heath Row
P.O. Box 390205
Cambridge, MA
02139 USA
You may send any and all items for commentary and consideration to that new address. Fill my P.O. Box with love. Please.
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