North End Moment IX
While waiting in line for my lunch order at Mangia! Mangia!:
Customer: You were on vacation last week?
Cook: Yeah. The one little week all year.
Customer: Did you go anywhere?
Cook: Aruba.
Me: You're peeling a little. (Gesturing to his forearms.) Get some sun?
Cook: I'm peeling a lot.
Showing newest 59 of 104 posts from March 2002. Show older posts
Showing newest 59 of 104 posts from March 2002. Show older posts
Tuesday, April 23, 2002
Kill Your Television IV
Continuing the recent attention paid to participatory television, there's a discussion underway at Design for Community about the recent West Wing episode in which a character learns someone developed a fan Web site about him. The discussion -- as does the TV show -- centers on what might happen when people jump into Web discussions about them and their work.
Continuing the recent attention paid to participatory television, there's a discussion underway at Design for Community about the recent West Wing episode in which a character learns someone developed a fan Web site about him. The discussion -- as does the TV show -- centers on what might happen when people jump into Web discussions about them and their work.
Recombinant Video
In a recent post to the Nettime mailing list, Tom Sherman details the "addiction to memory" and the use of nonlinear video editing to deconstruct, objectify, and effectively destroy the meaning and value of video images. His essay is a wide-ranging survey of the effects of technology on video production -- and the role of recombinant aesthetics.
In a recent post to the Nettime mailing list, Tom Sherman details the "addiction to memory" and the use of nonlinear video editing to deconstruct, objectify, and effectively destroy the meaning and value of video images. His essay is a wide-ranging survey of the effects of technology on video production -- and the role of recombinant aesthetics.
It's an Ad, Ad, Ad, Ad World VIII
Responding to a recent Unit of One feature analyzing the state of the advertising industry, Greg Paulhus contends that advertising is networking. "The purpose of a business is to create and retain a customer," he says. "A business creates a customer by making contact with them in some way, whether it's a print ad, a TV ad, a referral, word of mouth, whatever. That contact is a point on the company's network. Companies need to expand and add value to their network. Advertising is a way of making multiple contacts simultaneously across your potential customer network."
While I understand and agree with Greg's initial point that advertising represents the act of reaching out to people, I disagree that it's the same as networking -- unless you relegate it to the traditional, shallow, "Here's my card; I've got to go," approach to networking. To his credit, Greg continues to say that most advertising represents dysfunctional networking and that most companies don't continue the conversation they could start with people via exposure to advertising. His closing statements about cold calls vs. targeted, personalized, relevant information-driven marketing messages resonates slightly with Jacques Werth's work in high-probability selling, but for the most part, I think Greg makes the mistakes many people in marketing make, confusing commercials for communication and customers for a community.
Responding to a recent Unit of One feature analyzing the state of the advertising industry, Greg Paulhus contends that advertising is networking. "The purpose of a business is to create and retain a customer," he says. "A business creates a customer by making contact with them in some way, whether it's a print ad, a TV ad, a referral, word of mouth, whatever. That contact is a point on the company's network. Companies need to expand and add value to their network. Advertising is a way of making multiple contacts simultaneously across your potential customer network."
While I understand and agree with Greg's initial point that advertising represents the act of reaching out to people, I disagree that it's the same as networking -- unless you relegate it to the traditional, shallow, "Here's my card; I've got to go," approach to networking. To his credit, Greg continues to say that most advertising represents dysfunctional networking and that most companies don't continue the conversation they could start with people via exposure to advertising. His closing statements about cold calls vs. targeted, personalized, relevant information-driven marketing messages resonates slightly with Jacques Werth's work in high-probability selling, but for the most part, I think Greg makes the mistakes many people in marketing make, confusing commercials for communication and customers for a community.
On Social Capitalism
My title at Fast Company is Social Capitalist. I am frequently asked what that means. For me, it represents the dichotomy between socialism and capitalism -- and highlights the work I do to increase the value of the connections people make with the FC team, the people we write about, and other readers. Last week in the Com-Prac mailing list, which focuses on communities of practice, their theory and work, Andy Swarbrick contributed a solid introduction to the concepts of social and knowledge capital. It might not help my grandmother understand what I do for a living, but it's a start.
Andy also spends some time exploring knowledge networks and communities of practice in greater detail. Soon, he intends to add material about social network analysis and how it can be used to visualize social networks and measure cohesion. Good stuff.
My title at Fast Company is Social Capitalist. I am frequently asked what that means. For me, it represents the dichotomy between socialism and capitalism -- and highlights the work I do to increase the value of the connections people make with the FC team, the people we write about, and other readers. Last week in the Com-Prac mailing list, which focuses on communities of practice, their theory and work, Andy Swarbrick contributed a solid introduction to the concepts of social and knowledge capital. It might not help my grandmother understand what I do for a living, but it's a start.
Andy also spends some time exploring knowledge networks and communities of practice in greater detail. Soon, he intends to add material about social network analysis and how it can be used to visualize social networks and measure cohesion. Good stuff.
James Kochalka Free-for-all
James Kochalka, Vermont's indie-rock answer to "Weird Al" Yankovic and Atom and His Package, has a new Internet-only album available. The album is titled "Hotchocolate Superstar," and you can even download artwork to print out a CD cover for yourself.
James says: "They're demos. It's all available to you for free. I just hope that you can give me a little advice: Which songs really deserve better treatment and eventually release on a real CD? Some of the songs were done on four-track, and a couple were done one my iMac using music ripped out of old Nintendo games. There's also an awesome version of Monkey Vs. Robot made by my friend Jason X-12 (credited here as Reorder Narcotic)."
James Kochalka, Vermont's indie-rock answer to "Weird Al" Yankovic and Atom and His Package, has a new Internet-only album available. The album is titled "Hotchocolate Superstar," and you can even download artwork to print out a CD cover for yourself.
James says: "They're demos. It's all available to you for free. I just hope that you can give me a little advice: Which songs really deserve better treatment and eventually release on a real CD? Some of the songs were done on four-track, and a couple were done one my iMac using music ripped out of old Nintendo games. There's also an awesome version of Monkey Vs. Robot made by my friend Jason X-12 (credited here as Reorder Narcotic)."
Other People's Reading Piles III
Like reading books? Like reading newspapers? You'll love reading books about newspapers.
Like reading books? Like reading newspapers? You'll love reading books about newspapers.
Rock Shows of Note X
This is a joint report about two slightly disparate but still effervescently rocking shows that Alex and I took in last night. First up, the Boston Bloggers Gathering organized by Sooz and Shannon. Alex and I met up with Brad, Matt, and Mary for this follow-up of sorts to the Boston Mini-Blogcon I wasn't able to participate in earlier this year. I met several area bloggers, including Isaac Taylor, the mastermind behind Laughing Boy, Mike, Geoff, and two more Susans.
The Susans were sources of two more small-world moments. One Susan, former publisher of the zine Warped Reality, I met back in 1996 at the Queens & Zines fest held at Jacque's when the Ben Is Dead and Bunnyhop folks were in town during their RV tour. And the other Susan currently lives with a former FC colleague of mine. Weird how the world folds back in on itself sometimes.
I don't think that everyone who RSVP'd showed up -- and I'm sure that Sooz and Shannon will share the attendee list at some point -- but here's who threw their hat into the ring for the gathering:
Aisling Kelliher
Annalisa Oswald
Brad Searles
Cameron Marlow
C.C. Chapman
David MacPherson
Elias Sardonis
Frances Donovan
Glenn Kinen
Heath Row
Jeff Thacker
Larisa Mendez-Penate
Lee Stewart
Lorissa
Mary Stopas
Matt Saunders
Matte Elsbernd
Matthew Yglesias
Michael Femia
Mike
Mizzy
Rebecca
Sean Hussey
Shannon Okey
Susan Kaup
Susan Miller
Tony Yang
Alex also passed around a couple of galley copies of the new Perseus Publishing book "We've Got Blog: How Weblogs Are Changing Our Culture." If you attended the Boston Bloggers Gathering last night and would like your very own galley of the forthcoming book, email John Rodzvilla and he'll send you one, free. If you post a review of or some commentary on the book, be sure to let him know, as well. Galley copies of Rebecca Blood's "The Weblog Handbook: Practical Advice On Creating And Maintaining Your Blog" are also available to participants.
Next up, the Sid Hillman and Neil Halstead show, also at 608. Sid was dressed in Slim Cessna-like garb and performed a set free of his usual musical compatriots the Sid Hillman Quartet. Predominately alt.country-styled songs, Sid's music was punctuated with a delightful near-caterwaul and almost-yodel; I enjoyed his vocals immensely. Then came Neil, former frontman of Slowdive and the Mojave 3. Brad says that Neil's recent solo work is quite different than the moody guitar wash of Slowdive, but his solo songwriter material is also quite solid (and is my first introduction to his music, so what do I know). Reminding Alex of Nick Drake, Neil played a sleepy set of country-tinged guitar pop, and was joined by Sid for one piece, which they miffed midway through. Nevertheless, Sid's higher harmonies to Neil's British-accented singing was quite impressive. I'll have to check out the recordings of both.
This is a joint report about two slightly disparate but still effervescently rocking shows that Alex and I took in last night. First up, the Boston Bloggers Gathering organized by Sooz and Shannon. Alex and I met up with Brad, Matt, and Mary for this follow-up of sorts to the Boston Mini-Blogcon I wasn't able to participate in earlier this year. I met several area bloggers, including Isaac Taylor, the mastermind behind Laughing Boy, Mike, Geoff, and two more Susans.
The Susans were sources of two more small-world moments. One Susan, former publisher of the zine Warped Reality, I met back in 1996 at the Queens & Zines fest held at Jacque's when the Ben Is Dead and Bunnyhop folks were in town during their RV tour. And the other Susan currently lives with a former FC colleague of mine. Weird how the world folds back in on itself sometimes.
I don't think that everyone who RSVP'd showed up -- and I'm sure that Sooz and Shannon will share the attendee list at some point -- but here's who threw their hat into the ring for the gathering:
Alex also passed around a couple of galley copies of the new Perseus Publishing book "We've Got Blog: How Weblogs Are Changing Our Culture." If you attended the Boston Bloggers Gathering last night and would like your very own galley of the forthcoming book, email John Rodzvilla and he'll send you one, free. If you post a review of or some commentary on the book, be sure to let him know, as well. Galley copies of Rebecca Blood's "The Weblog Handbook: Practical Advice On Creating And Maintaining Your Blog" are also available to participants.
Next up, the Sid Hillman and Neil Halstead show, also at 608. Sid was dressed in Slim Cessna-like garb and performed a set free of his usual musical compatriots the Sid Hillman Quartet. Predominately alt.country-styled songs, Sid's music was punctuated with a delightful near-caterwaul and almost-yodel; I enjoyed his vocals immensely. Then came Neil, former frontman of Slowdive and the Mojave 3. Brad says that Neil's recent solo work is quite different than the moody guitar wash of Slowdive, but his solo songwriter material is also quite solid (and is my first introduction to his music, so what do I know). Reminding Alex of Nick Drake, Neil played a sleepy set of country-tinged guitar pop, and was joined by Sid for one piece, which they miffed midway through. Nevertheless, Sid's higher harmonies to Neil's British-accented singing was quite impressive. I'll have to check out the recordings of both.
The Restaurant I Ate at Last Night III
Last week was chock full of eating in restaurants. In North Carolina; in Ivrea, Italy; and since returning home, in Cambridge. Here's the recent culinary roundup:
Friday: Southern Lights Bistro
Reminding me of meat and three's in Tennessee, this unpretentious, unassuming eatery will be missed by most Greensboro, N.C.., passers by. Outside, the building is quite plain, and signage is scant. Inside, the food prepared by chef John Drees is as artistic as the paintings lining the walls. The decor is stylish yet comfortable, and the food was quite good. I started off with a chicken quesadilla -- wolfed that puppy down in no time flat, I was so hungry -- and ended up with a salmon dish complete with asparagus and mashed potatoes. Topped off with a New River Brewing Co. (Blacksburg, West Virginia) pale ale, as well as some quality conversation with local CoF members, it was quite a meal.
Saturday: Green Valley Grill
After Martha and I spent most of the day stomping around the greater Greensboro area, visiting a Revolutionary War battleground, the site of the first civil rights movement sit in, the local museum, the defunct railroad station, and other hotspots, we retired to this more-than-a-hotel restaurant at the O. Henry. The hotel's not supposed to be all that, but the restaurant was quite nice. I forget what I ordered, but I remember the interior decor -- reminiscent of old boys' club steakhouses with an open-air feel to it -- the sweet iced tea, and the rosemary fries. Well worth checking out if you're in the area. If it's good enough for Orson Scott Card, it's good enough for me.
Monday: Hotel Sirio Ristoranta
Onward to Italy. Slightly outside Ivrea and up a ways into the foothills of the Alps (I guess), rests Hotel Sirio. I was joined by several faculty, staff, and friends of the Interaction Design Institute Ivrea for a fixed-course meal of traditional northern Italy -- and mountain region -- cuisine. The meat dumplings and breadsticks made the biggest impression on me, and heck if I can remember what else we ate. Nevertheless, it was good. Of that I am sure.
Tuesday: Bodega
I think that's what this restaurant in Ivrea is called. It's just on the other side of one of the bridges crossing the river as it winds lazily around the center city, and it's a bit upscale but wonderful. Because this was a celebration dinner of sorts for faculty, staff, students, and friends of the institute after the first day of the Business Week conference -- and the new school term -- the wine flowed pretty quickly and thickly. And the wine in Italy is amazing. I ordered a fish dish and was surprised and slightly dismayed that the fish was served complete with bones, scales, and head. After being a vegetarian for 10 years (I lapsed at the end of 2001.) I wasn't sure I could eat the thing, but a friend coached and coaxed me through it. I ate half.
Wednesday: Morbelli
Another wonderful Ivrean restaurant, this is located within walking distance of the new apartment of institute director Gillian Crampton Smith. An old wine storage facility, the interior is full of stone walls and doored cask storage spaces, and the restaurant blends exquisite food and an intimate setting with an informal atmosphere -- several children ran around the restaurant while we ate, and the music piped in by the staff ranged from electronica and dance music to a string of easier-listening oldies. True to form, I forget what I ordered and ate, but Gillian and her husband coached me through the menu, and the food was quite good, as was the light red (but not local) wine we selected. Doubling as a wine shop, this might very well be the place for local wine enthusiasts. They had quite a stock on hand.
Thursday: Brasserie Flo
I've already commented on my free meal at this restaurant at the Charles de Gaulle airport in Paris, so I won't say anything more here. OK, I will: It was less than a positive experience. Word is that there's another Flo in the city, and my guess is that it's much better than its airport counterpart.
Saturday: Christopher's
Back home in the Boston area, I was thrilled silly that Alex and I met for dinner at one of my longtime favorite local eateries. Christopher's is a wonderful place. Between the wide range of beers on tap, the excellent new American-meets-vegetarian menu, and the convenient location near several Cambridge-side music venues (Toad, the Lizard Lounge), it's a great restaurant. I sampled the spinach and sesame burrito and was surprised that it was, probably to be expected, a burrito chock full of spinach and sesame seeds. Mmm. It was seasoned and spiced well, and while I'll probably not order it again in order to sample something else on the menu, it's worth trying. Mmm.
Sunday: Sound Bites
Still at home, this is a cozy, crowded, neighborhood brunch joint located on Ball Square in Somerville. The proprietors and staff have the seating and ordering process down cold, so even if there's a line outside, it moves quickly. Coffee and juice is self-serve, and the daily specials ably augment the standing menu. Alex and I went south of the border with our orders, with me ordering the Mexican omelette, which was stuffed with salsa, cheese, and other goodies. I know it's a small, simple thing, but the toast is among the best I've ever had. Perfectly toasted. Unbuttered. Tasty.
Monday: Anna's Taqueria
Now we're caught up to date. Alex and I grabbed a quick bite at this Porter Square taqueria before heading to 608 for the Boston Bloggers Gathering last night. She had a chicken burrito. I had a chicken quesadilla. Cheap eats, but good. It's good to be back in Boston!
Last week was chock full of eating in restaurants. In North Carolina; in Ivrea, Italy; and since returning home, in Cambridge. Here's the recent culinary roundup:
Friday: Southern Lights Bistro
Reminding me of meat and three's in Tennessee, this unpretentious, unassuming eatery will be missed by most Greensboro, N.C.., passers by. Outside, the building is quite plain, and signage is scant. Inside, the food prepared by chef John Drees is as artistic as the paintings lining the walls. The decor is stylish yet comfortable, and the food was quite good. I started off with a chicken quesadilla -- wolfed that puppy down in no time flat, I was so hungry -- and ended up with a salmon dish complete with asparagus and mashed potatoes. Topped off with a New River Brewing Co. (Blacksburg, West Virginia) pale ale, as well as some quality conversation with local CoF members, it was quite a meal.
Saturday: Green Valley Grill
After Martha and I spent most of the day stomping around the greater Greensboro area, visiting a Revolutionary War battleground, the site of the first civil rights movement sit in, the local museum, the defunct railroad station, and other hotspots, we retired to this more-than-a-hotel restaurant at the O. Henry. The hotel's not supposed to be all that, but the restaurant was quite nice. I forget what I ordered, but I remember the interior decor -- reminiscent of old boys' club steakhouses with an open-air feel to it -- the sweet iced tea, and the rosemary fries. Well worth checking out if you're in the area. If it's good enough for Orson Scott Card, it's good enough for me.
Monday: Hotel Sirio Ristoranta
Onward to Italy. Slightly outside Ivrea and up a ways into the foothills of the Alps (I guess), rests Hotel Sirio. I was joined by several faculty, staff, and friends of the Interaction Design Institute Ivrea for a fixed-course meal of traditional northern Italy -- and mountain region -- cuisine. The meat dumplings and breadsticks made the biggest impression on me, and heck if I can remember what else we ate. Nevertheless, it was good. Of that I am sure.
Tuesday: Bodega
I think that's what this restaurant in Ivrea is called. It's just on the other side of one of the bridges crossing the river as it winds lazily around the center city, and it's a bit upscale but wonderful. Because this was a celebration dinner of sorts for faculty, staff, students, and friends of the institute after the first day of the Business Week conference -- and the new school term -- the wine flowed pretty quickly and thickly. And the wine in Italy is amazing. I ordered a fish dish and was surprised and slightly dismayed that the fish was served complete with bones, scales, and head. After being a vegetarian for 10 years (I lapsed at the end of 2001.) I wasn't sure I could eat the thing, but a friend coached and coaxed me through it. I ate half.
Wednesday: Morbelli
Another wonderful Ivrean restaurant, this is located within walking distance of the new apartment of institute director Gillian Crampton Smith. An old wine storage facility, the interior is full of stone walls and doored cask storage spaces, and the restaurant blends exquisite food and an intimate setting with an informal atmosphere -- several children ran around the restaurant while we ate, and the music piped in by the staff ranged from electronica and dance music to a string of easier-listening oldies. True to form, I forget what I ordered and ate, but Gillian and her husband coached me through the menu, and the food was quite good, as was the light red (but not local) wine we selected. Doubling as a wine shop, this might very well be the place for local wine enthusiasts. They had quite a stock on hand.
Thursday: Brasserie Flo
I've already commented on my free meal at this restaurant at the Charles de Gaulle airport in Paris, so I won't say anything more here. OK, I will: It was less than a positive experience. Word is that there's another Flo in the city, and my guess is that it's much better than its airport counterpart.
Saturday: Christopher's
Back home in the Boston area, I was thrilled silly that Alex and I met for dinner at one of my longtime favorite local eateries. Christopher's is a wonderful place. Between the wide range of beers on tap, the excellent new American-meets-vegetarian menu, and the convenient location near several Cambridge-side music venues (Toad, the Lizard Lounge), it's a great restaurant. I sampled the spinach and sesame burrito and was surprised that it was, probably to be expected, a burrito chock full of spinach and sesame seeds. Mmm. It was seasoned and spiced well, and while I'll probably not order it again in order to sample something else on the menu, it's worth trying. Mmm.
Sunday: Sound Bites
Still at home, this is a cozy, crowded, neighborhood brunch joint located on Ball Square in Somerville. The proprietors and staff have the seating and ordering process down cold, so even if there's a line outside, it moves quickly. Coffee and juice is self-serve, and the daily specials ably augment the standing menu. Alex and I went south of the border with our orders, with me ordering the Mexican omelette, which was stuffed with salsa, cheese, and other goodies. I know it's a small, simple thing, but the toast is among the best I've ever had. Perfectly toasted. Unbuttered. Tasty.
Monday: Anna's Taqueria
Now we're caught up to date. Alex and I grabbed a quick bite at this Porter Square taqueria before heading to 608 for the Boston Bloggers Gathering last night. She had a chicken burrito. I had a chicken quesadilla. Cheap eats, but good. It's good to be back in Boston!
From the In Box: 'Tis the Season to Be... AWOL III
Sorry you had a bad flight experience. I know how it is -- once flying from DC to Minneapolis, I sat in the plane on the runway waiting for takeoff for four hours. Four hours when we were only 100 yards from the beer-serving terminal!
You asked what I'm up to, so here it goes...
I'm reading "Another World is Possible." Fantastic. I could do without some of the essays, but most make me feel like the world isn't as bad as I sometimes think. I particularly like the essay by hip-hop activist Danny Hoch.
Speaking of hip hop, this weekend I attended the Hip Hop as a Movement Conference in Madison, Wisconsin. Friggin' fantastic. Met some great people, including political prisoner Fred Hampton, Jr.; radio DJ and MTV personality Sway (who had brilliant thoughts on how to affect positive change by infiltrating mainstream media -- a position you seemed to take in your debate with Sander Hicks), and a whole slew of hip-hop activists at all levels. Totally blew my mind. The best sessions discussed the takeover of media by corporations and the how-to's and challenges of indie media. You would've loved it. -- Clint Schaff
Sounds like it!
Sorry you had a bad flight experience. I know how it is -- once flying from DC to Minneapolis, I sat in the plane on the runway waiting for takeoff for four hours. Four hours when we were only 100 yards from the beer-serving terminal!
You asked what I'm up to, so here it goes...
I'm reading "Another World is Possible." Fantastic. I could do without some of the essays, but most make me feel like the world isn't as bad as I sometimes think. I particularly like the essay by hip-hop activist Danny Hoch.
Speaking of hip hop, this weekend I attended the Hip Hop as a Movement Conference in Madison, Wisconsin. Friggin' fantastic. Met some great people, including political prisoner Fred Hampton, Jr.; radio DJ and MTV personality Sway (who had brilliant thoughts on how to affect positive change by infiltrating mainstream media -- a position you seemed to take in your debate with Sander Hicks), and a whole slew of hip-hop activists at all levels. Totally blew my mind. The best sessions discussed the takeover of media by corporations and the how-to's and challenges of indie media. You would've loved it. -- Clint Schaff
Sounds like it!
From the In Box: 'Tis the Season to Be... AWOL III
Welcome back Heath!
I've missed your daily blogs so I've decided to create my own. Dan Pink suggested that I chronicle my experience as freelance writer-turned-barrista (to make ends meet), so that's what I've decided to do. I write little tid bits of info from a coffee house perspective. -- Lori Oliva
Nice to meet you, Lori! Checking out your blog, the Daily Grind, this morning, I'm impressed by your mix of behind-the-counter personal writing, quick-hit economic analysis, overheard executive conversations, and media news items. Keep up the good work! And welcome to the blogosphere.
Welcome back Heath!
I've missed your daily blogs so I've decided to create my own. Dan Pink suggested that I chronicle my experience as freelance writer-turned-barrista (to make ends meet), so that's what I've decided to do. I write little tid bits of info from a coffee house perspective. -- Lori Oliva
Nice to meet you, Lori! Checking out your blog, the Daily Grind, this morning, I'm impressed by your mix of behind-the-counter personal writing, quick-hit economic analysis, overheard executive conversations, and media news items. Keep up the good work! And welcome to the blogosphere.
Video-A-Go-Go
Emily informs me that Curious Brain is organizing another screening of local independent music videos. The deadline for submissions is May 15, and the screenings will take place in mid-June. From the Showcase06 Call for Submission:
"Flip on the tele, see a music video. Doesn't matter the channel, whether it's selling you fashion, technology, or, hey, music. Music video's always been attached to product, after all, back in 1900, when music video -- then called illustrated song -- was invented, it was set up to sell sheet music. More than any other art form, music video is tied to commerce. But like any other medium, its creative upside was immediately recognized by artists everywhere.
"Curiousbrain proudly presents MU-VI, a showcase of music video's focusing on the art of combination of audio and visual. Co-sponsored by Boston's preeminent independent cinema, the Coolidge Corner theater, the two day event premieres on Friday night, June 14, at 11 p.m. at the Coolidge's state-of-the-art screening room and continues with two shows at 1 and 3 p.m. on Saturday, June 15. The showcase is capped off by a live concert for selected musicians from the show Saturday night! Tickets are 8 dollars, and will be on sale at the Coolidge soon!"
If you're in a local band, submit. This should be fun.
Emily informs me that Curious Brain is organizing another screening of local independent music videos. The deadline for submissions is May 15, and the screenings will take place in mid-June. From the Showcase06 Call for Submission:
"Flip on the tele, see a music video. Doesn't matter the channel, whether it's selling you fashion, technology, or, hey, music. Music video's always been attached to product, after all, back in 1900, when music video -- then called illustrated song -- was invented, it was set up to sell sheet music. More than any other art form, music video is tied to commerce. But like any other medium, its creative upside was immediately recognized by artists everywhere.
"Curiousbrain proudly presents MU-VI, a showcase of music video's focusing on the art of combination of audio and visual. Co-sponsored by Boston's preeminent independent cinema, the Coolidge Corner theater, the two day event premieres on Friday night, June 14, at 11 p.m. at the Coolidge's state-of-the-art screening room and continues with two shows at 1 and 3 p.m. on Saturday, June 15. The showcase is capped off by a live concert for selected musicians from the show Saturday night! Tickets are 8 dollars, and will be on sale at the Coolidge soon!"
If you're in a local band, submit. This should be fun.
Monday, April 22, 2002
From the In Box: 'Tis the Season to Be... AWOL III
Ouch, again. I just finished working through the 2,100 emails in my in boxes, after about seven and a half hours of almost-solid laptop time, and do my eyes smart! Wow, oh, wow. Ow. And how. Several people took me up on my offer of distracting me with personal and Media Diet-related email (thank you), so I figured I'd share some of the best bits.
Next time, give me a call! -- Laurent
Indeed, Laurent. I wish I'd had your phone number with me while I was stuck overnight in Paris. I would've preferred hanging out with you instead of at the hotel, at the airport, etc. I'm sure we'll meet some day, though. While I was in Italy, I had two extremely small-world moments. One of the other participants at the conference I spoke at lives down the street from me. Imagine! And I went to college with another of the participants. Stuff like this happens to me more and more. It's a small world, after all. (Please don't sue me, Disney.)
Where's the Media Diet, dude? I was just looking forward to some time chilling out reading it on a Sunday morning. Hope all's well and that you're back online soon. -- Rick Weller
I hope you're doing OK. I've been thinking about you since last Friday afternoon, when I noticed you hadn't posted to Media Diet all day. -- Charlie Park
While Laurent's email made me feel good -- and reminded me how blogs and the Web can help people connect around the world -- the fact that people (represented here by the good people Rick and Charlie) missed Media Diet made me feel even better. Even though I fully intended to be back online Friday, that clearly didn't turn out to be the case. Sorry to let you Media Dieticians down. I'd say that it won't happen again, but you know what? It might. These things happen.
Blogged you today on my site. Your site's cool.
I seem to be seated next to you in a Pullman coach called Dan Pink's Just One Thing. Our links are alphabetically proximate. I admit to being a louse and actually never visiting your site until today. Je suis desolee. Excusez-moi.
Your flight sounded like a nightmarish one I took from Paris DeGaulle to SFO to LAX. It took a speedy (and usual) 11 hours from Paris to SF and then we got fogged in. It took another eight hours (instead of one) to go from San Fran to LA.
Write more and go away often. -- Halley Suitt
Hello, Halley. Thanks for finally checking in! If others aren't familiar with the blog Halley's Comment (great name, by the way!), it's a solid selection of cultural trend analysis, business news commentary, media mentions, blog references, and personal writing. Halley's Comment is cleverly contextual and quite revelatory -- i.e. the entries earlier this month about the death of Halley's father. I'll be adding this to my daily reads -- which, obviously, I haven't been able to keep up with.
In fact, my eyes are numb. So I'm going to take a break.
Ouch, again. I just finished working through the 2,100 emails in my in boxes, after about seven and a half hours of almost-solid laptop time, and do my eyes smart! Wow, oh, wow. Ow. And how. Several people took me up on my offer of distracting me with personal and Media Diet-related email (thank you), so I figured I'd share some of the best bits.
Next time, give me a call! -- Laurent
Indeed, Laurent. I wish I'd had your phone number with me while I was stuck overnight in Paris. I would've preferred hanging out with you instead of at the hotel, at the airport, etc. I'm sure we'll meet some day, though. While I was in Italy, I had two extremely small-world moments. One of the other participants at the conference I spoke at lives down the street from me. Imagine! And I went to college with another of the participants. Stuff like this happens to me more and more. It's a small world, after all. (Please don't sue me, Disney.)
Where's the Media Diet, dude? I was just looking forward to some time chilling out reading it on a Sunday morning. Hope all's well and that you're back online soon. -- Rick Weller
I hope you're doing OK. I've been thinking about you since last Friday afternoon, when I noticed you hadn't posted to Media Diet all day. -- Charlie Park
While Laurent's email made me feel good -- and reminded me how blogs and the Web can help people connect around the world -- the fact that people (represented here by the good people Rick and Charlie) missed Media Diet made me feel even better. Even though I fully intended to be back online Friday, that clearly didn't turn out to be the case. Sorry to let you Media Dieticians down. I'd say that it won't happen again, but you know what? It might. These things happen.
Blogged you today on my site. Your site's cool.
I seem to be seated next to you in a Pullman coach called Dan Pink's Just One Thing. Our links are alphabetically proximate. I admit to being a louse and actually never visiting your site until today. Je suis desolee. Excusez-moi.
Your flight sounded like a nightmarish one I took from Paris DeGaulle to SFO to LAX. It took a speedy (and usual) 11 hours from Paris to SF and then we got fogged in. It took another eight hours (instead of one) to go from San Fran to LA.
Write more and go away often. -- Halley Suitt
Hello, Halley. Thanks for finally checking in! If others aren't familiar with the blog Halley's Comment (great name, by the way!), it's a solid selection of cultural trend analysis, business news commentary, media mentions, blog references, and personal writing. Halley's Comment is cleverly contextual and quite revelatory -- i.e. the entries earlier this month about the death of Halley's father. I'll be adding this to my daily reads -- which, obviously, I haven't been able to keep up with.
In fact, my eyes are numb. So I'm going to take a break.
Kill Your Television III
Emily Nussbaum contributes a thoughtful and engaging piece on the joys of participatory television in Salon. In it, she addresses the role that spoilers play in episode reports, the opportunities offered by access to program writers and directors, and the energy inherent in fan-driven online conversations. Nussbaum's personal account offers a nice balance to TV Turnoff Week, suggesting that participatory television could increase the social aspects and effects of TV programming and viewing.
Emily Nussbaum contributes a thoughtful and engaging piece on the joys of participatory television in Salon. In it, she addresses the role that spoilers play in episode reports, the opportunities offered by access to program writers and directors, and the energy inherent in fan-driven online conversations. Nussbaum's personal account offers a nice balance to TV Turnoff Week, suggesting that participatory television could increase the social aspects and effects of TV programming and viewing.
'Tis the Season to Be... AWOL III
Ouch. This is what happens when I go away for a week. I came into the office this morning to 600-plus emails in my personal in box -- mostly spam, which made the deleting free and easy -- and just under 1,500 emails in my work in box. I just finished scouring the personal emails, and now I'm cracking the work in box. It's times like this that make me wish, sometimes but never for long, that I wasn't as well connected as I am.
Not really. Send me an email. Tell me whether you've ever been to Italy or France. Regale me with travel horror stories. Let me know what you're reading. Punctuate my day as I catch up on email. Your emails will be real; the messages I'm combing through now have the air of the past, of transience and obsolescence. They're still important, granted, but they don't feel like they're of the now. And now that I'm finally back in Boston, I'm a little tired of transience; I need more of the now.
Ouch. This is what happens when I go away for a week. I came into the office this morning to 600-plus emails in my personal in box -- mostly spam, which made the deleting free and easy -- and just under 1,500 emails in my work in box. I just finished scouring the personal emails, and now I'm cracking the work in box. It's times like this that make me wish, sometimes but never for long, that I wasn't as well connected as I am.
Not really. Send me an email. Tell me whether you've ever been to Italy or France. Regale me with travel horror stories. Let me know what you're reading. Punctuate my day as I catch up on email. Your emails will be real; the messages I'm combing through now have the air of the past, of transience and obsolescence. They're still important, granted, but they don't feel like they're of the now. And now that I'm finally back in Boston, I'm a little tired of transience; I need more of the now.
Kill Your Television II
TV Turnoff Week starts today and runs through April 28. The current issue of Nature reports that teenagers who watch a lot of television are more apt to grow up to be violent adults. My guess is that it's not so much because they watch television but because they do so in lieu of other social activities with friends and family. Televisions don't socialize children; parents and other people do.
I'm not saying that it's OK to watch TV if you watch it with other people. I'm not even saying that it's not OK to watch TV at all. Heck, what am I saying? I don't even have cable, much less a TV antenna. And I throw a little rug over my TV so it doesn't collect dust (and so the demons in the box don't escape). I'm hardly a poster child for TV activism on either end of the spectrum. Yet I'd still like to see an episode of the Osbournes. I'm not encouraging copyright infringement, but if you'd like to send me a video tape of the Osbournes, my address is on the left. The tape will be used strictly for personal, archival, and research-oriented viewing. Of course.
TV Turnoff Week starts today and runs through April 28. The current issue of Nature reports that teenagers who watch a lot of television are more apt to grow up to be violent adults. My guess is that it's not so much because they watch television but because they do so in lieu of other social activities with friends and family. Televisions don't socialize children; parents and other people do.
I'm not saying that it's OK to watch TV if you watch it with other people. I'm not even saying that it's not OK to watch TV at all. Heck, what am I saying? I don't even have cable, much less a TV antenna. And I throw a little rug over my TV so it doesn't collect dust (and so the demons in the box don't escape). I'm hardly a poster child for TV activism on either end of the spectrum. Yet I'd still like to see an episode of the Osbournes. I'm not encouraging copyright infringement, but if you'd like to send me a video tape of the Osbournes, my address is on the left. The tape will be used strictly for personal, archival, and research-oriented viewing. Of course.
Air France Wasted My Life
It's good to be home. No thanks to Air France.
I was supposed to be back in Boston around 5:30 p.m. Thursday but didn't hit my apartment on Magazine Street until about 8:45 p.m. Friday, 27 hours later, not including the time I spent flying over the Atlantic Ocean. My flights home started off without a hitch. The leg from Turin, Italy, to Paris, was quick, and despite a brief stopover at Charles de Gaulle, things looked good. We were delayed because of a mechanical problem on the plane that was to take us to the States -- a compressor in the left wing's engine. It's good they wanted to fix it, but it's not good that they kept us on the tarmac and in the gate area for six-plus hours before deciding it was taking too long, canceling our flight, and guaranteeing that we missed the other flights from Paris to Boston that day.
So, after waiting in line for about an hour after the flight's cancelation, I had Friday's plane tickets, as well as a meal and hotel voucher in hand -- and instructions on how to catch the shuttle bus to my lodging for the night, the Ibis Hotel just on the edge of the airport. I spent another 45 minutes at the crummy, closed (especially for us) airport restaurant Brasserie Flo waiting to be served some cole slaw and stuffed chicken, and the waiter -- who was overextended, granted -- never did bring me any water, much less anything else to drink. Then I waited for the shuttle, which took another 30 minutes to come back around while a cool rain fell.
Finally getting to the Ibis around 11 p.m., I considered my fate. Here I was in Paris, stuck in a small room with nothing to do until 1 p.m. the next day, when I was scheduled to fly to Montreal, Quebec, Canada. You see, the "best" Air France could do rerouting me home was to send me to Canada early the next afternoon. No first flight out. No morning passage. Then I'd sit in the airport in Montreal for five hours before continuing onto Boston. Sigh. The Ibis was overrun with junior high school kids on a French class trip (I'm guessing), also delayed overnight, and the payphone lines were extremely long and loud as the kids called home to talk to their parents. The phones in our rooms didn't work. Because Air France was picking up the bill and the hotel registration staff didn't get any billing information from us as we checked in, the phones were off. Who would they bill the calls to? So I had a couple of beers in the hotel bar, watched a little MTV, and drifted off to sleep in my closet of a room.
Friday morning I spent several hours at Charles de Gaulle, opting to be bored at the airport rather than at the hotel. My flight to Montreal was on time (thank the gods), and once I arrived at Dorval, it looked like I'd be able to make standby for an earlier departure -- avoiding the five-hour stopover. After a brief hang up at security -- they didn't recognize my iPod for a legitimate consumer electronics product, and I had to box it up and check it separately because the batteries were dead -- I was at the gate. Then that flight (now on Delta, to be fair to Air France) was delayed because of weather on the East Coast.
But I made standby, the plane eventually made it off the ground, and I finally got home. Now if only I could get those 27-plus hours of my life back, things would be just great. It's good to be back, no thanks to Air France.
It's good to be home. No thanks to Air France.
I was supposed to be back in Boston around 5:30 p.m. Thursday but didn't hit my apartment on Magazine Street until about 8:45 p.m. Friday, 27 hours later, not including the time I spent flying over the Atlantic Ocean. My flights home started off without a hitch. The leg from Turin, Italy, to Paris, was quick, and despite a brief stopover at Charles de Gaulle, things looked good. We were delayed because of a mechanical problem on the plane that was to take us to the States -- a compressor in the left wing's engine. It's good they wanted to fix it, but it's not good that they kept us on the tarmac and in the gate area for six-plus hours before deciding it was taking too long, canceling our flight, and guaranteeing that we missed the other flights from Paris to Boston that day.
So, after waiting in line for about an hour after the flight's cancelation, I had Friday's plane tickets, as well as a meal and hotel voucher in hand -- and instructions on how to catch the shuttle bus to my lodging for the night, the Ibis Hotel just on the edge of the airport. I spent another 45 minutes at the crummy, closed (especially for us) airport restaurant Brasserie Flo waiting to be served some cole slaw and stuffed chicken, and the waiter -- who was overextended, granted -- never did bring me any water, much less anything else to drink. Then I waited for the shuttle, which took another 30 minutes to come back around while a cool rain fell.
Finally getting to the Ibis around 11 p.m., I considered my fate. Here I was in Paris, stuck in a small room with nothing to do until 1 p.m. the next day, when I was scheduled to fly to Montreal, Quebec, Canada. You see, the "best" Air France could do rerouting me home was to send me to Canada early the next afternoon. No first flight out. No morning passage. Then I'd sit in the airport in Montreal for five hours before continuing onto Boston. Sigh. The Ibis was overrun with junior high school kids on a French class trip (I'm guessing), also delayed overnight, and the payphone lines were extremely long and loud as the kids called home to talk to their parents. The phones in our rooms didn't work. Because Air France was picking up the bill and the hotel registration staff didn't get any billing information from us as we checked in, the phones were off. Who would they bill the calls to? So I had a couple of beers in the hotel bar, watched a little MTV, and drifted off to sleep in my closet of a room.
Friday morning I spent several hours at Charles de Gaulle, opting to be bored at the airport rather than at the hotel. My flight to Montreal was on time (thank the gods), and once I arrived at Dorval, it looked like I'd be able to make standby for an earlier departure -- avoiding the five-hour stopover. After a brief hang up at security -- they didn't recognize my iPod for a legitimate consumer electronics product, and I had to box it up and check it separately because the batteries were dead -- I was at the gate. Then that flight (now on Delta, to be fair to Air France) was delayed because of weather on the East Coast.
But I made standby, the plane eventually made it off the ground, and I finally got home. Now if only I could get those 27-plus hours of my life back, things would be just great. It's good to be back, no thanks to Air France.
Thursday, April 11, 2002
Slam Dancing Sexercise II
Emily now says that Punk Rock Aerobics will also be featured on VH1 News tomorrow. That spot will run as part of the 8 a.m. newscast, as well as throughout the day, I gather. Just in case you missed it today.
Emily now says that Punk Rock Aerobics will also be featured on VH1 News tomorrow. That spot will run as part of the 8 a.m. newscast, as well as throughout the day, I gather. Just in case you missed it today.
Metaphor Marketing and Marketing Metaphors
I just spent the last hour working through an interesting exercise with Tom Fishburne, a student at the Harvard Business School. He's part of a team working on a research project looking at readers' impressions of and experiences with Fast Company. One of the tools they're using is the Zaltman Metaphor Elicitation Technique (ZMET), a "patented research tool which allows people to understand their own thinking more fully and to share this thinking with researchers."
Basically, Tom asked me to pick five photographs or images from magazines and newspapers that remind me of the magazine and working here -- and relate to my thoughts and feelings about FC. We spent the hour talking about what made me pick the images I selected, what I thought the pictures communicated, and how the pictures fit into my experiences working for Fast Company -- and what we do as an organization (and in the magazine). He took the pictures and my initial notes on them with him -- at my prompting -- so I can't get into what I said or how I feel, but I thought it might be useful to share some ZMET-related resources.
Storytelling: A New Way to Get Close to Your Customer
Metaphor Marketing
La Di Da on ZMET
ZMET for Metaphor Marketing
Emerging Perspectives, Summer 2001
I've asked Tom to send me my pictures and notes when he's done with them. Perhaps I'll be able to share more upon my return.
I just spent the last hour working through an interesting exercise with Tom Fishburne, a student at the Harvard Business School. He's part of a team working on a research project looking at readers' impressions of and experiences with Fast Company. One of the tools they're using is the Zaltman Metaphor Elicitation Technique (ZMET), a "patented research tool which allows people to understand their own thinking more fully and to share this thinking with researchers."
Basically, Tom asked me to pick five photographs or images from magazines and newspapers that remind me of the magazine and working here -- and relate to my thoughts and feelings about FC. We spent the hour talking about what made me pick the images I selected, what I thought the pictures communicated, and how the pictures fit into my experiences working for Fast Company -- and what we do as an organization (and in the magazine). He took the pictures and my initial notes on them with him -- at my prompting -- so I can't get into what I said or how I feel, but I thought it might be useful to share some ZMET-related resources.
I've asked Tom to send me my pictures and notes when he's done with them. Perhaps I'll be able to share more upon my return.
'Tis the Season to Be... AWOL II
Tomorrow early, I head to Greensboro, North Carolina, for a Company of Friends event at Guilford College. Sunday, I fly back to Boston and then on to Italy, where I'll be speaking about and leading a workshop on sustainable community design at the Interaction Design Institute Ivrea.
According to my parents and the Overseas Security Advisory Council, the three major labor unions in Italy -- which claim 12 million members -- have called a general strike for April 16, the day of my panel discussion and workshop. Quoth the OSAC, "The eight-hour stoppage is expected in most Italian cities and could cause transportation delays." Good thing I arrive April 15 and depart April 18. Fingers crossed that I'll get in and out without a hitch!
Anyway, I said all that to say that chances are good I won't be online much for the next, um, week. While I hope to update Media Diet while traveling, if I don't, that doesn't mean that Media Diet is dead (long live Media Diet!). It just means that it's resting. I'll be back on the attack next Friday, April 19, for sure.
(And lest you wonder, my parents have no connection with the OSAC. They just look out for me.)
Tomorrow early, I head to Greensboro, North Carolina, for a Company of Friends event at Guilford College. Sunday, I fly back to Boston and then on to Italy, where I'll be speaking about and leading a workshop on sustainable community design at the Interaction Design Institute Ivrea.
According to my parents and the Overseas Security Advisory Council, the three major labor unions in Italy -- which claim 12 million members -- have called a general strike for April 16, the day of my panel discussion and workshop. Quoth the OSAC, "The eight-hour stoppage is expected in most Italian cities and could cause transportation delays." Good thing I arrive April 15 and depart April 18. Fingers crossed that I'll get in and out without a hitch!
Anyway, I said all that to say that chances are good I won't be online much for the next, um, week. While I hope to update Media Diet while traveling, if I don't, that doesn't mean that Media Diet is dead (long live Media Diet!). It just means that it's resting. I'll be back on the attack next Friday, April 19, for sure.
(And lest you wonder, my parents have no connection with the OSAC. They just look out for me.)
Slam Dancing Sexercise
My friend Emily informs me that Punk Rock Aerobics will be featured on VH1 News today. Several members of the Handstand Command collective will be featured as part of the clip, as well as a live supergroup of J. Mascis, Wharton Tiers, and Evan Dando. The spot is supposed to run all day, so check it out!
My friend Emily informs me that Punk Rock Aerobics will be featured on VH1 News today. Several members of the Handstand Command collective will be featured as part of the clip, as well as a live supergroup of J. Mascis, Wharton Tiers, and Evan Dando. The spot is supposed to run all day, so check it out!
Subway Soundtrack II
I listened to the following songs on the way to work today:
Digable Planets:
Rebirth of Slick (Cool Like Dat)
Cypress Hill:
Insane in the Membrane
Eminem:
The Real Slim Shady (Album Version)
Urban Dance Squad:
Deeper Shade of Soul
I listened to the following songs on the way to work today:
Digable Planets:
Rebirth of Slick (Cool Like Dat)
Cypress Hill:
Insane in the Membrane
Eminem:
The Real Slim Shady (Album Version)
Urban Dance Squad:
Deeper Shade of Soul
Wednesday, April 10, 2002
These Links Were Made for Breaking?
In a bit of disturbing news, it seems that a federal appeals court in California needs to reconsider a decision passed down in February that could set a dangerous precedent -- a decision that suggests that every single link on the Web is an infringement of copyright. A photographer sued Ditto for including images he'd put online in their search results -- as thumbnails linking to the photos he'd published on the Web. The court said that including the thumbnails was fair use -- but that Ditto could not link to the original images through the thumbnails.
Without links, what's the point of the Web? Go figure.
In a bit of disturbing news, it seems that a federal appeals court in California needs to reconsider a decision passed down in February that could set a dangerous precedent -- a decision that suggests that every single link on the Web is an infringement of copyright. A photographer sued Ditto for including images he'd put online in their search results -- as thumbnails linking to the photos he'd published on the Web. The court said that including the thumbnails was fair use -- but that Ditto could not link to the original images through the thumbnails.
Without links, what's the point of the Web? Go figure.
PR with a Purpose
Public relations executive Leigh Vogel was so impressed by the advertising savvy of the American Anti-Slavery Group in Boston that she decided to pitch in her skills to help further the global abolition cause. To date, she's enlisted Perry Farrell to travel to Sudan to play music, dance, and celebrate with 2,300 people rescued during a recent mission. She's also arranged for escaped slave Francis Bok to speak a music festival that attracted 40,000 people.
Public relations executive Leigh Vogel was so impressed by the advertising savvy of the American Anti-Slavery Group in Boston that she decided to pitch in her skills to help further the global abolition cause. To date, she's enlisted Perry Farrell to travel to Sudan to play music, dance, and celebrate with 2,300 people rescued during a recent mission. She's also arranged for escaped slave Francis Bok to speak a music festival that attracted 40,000 people.
One Man's Alternative Media Strategy III
Sander Hicks recently released a draft of his alternative media strategy. I responded. Today, the dialogue continues as Sander comments on my critique.
Well, we have the brewing of a classic anarchist-versus-socialist debate brewing here, but I'd like to address our differences as friends.
I made reference to the "fat cats" and you quoted me. That's the first question: Do you believe a class of fat cats exists? And if so, that a class of the rest of us exists under them?
I think your first major weakness is the quick summary of what the "Left" means to you. A fast cobbling together of some minor '60s figures, some of whom are now conservatives, is not what I call the "Left." For me, it's a grand red tradition that goes back to the French Revolution, or back farther to the Diggers. From there, up through Marx, the Abolitionists, the Soviet experiment, Civil Rights, the Anti-War Movement, etc. It's not a trend, a lifestyle, or the product of a bygone era. Today, it's ascendent, it's in the streets, and corporate globalization is going to get what it deserves. It's like this big poster this black lady had up at the protest against Bush's inauguration -- "Mr. President, the Movement is Back!"
I don't want to sound like I'm lecturing you or talking down to you, but you're making a classic anarchist blunder: Your privileged background helps you to ignore the centrality of class struggle. And this hurts your argument. God, that sounded anal. I mean, I come from an upper-middle-class background myself. Dad was a World Bank economist. But having been on the streets a little bit in the last 10 years, I have worked to rid myself of the outlook of my upbringing and sought to see the world with the masses. I mean, you and I know how strong capitalism is, and as two people who have, at times, bought into the Fast Company culture of progressive capitalism, we see how capitalism is powerful because it creates a worldview. I would argue that Fast Company-type mini-revolutions have been happening since the dawn of capitalism. That same energy is what started capitalism, and, thank God, gave it the gumption to beat feudalism and create something new.
But where is it going? And what does that worldview today really teach us? Well, first of all, it teaches you this cynicism, not to take the Left seriously, and to consign it to the dustbin of history, again and again, despite its presence. Even you don't seem to put much credence in the anarchist thinkers you hold up as alternatives: Zerzan, Bookchin. But what is the real lesson of capitalism? On its surface, there is a myth... and it does have some basis in reality... an interesting amount of zeal and excitement does run through a small business... the lesson I take from that is that we all should work at a job we love, a job we are inspired by, and pour our souls into. Everyone should have that, but it's not going to happen under this system. This system has proven that. Capitalism is based on exploiting people. A few are granted the privilege of believing in what they are doing; the rest can't believe this is happening to them.
Let me bring it down to concrete examples. I've been taking a break from the city and from Soft Skull out here in Long Island, writing sometimes, but working as a carpenter for money. In both companies I've worked for, the boss is always trying to dock your wages for petty reasons, keep your wages down when you start there, pay you as little as he can. Why? Because it's the easiest thing he can do to cut costs. They know I need the work, I don't really have an means to address grievances, I'm a floating non-union carpenter out here. What they don't know is that in my head, I'm putting the math together. This is what capitalism is, times a billion. It's bosses getting away with as much as possible and taking it out of labor, the real source of the value. We're the ones building the house, or spackling the interior, or outside 20 feet up in the air on a plank between two ladders, nailing cedar clapboard siding on. And they are the ones with a certain worldview that says -- this is human nature, it's everyone for himself, it's dog eat dog, let's do it to them before they do it to us.
So, your quick summary of the Left was sloppy. And I'm not sure you even really understand why class exploitation is wrong, or if you believe such a thing exists.
You are free to say that I, Heath Row, am not on the Left. But don't say it doesn't exist in history. And please don't slander a tradition I love.
Now then, here's something we agree on:
Deprofessionalize journalism
This sounds a lot like something said in this book I'm currently reading, "Something to Guard: The Stormy Life of the National Guardian 1948-1967." It's about guys who tried to start a left news weekly in NYC and keep it running through the crest of McCarthyism. They were in Europe for the Marshall Plan and saw a lot of socialists kept out of the reconstruction while the U.S. let a lot of deposed fascists come back into power. Back in the USA, the media and government were in cahoots to re-elect Truman, the bomber of mass Japanese civilians, on a platform that was Cold War defense contracting and business as usual.
One of the founding principles of the Guardian was that the profit motive didn't belong in media. It didn't serve the nature of the trade. What do you think about this? I notice you relegate the profit motive to underneath the need to "make sense of the world " and this I applaud. But what's the role of the profit motive in media?
Your solution right now seems incomplete. Micro-media projects? I'm sorry, but the world we live in is much bigger than that. We've got a class of fat cats fighting over the world resources with our blood, our labor. Who's going to stop it? Not a collective of indie rock bands or a zine. A workers revolution will. One that unites the Left, one that is dynamic, and has learned from its past.
Or, you suggest:
Smash the media state from inside
You see, we're after different goals. I want a better world than this, and I think it's possible. You, on the other hand, in effect are telling the world here, "It's OK. Work for Bertlesmann. Things aren't that bad! Everyone's doing it!"
Sorry, that sounded sarcastic, and I wanted to write this in a way that wasn't hurtful. But the sarcasm was meant to make a point. I hope the point is taken; it was not made with malice.
Offer viable parallel options
I like this, and I really like the idea of us appropriating the values (good design, editing) from them. We have more in common than I realize, perhaps.
All too often, I see indie media without values. Our values have to be better, not worse, than bourgeois capitalism. Some indie media/political kids don't get this. But you know what? They tend to be young, and they tend to be anarchist. Either the world knocks some sense into it like it did me, or they get out of indie media. Because this "anarchist" view of hermetic, sloppy media production itself doesn't serve the "market" for quality things people need.
On that note, what's up with your self-deprecating comments on the Anchormen? Don't you believe in the quality of that project? I mean, I for one put a song on a mix tape for a girl I had a hugehuge crush on. Not all songs you do are great, but there are moments of brilliance in that band. I think in this instance, your need to be clever, self-effacing, and smart got the better of you. It happened way too much in this piece. -- Sander Hicks
Sander Hicks recently released a draft of his alternative media strategy. I responded. Today, the dialogue continues as Sander comments on my critique.
Well, we have the brewing of a classic anarchist-versus-socialist debate brewing here, but I'd like to address our differences as friends.
I made reference to the "fat cats" and you quoted me. That's the first question: Do you believe a class of fat cats exists? And if so, that a class of the rest of us exists under them?
I think your first major weakness is the quick summary of what the "Left" means to you. A fast cobbling together of some minor '60s figures, some of whom are now conservatives, is not what I call the "Left." For me, it's a grand red tradition that goes back to the French Revolution, or back farther to the Diggers. From there, up through Marx, the Abolitionists, the Soviet experiment, Civil Rights, the Anti-War Movement, etc. It's not a trend, a lifestyle, or the product of a bygone era. Today, it's ascendent, it's in the streets, and corporate globalization is going to get what it deserves. It's like this big poster this black lady had up at the protest against Bush's inauguration -- "Mr. President, the Movement is Back!"
I don't want to sound like I'm lecturing you or talking down to you, but you're making a classic anarchist blunder: Your privileged background helps you to ignore the centrality of class struggle. And this hurts your argument. God, that sounded anal. I mean, I come from an upper-middle-class background myself. Dad was a World Bank economist. But having been on the streets a little bit in the last 10 years, I have worked to rid myself of the outlook of my upbringing and sought to see the world with the masses. I mean, you and I know how strong capitalism is, and as two people who have, at times, bought into the Fast Company culture of progressive capitalism, we see how capitalism is powerful because it creates a worldview. I would argue that Fast Company-type mini-revolutions have been happening since the dawn of capitalism. That same energy is what started capitalism, and, thank God, gave it the gumption to beat feudalism and create something new.
But where is it going? And what does that worldview today really teach us? Well, first of all, it teaches you this cynicism, not to take the Left seriously, and to consign it to the dustbin of history, again and again, despite its presence. Even you don't seem to put much credence in the anarchist thinkers you hold up as alternatives: Zerzan, Bookchin. But what is the real lesson of capitalism? On its surface, there is a myth... and it does have some basis in reality... an interesting amount of zeal and excitement does run through a small business... the lesson I take from that is that we all should work at a job we love, a job we are inspired by, and pour our souls into. Everyone should have that, but it's not going to happen under this system. This system has proven that. Capitalism is based on exploiting people. A few are granted the privilege of believing in what they are doing; the rest can't believe this is happening to them.
Let me bring it down to concrete examples. I've been taking a break from the city and from Soft Skull out here in Long Island, writing sometimes, but working as a carpenter for money. In both companies I've worked for, the boss is always trying to dock your wages for petty reasons, keep your wages down when you start there, pay you as little as he can. Why? Because it's the easiest thing he can do to cut costs. They know I need the work, I don't really have an means to address grievances, I'm a floating non-union carpenter out here. What they don't know is that in my head, I'm putting the math together. This is what capitalism is, times a billion. It's bosses getting away with as much as possible and taking it out of labor, the real source of the value. We're the ones building the house, or spackling the interior, or outside 20 feet up in the air on a plank between two ladders, nailing cedar clapboard siding on. And they are the ones with a certain worldview that says -- this is human nature, it's everyone for himself, it's dog eat dog, let's do it to them before they do it to us.
So, your quick summary of the Left was sloppy. And I'm not sure you even really understand why class exploitation is wrong, or if you believe such a thing exists.
You are free to say that I, Heath Row, am not on the Left. But don't say it doesn't exist in history. And please don't slander a tradition I love.
Now then, here's something we agree on:
Deprofessionalize journalism
This sounds a lot like something said in this book I'm currently reading, "Something to Guard: The Stormy Life of the National Guardian 1948-1967." It's about guys who tried to start a left news weekly in NYC and keep it running through the crest of McCarthyism. They were in Europe for the Marshall Plan and saw a lot of socialists kept out of the reconstruction while the U.S. let a lot of deposed fascists come back into power. Back in the USA, the media and government were in cahoots to re-elect Truman, the bomber of mass Japanese civilians, on a platform that was Cold War defense contracting and business as usual.
One of the founding principles of the Guardian was that the profit motive didn't belong in media. It didn't serve the nature of the trade. What do you think about this? I notice you relegate the profit motive to underneath the need to "make sense of the world " and this I applaud. But what's the role of the profit motive in media?
Your solution right now seems incomplete. Micro-media projects? I'm sorry, but the world we live in is much bigger than that. We've got a class of fat cats fighting over the world resources with our blood, our labor. Who's going to stop it? Not a collective of indie rock bands or a zine. A workers revolution will. One that unites the Left, one that is dynamic, and has learned from its past.
Or, you suggest:
Smash the media state from inside
You see, we're after different goals. I want a better world than this, and I think it's possible. You, on the other hand, in effect are telling the world here, "It's OK. Work for Bertlesmann. Things aren't that bad! Everyone's doing it!"
Sorry, that sounded sarcastic, and I wanted to write this in a way that wasn't hurtful. But the sarcasm was meant to make a point. I hope the point is taken; it was not made with malice.
Offer viable parallel options
I like this, and I really like the idea of us appropriating the values (good design, editing) from them. We have more in common than I realize, perhaps.
All too often, I see indie media without values. Our values have to be better, not worse, than bourgeois capitalism. Some indie media/political kids don't get this. But you know what? They tend to be young, and they tend to be anarchist. Either the world knocks some sense into it like it did me, or they get out of indie media. Because this "anarchist" view of hermetic, sloppy media production itself doesn't serve the "market" for quality things people need.
On that note, what's up with your self-deprecating comments on the Anchormen? Don't you believe in the quality of that project? I mean, I for one put a song on a mix tape for a girl I had a hugehuge crush on. Not all songs you do are great, but there are moments of brilliance in that band. I think in this instance, your need to be clever, self-effacing, and smart got the better of you. It happened way too much in this piece. -- Sander Hicks
Pieces, Particles II
The following media-related stories recently spotted in print publications -- and now online -- might be worth a look. Heads and decks, only. Heads and decks.
Adult Education, by Amy Sohn, New York, March 18, 2002
At a class on how to make a porn video, our writer picks up hints on camera angles and choreography. But try as she might, she still can't learn how to like it.
Bad Eggers! Bad Moody! Bad Sontag!, by Dennis Loy Johnson, AlterNet, March 18, 2002
A group of writers and 'zine publishers have formed a group hell-bent on harassing successful literary figures
But Who's Answering the Phone?, Economist, March 16, 2002
Technology gets into bed with the oldest profession
Copywrongs, by Wendy Kaminer, American Prospect, May 6, 2002
Film Business, by Todd Gitlin, American Prospect, March 25, 2002
French director Laurent Cantet revives the European art flick -- by filming men at work.
Forget the Books, by Cynthia Cotts, Village Voice, April 10, 2002
Secrets of Book Reviewing Revealed
Go Slow on Cross-Ownership, by Thomas Kunkel, American Journalism Review, March 2002
It would be bad news for news consumers.
Mechanical Prose, Economist, March 16, 2002
Journalists may become redundant. But not just yet
Novel Writing: America's Latest Extreme Sport, by Roger Gathman, Austin Chronicle, Nov. 30, 2001
The Essay Made Simple, by Dan Zevin, Rolling Stone, March 14, 2002
Geoff Cook reveals his secrets for a killer application
The World According to Lux, Economist, Dec. 22, 2001
How radio drama cheered up, and changed, America
Whatever Happened to the Sea Shanty?, by Robert Lloyd Webb, Maine Boats & Harbors, April/May 2002
The sea shanty is a sailor's work song. Without work, its value is difficult to appreciate.
When Boom Went Bust at the "Country Club", by Todd Woody, Columbia Journalism Review, January/February 2002
If you work for a magazine and would like to sign me up for a complimentary subscription, please feel free to do so. My address is in the grey bar over on the left.
The following media-related stories recently spotted in print publications -- and now online -- might be worth a look. Heads and decks, only. Heads and decks.
Adult Education, by Amy Sohn, New York, March 18, 2002
At a class on how to make a porn video, our writer picks up hints on camera angles and choreography. But try as she might, she still can't learn how to like it.
Bad Eggers! Bad Moody! Bad Sontag!, by Dennis Loy Johnson, AlterNet, March 18, 2002
A group of writers and 'zine publishers have formed a group hell-bent on harassing successful literary figures
But Who's Answering the Phone?, Economist, March 16, 2002
Technology gets into bed with the oldest profession
Copywrongs, by Wendy Kaminer, American Prospect, May 6, 2002
Film Business, by Todd Gitlin, American Prospect, March 25, 2002
French director Laurent Cantet revives the European art flick -- by filming men at work.
Forget the Books, by Cynthia Cotts, Village Voice, April 10, 2002
Secrets of Book Reviewing Revealed
Go Slow on Cross-Ownership, by Thomas Kunkel, American Journalism Review, March 2002
It would be bad news for news consumers.
Mechanical Prose, Economist, March 16, 2002
Journalists may become redundant. But not just yet
Novel Writing: America's Latest Extreme Sport, by Roger Gathman, Austin Chronicle, Nov. 30, 2001
The Essay Made Simple, by Dan Zevin, Rolling Stone, March 14, 2002
Geoff Cook reveals his secrets for a killer application
The World According to Lux, Economist, Dec. 22, 2001
How radio drama cheered up, and changed, America
Whatever Happened to the Sea Shanty?, by Robert Lloyd Webb, Maine Boats & Harbors, April/May 2002
The sea shanty is a sailor's work song. Without work, its value is difficult to appreciate.
When Boom Went Bust at the "Country Club", by Todd Woody, Columbia Journalism Review, January/February 2002
If you work for a magazine and would like to sign me up for a complimentary subscription, please feel free to do so. My address is in the grey bar over on the left.
The Days of Whiners and Posers
Here's a fine how do you do: Salon reports that employees of the Vault, a Web service established to encourage employees of other companies to vent about their employers, colleagues, and workplaces also use the Vault itself to air dirty laundry and voice opinions about the state of the organization and its team. While the Vault was built on anonymity and free speech, I'm surprised by how puerile some of the Vault employees' comments are. Constructive criticism it isn't. Say, is that the hand that feeds me? Bite!
The Salon piece goes on to detail the Vault's emergent practice of editing and deleting potentially libelous or tangentially chatty posts. Vaulties responded by establishing an alternative discussion space for team members. While the Vault wasn't as visible as Fucked Company, it's definitely a more solid business -- complete with a staff, a board of directors, hefty overhead, and the trappings of a standard startup. Maybe that was its mistake: dishing dirt about business might not make the most stable business plan.
Additional company comment sites:
Cool Avenues (Consultancies, primarily)
Disgruntled (RIP, it seems)
Epinions (Mostly products and services)
Insider Trade (Full disclosure: An FC joint)
The Motley Fool (Alphabetical stock-related discussions)
Additional coverage:
An Internet "Bounty" to Silence Premier Laser's Harshest Critic?
Companies Go After Anonymous Net Critics
Fighting Over Free Speech
Legal Tips for Your "Sucks" Site
Online Message Boards Bedevil Companies
Here's a fine how do you do: Salon reports that employees of the Vault, a Web service established to encourage employees of other companies to vent about their employers, colleagues, and workplaces also use the Vault itself to air dirty laundry and voice opinions about the state of the organization and its team. While the Vault was built on anonymity and free speech, I'm surprised by how puerile some of the Vault employees' comments are. Constructive criticism it isn't. Say, is that the hand that feeds me? Bite!
The Salon piece goes on to detail the Vault's emergent practice of editing and deleting potentially libelous or tangentially chatty posts. Vaulties responded by establishing an alternative discussion space for team members. While the Vault wasn't as visible as Fucked Company, it's definitely a more solid business -- complete with a staff, a board of directors, hefty overhead, and the trappings of a standard startup. Maybe that was its mistake: dishing dirt about business might not make the most stable business plan.
Additional company comment sites:
Additional coverage:
The Restaurant I Ate at Last Night II
As thanks for serving as my box hostel for, gosh, I don't even know how long, I took Anni and Jonathan -- and Alex -- out for dinner last night at Cuchi Cuchi on Central Square. The decor is amazingly stylish yet comfortable, the cocktails and mixed drinks (especially the Dirty Little Secret) are to die for, and the food -- while a tad on the pricy side -- is absolutely delicious and extremely well presented. Cuchi Cuchi is a relatively upscale tapas restaurant, providing a nice addition to Dali and Tapeo.
What did we eat? A lot. Yet, given the small plates, not that much! On our menu: Duck shank, garlic shrimp, red curry shrimp, mashed potatoes, asparagus, risotto, trout, and... come on memory. Something else besides the wonderful crusty bread and duck pate. Whatever. Remember: Cuchi Cuchi is a bit expensive. But not too expensive. And it's not that formal, although you can dress up as much as you want. Cuchi Cuchi is well worth checking out, even if just for a semi-special event such as, say, Buddha's birthday, which was Monday. Happy birthday, Buddha!
As thanks for serving as my box hostel for, gosh, I don't even know how long, I took Anni and Jonathan -- and Alex -- out for dinner last night at Cuchi Cuchi on Central Square. The decor is amazingly stylish yet comfortable, the cocktails and mixed drinks (especially the Dirty Little Secret) are to die for, and the food -- while a tad on the pricy side -- is absolutely delicious and extremely well presented. Cuchi Cuchi is a relatively upscale tapas restaurant, providing a nice addition to Dali and Tapeo.
What did we eat? A lot. Yet, given the small plates, not that much! On our menu: Duck shank, garlic shrimp, red curry shrimp, mashed potatoes, asparagus, risotto, trout, and... come on memory. Something else besides the wonderful crusty bread and duck pate. Whatever. Remember: Cuchi Cuchi is a bit expensive. But not too expensive. And it's not that formal, although you can dress up as much as you want. Cuchi Cuchi is well worth checking out, even if just for a semi-special event such as, say, Buddha's birthday, which was Monday. Happy birthday, Buddha!
Temp Rave
I learned about This Is Not My Desk via the Utne Web Watch, but it seems that proprietor Christopher Livingston also has a Cardhouse hook up. Small world, indeed! This next bit is for Chris' eyes only:
"Hi! I am on Cardhouse!" their wave tells me.
"Hello! I am also on Cardhouse!" I wave back.
"I see that you are on Cardhouse, and I am communicating that fact with my hand and arm!" they reply.
OK; the rest of you can start reading again.
Chris' blog is a solid personal and work-oriented resource, particularly people involved or interested in temporary employment. Chris takes a silly look at how often he thinks about sex, mourns not being able to commute to work by ferry any more, offers some Web sites people can check out for a diversion while at work, and makes fun of the cliched interview article format. He also provides guides to some of the more prevalent workplace denizens -- the receptionist, the office assistant -- reviews of work-related Web sites, movies, and books; and hosts a discussion board.
One diversion he offers, and then I'm out of here. The Carlos Work Nickname Generator calculates what co-workers call you behind your back. Typing in my first and last name, I learn that I am called "the boy." Actually, people call me Dr. Row -- ask me not why -- but I like the sound of Carlos' nickname. The boy. The boy. Yup!
I learned about This Is Not My Desk via the Utne Web Watch, but it seems that proprietor Christopher Livingston also has a Cardhouse hook up. Small world, indeed! This next bit is for Chris' eyes only:
"Hi! I am on Cardhouse!" their wave tells me.
"Hello! I am also on Cardhouse!" I wave back.
"I see that you are on Cardhouse, and I am communicating that fact with my hand and arm!" they reply.
OK; the rest of you can start reading again.
Chris' blog is a solid personal and work-oriented resource, particularly people involved or interested in temporary employment. Chris takes a silly look at how often he thinks about sex, mourns not being able to commute to work by ferry any more, offers some Web sites people can check out for a diversion while at work, and makes fun of the cliched interview article format. He also provides guides to some of the more prevalent workplace denizens -- the receptionist, the office assistant -- reviews of work-related Web sites, movies, and books; and hosts a discussion board.
One diversion he offers, and then I'm out of here. The Carlos Work Nickname Generator calculates what co-workers call you behind your back. Typing in my first and last name, I learn that I am called "the boy." Actually, people call me Dr. Row -- ask me not why -- but I like the sound of Carlos' nickname. The boy. The boy. Yup!
Subway Soundtrack
Thanks to my new iPod and Dave's generosity, I listened to the following songs on the way to work today:
Killing Joke:
Eighties, Love Like Blood
Psychedelic Furs:
Love My Way
Simple Minds:
Don't You (Forget About Me)
Thanks to my new iPod and Dave's generosity, I listened to the following songs on the way to work today:
Killing Joke:
Eighties, Love Like Blood
Psychedelic Furs:
Love My Way
Simple Minds:
Don't You (Forget About Me)
Tuesday, April 09, 2002
Comic Strips and Controversy
Running in step with the anti-Ted Rall camp, students at Purdue University, my father's alma mater, recently protested an editorial cartoon by Pat Oliphant, claiming that Oliphant's comic shows "blatant ignorance of minority groups." In InstaPundit, Glenn Reynolds shares that he's not overly sympathetic to the Oliphant backlash -- and that that might be because he's been desensitized by Rall.
While I don't think people's responses to the Oliphant comic have anything to do with whether they're been exposed to Rall, I'm torn here just as I'm torn when considering whether Heeb is an offensive name for a magazine. I'm not Jewish, and I'm not black. So I'm coming at this from a sympathetic but not totally empathetic perspective. I think it's less about whether Rall defenders flock to the sides of Oliphant in the name of free speech -- and more about just what it is that Oliphant's saying in the comic strip.
Is he saying that reparations to black people in terms of rights and opportunities have been paid in full? That black people are petty because they -- if there is a "they" here -- push for cash money as well as rights and opportunities? That white guilt leads people to sway too far while interacting with underserved and underpriveleged minorities? That Lincoln was a racist who used semantics to throw bones at the freed slaves instead of truly making up for their ill treatment for centuries? It seems to me that Oliphant is criticizing whites as well as blacks in this comic.
***
Punchline without a set up: "Pat Oliphant never forgets."
Running in step with the anti-Ted Rall camp, students at Purdue University, my father's alma mater, recently protested an editorial cartoon by Pat Oliphant, claiming that Oliphant's comic shows "blatant ignorance of minority groups." In InstaPundit, Glenn Reynolds shares that he's not overly sympathetic to the Oliphant backlash -- and that that might be because he's been desensitized by Rall.
While I don't think people's responses to the Oliphant comic have anything to do with whether they're been exposed to Rall, I'm torn here just as I'm torn when considering whether Heeb is an offensive name for a magazine. I'm not Jewish, and I'm not black. So I'm coming at this from a sympathetic but not totally empathetic perspective. I think it's less about whether Rall defenders flock to the sides of Oliphant in the name of free speech -- and more about just what it is that Oliphant's saying in the comic strip.
Is he saying that reparations to black people in terms of rights and opportunities have been paid in full? That black people are petty because they -- if there is a "they" here -- push for cash money as well as rights and opportunities? That white guilt leads people to sway too far while interacting with underserved and underpriveleged minorities? That Lincoln was a racist who used semantics to throw bones at the freed slaves instead of truly making up for their ill treatment for centuries? It seems to me that Oliphant is criticizing whites as well as blacks in this comic.
Punchline without a set up: "Pat Oliphant never forgets."
Happy Birthday to Media Dieticians II
Matt celebrated his 32nd birthday April 7.
My sister turns 32 today.
Happy birthday, Matt and Becky!
Matt celebrated his 32nd birthday April 7.
My sister turns 32 today.
Happy birthday, Matt and Becky!
Mention Me! VI
Susan Kaup name dropped Media Diet in her blog last month.
She's also helping to organize a Boston Bloggers Gathering on April 22. That should be a hoot and a half.
Susan Kaup name dropped Media Diet in her blog last month.
She's also helping to organize a Boston Bloggers Gathering on April 22. That should be a hoot and a half.
Non Compliance
Former Somerville resident and area comics creator and designer Jordan Crane is in town for several days this week to celebrate the release of the fifth edition of his awe-inspiring comics anthology Non. There was a signing last night at the Picnic featuring Jordan, Megan Kelso, Greg Cook, Paul Lyons, P. Shaw, and Tom Devlin, and then a bunch of us -- including most of the Picnic staff -- repaired to Shay's for an evening of food, folks, fun... and many fizzy beverages. We closed the place, which probably wasn't the wisest move given that it was a Monday.
Limited to a run of 2,000 copies, Non has received exceptional reviews to date, including rankings in Time Magazine's best of 2001 list and the Village Voice's 25 favorite books of 2001. And it's a doozy. Featuring a silk-screened dust jacket, Non #5 includes several books, a couple of which are housed in a cardboard recess that's part of the dust jacket. About a fourth of the print run is gone, and Jordan's order backlog -- it takes forever to collate the thing -- is so big that he's not even taking orders any more. So check your local comics retailer.
I'll be sure to review it in an upcoming Media Diet entry.
Former Somerville resident and area comics creator and designer Jordan Crane is in town for several days this week to celebrate the release of the fifth edition of his awe-inspiring comics anthology Non. There was a signing last night at the Picnic featuring Jordan, Megan Kelso, Greg Cook, Paul Lyons, P. Shaw, and Tom Devlin, and then a bunch of us -- including most of the Picnic staff -- repaired to Shay's for an evening of food, folks, fun... and many fizzy beverages. We closed the place, which probably wasn't the wisest move given that it was a Monday.
Limited to a run of 2,000 copies, Non has received exceptional reviews to date, including rankings in Time Magazine's best of 2001 list and the Village Voice's 25 favorite books of 2001. And it's a doozy. Featuring a silk-screened dust jacket, Non #5 includes several books, a couple of which are housed in a cardboard recess that's part of the dust jacket. About a fourth of the print run is gone, and Jordan's order backlog -- it takes forever to collate the thing -- is so big that he's not even taking orders any more. So check your local comics retailer.
I'll be sure to review it in an upcoming Media Diet entry.
Workaday World
A magazine writing class from Emerson College came by Fast Company today for a tour of our office and some insight on how we do what we do in terms of writing and editing stories, producing the magazine, and so forth. Their instructor, Susannah Ketchum, is the spitting image of Meg Ryan. I had a fun hour-long session with the class, and I like to think that the folks in the class did, too.
This entry is dedicated to them.
A magazine writing class from Emerson College came by Fast Company today for a tour of our office and some insight on how we do what we do in terms of writing and editing stories, producing the magazine, and so forth. Their instructor, Susannah Ketchum, is the spitting image of Meg Ryan. I had a fun hour-long session with the class, and I like to think that the folks in the class did, too.
This entry is dedicated to them.
Things to Keep in Mind
Yesterday, Evan commented on a statement by B-May, saying that "there is virtually no personal grooming activity that should be done in public." I was struck by the irony of catching up with Ev's blog moments after cleaning the wax out of my ears with two brand-new Johnson's Cotton Swabs. I ran out of 'em at home late last week, and, oh, was I thrilled to pick more up this noon at CVS. Don't worry, I looked both ways to make sure no one at work could see me cleaning my ears. I'm even a little skeeved out that I'm even telling you this. Still, to paraphrase the Descendents, "Clean ears mean a lot."
Yesterday, Evan commented on a statement by B-May, saying that "there is virtually no personal grooming activity that should be done in public." I was struck by the irony of catching up with Ev's blog moments after cleaning the wax out of my ears with two brand-new Johnson's Cotton Swabs. I ran out of 'em at home late last week, and, oh, was I thrilled to pick more up this noon at CVS. Don't worry, I looked both ways to make sure no one at work could see me cleaning my ears. I'm even a little skeeved out that I'm even telling you this. Still, to paraphrase the Descendents, "Clean ears mean a lot."
Technofetishism IV
Today I had the most wonderful consumer electronics design experience I have ever had. My new iPod came in the mail today. From opening the package to plugging in the firewire, the iPod is a delicious design experience. The unit itself is beautiful, although surprisingly heavy, and I was surprised and delighted by the packaging as well. The iPod's sturdy clam-shell box comes in a slip sleeve sporting an image of Bob Marley. And once you slide the box out of the sleeve and open the clam shall, there are little flaps you have to lift out toward the edges to access the items placed in the box's indented spaces. Even the one empty space is filled with a silver cardboard tuck.
I've been a little slow to jump on the iPod, and I'm feeling even slower now. I didn't splurge the extra $100 to get 10 MB instead of 5 MB (I can't imagine I'll need more than 1,000 songs with me at any one time.), and I didn't even think to check whether my PowerBook G3 was outfitted with firewire before I placed the order (It's not, natch. And d'ohh!). But David's setting me up with a starter mix as we speak, so to speak, and I'm highly excited to put the little earbuds in my ears and start listening to some tuneage soon, soon.
Kudos, Apple, for the iPod. It's beautiful.
Today I had the most wonderful consumer electronics design experience I have ever had. My new iPod came in the mail today. From opening the package to plugging in the firewire, the iPod is a delicious design experience. The unit itself is beautiful, although surprisingly heavy, and I was surprised and delighted by the packaging as well. The iPod's sturdy clam-shell box comes in a slip sleeve sporting an image of Bob Marley. And once you slide the box out of the sleeve and open the clam shall, there are little flaps you have to lift out toward the edges to access the items placed in the box's indented spaces. Even the one empty space is filled with a silver cardboard tuck.
I've been a little slow to jump on the iPod, and I'm feeling even slower now. I didn't splurge the extra $100 to get 10 MB instead of 5 MB (I can't imagine I'll need more than 1,000 songs with me at any one time.), and I didn't even think to check whether my PowerBook G3 was outfitted with firewire before I placed the order (It's not, natch. And d'ohh!). But David's setting me up with a starter mix as we speak, so to speak, and I'm highly excited to put the little earbuds in my ears and start listening to some tuneage soon, soon.
Kudos, Apple, for the iPod. It's beautiful.
Monday, April 08, 2002
Blogging About Blogging XVIII
I'm going to slide under the deadline wire with this entry. On March 30, I was informed what blog I was to review as part of the Peer-to-Peer Review Project, and I'm just now getting to even looking at the thing. The deadline is today. From the P2P Review site: "The idea of this project is to let bloggers review other bloggers in a huge ring. The goal is to introduce more bloggers to each other's sites and hopefully end up with a nice library of reviews." Not a bad idea, but I've been a bad reviewer. First a bad nominating judge for the Webbies, and now this. Luckily, with the time change yesterday, all of the clocks at work are messed up -- phone: 4:44 p.m., laptop: 5:59 p.m. -- so I can fit this into the slipstream.
Onward.
Matt Classic: A Paperback Diary
First of all, don't be fooled by Matt Classic's primary URL. It's merely a well-designed, slightly emo-looking placeholder that serves as a gateway to the real deal. This is the page you'd bookmark if you visited Matt's blog frequently. Unfortunately, however, my first impression is mixed. While the overall design is impressive -- nice black background, well-placed photographs, and a slightly indie rock-inspired design aesthetic (including Matt's somewhat standard-issue though artistic emo-boy portrait), the currency and frequency of Matt Classic is doubtful.
Matt's blog sports all of seven entries, one from February, and six from March (both from this year, to his credit!). There's been no update since March 25, and the average length of time between entries is about five days -- worth a weekly visit if you visit at all. (By my bad-math calculations, Matt's due for another update, well, about eight days ago.) Even if Matt Classic's not strong on currency or frequency, he's on the ball in terms of brevity, and were Matt Classic updated frequently, readers would be in for bite-sized slices of life (i.e. March 8's paraphrased transcript with a kid who's listening to Piebald, on Aderol, and not too keen on the government) , indie-rock commentary (Matt seems to be in a band in the Boston area and posts links to songs by several bands, including Strike Anywhere and Brandston), shouts out to friends, concerns about his emotional and psychological health, recent attempts to exercise regularly, and school life.
While the blog itself isn't that interesting or inspiring -- I'm not sure I'd return after I finish this review -- the story behind Matt and the blog is slightly interesting. And that's the beauty of the Web -- despite what's on a Web page, there are people behind those pages, and there's always more than meets the eye. For example, my informed guess -- parsing the URL, natch -- is that Matt's band is Model Kit, a four-piece power-pop band based in Cambridge, Massachusetts. Formerly Carpet Patrol, (street slang for "crack smokers searching the floor for crack," according to the government) the band's been around in various incarnations for about six years. They'll be playing May 5 at the Au Bon Pain in Harvard Square (That's the first show I have a chance of making, so I'm going to check them out.). There are several photos of Matt and the old Carpet Patrol available on the Tony and Pals site, so the band seems to be held in somewhat high esteem, ranking placement with area bands such as Drexel and Big D and the Kids' Table. The band also rates several mentions in Just Another Scene and other area punk-rock Web sites.
Matt also refers to his girlfriend Kat and how she's even less mindful in updating her blog than Matt is with his. (Representing the stereotypical zine and blog self-referential concern with how long its been between issues or entries! In the zine world, such commentary is more intrusive, but given Matt's sporadic posting, it's pretty appropriate in the context of his blog.) I'm unable to find any references to Kat's blog, so I'm not able to piece together just who and where they are, but poking around the little I have, it's clear that Matt lives in the Boston area -- an hour away, he says (or if I'm misinterpreting, he lives here and Kat lives in Providence or somewhere else that's also an hour away -- but why would he spring for a weekend at a hotel in Boston, then?) -- is active in the area punk scene -- which means he should check out my band the Anchormen -- and is still in college. But Matt's blog doesn't make for an overly personal or informative look into his life, and given its lack of frequency or depth, I'm not even sure whether he's doing the blog for himself, his friends, or fans of Model Kit. Because even if you know Matt, there's not much here.
But I'm going to give Matt the benefit of the doubt. The blog is all of two months old, and despite Matt's infrequent updates, he's involved in enough -- the Boston area, college, the punk-rock scene, a relationship -- to make for an interesting Web site. All Matt Classic needs is some focus, some direction, and -- most importantly -- some attention.
I'm going to slide under the deadline wire with this entry. On March 30, I was informed what blog I was to review as part of the Peer-to-Peer Review Project, and I'm just now getting to even looking at the thing. The deadline is today. From the P2P Review site: "The idea of this project is to let bloggers review other bloggers in a huge ring. The goal is to introduce more bloggers to each other's sites and hopefully end up with a nice library of reviews." Not a bad idea, but I've been a bad reviewer. First a bad nominating judge for the Webbies, and now this. Luckily, with the time change yesterday, all of the clocks at work are messed up -- phone: 4:44 p.m., laptop: 5:59 p.m. -- so I can fit this into the slipstream.
Onward.
Matt Classic: A Paperback Diary
First of all, don't be fooled by Matt Classic's primary URL. It's merely a well-designed, slightly emo-looking placeholder that serves as a gateway to the real deal. This is the page you'd bookmark if you visited Matt's blog frequently. Unfortunately, however, my first impression is mixed. While the overall design is impressive -- nice black background, well-placed photographs, and a slightly indie rock-inspired design aesthetic (including Matt's somewhat standard-issue though artistic emo-boy portrait), the currency and frequency of Matt Classic is doubtful.
Matt's blog sports all of seven entries, one from February, and six from March (both from this year, to his credit!). There's been no update since March 25, and the average length of time between entries is about five days -- worth a weekly visit if you visit at all. (By my bad-math calculations, Matt's due for another update, well, about eight days ago.) Even if Matt Classic's not strong on currency or frequency, he's on the ball in terms of brevity, and were Matt Classic updated frequently, readers would be in for bite-sized slices of life (i.e. March 8's paraphrased transcript with a kid who's listening to Piebald, on Aderol, and not too keen on the government) , indie-rock commentary (Matt seems to be in a band in the Boston area and posts links to songs by several bands, including Strike Anywhere and Brandston), shouts out to friends, concerns about his emotional and psychological health, recent attempts to exercise regularly, and school life.
While the blog itself isn't that interesting or inspiring -- I'm not sure I'd return after I finish this review -- the story behind Matt and the blog is slightly interesting. And that's the beauty of the Web -- despite what's on a Web page, there are people behind those pages, and there's always more than meets the eye. For example, my informed guess -- parsing the URL, natch -- is that Matt's band is Model Kit, a four-piece power-pop band based in Cambridge, Massachusetts. Formerly Carpet Patrol, (street slang for "crack smokers searching the floor for crack," according to the government) the band's been around in various incarnations for about six years. They'll be playing May 5 at the Au Bon Pain in Harvard Square (That's the first show I have a chance of making, so I'm going to check them out.). There are several photos of Matt and the old Carpet Patrol available on the Tony and Pals site, so the band seems to be held in somewhat high esteem, ranking placement with area bands such as Drexel and Big D and the Kids' Table. The band also rates several mentions in Just Another Scene and other area punk-rock Web sites.
Matt also refers to his girlfriend Kat and how she's even less mindful in updating her blog than Matt is with his. (Representing the stereotypical zine and blog self-referential concern with how long its been between issues or entries! In the zine world, such commentary is more intrusive, but given Matt's sporadic posting, it's pretty appropriate in the context of his blog.) I'm unable to find any references to Kat's blog, so I'm not able to piece together just who and where they are, but poking around the little I have, it's clear that Matt lives in the Boston area -- an hour away, he says (or if I'm misinterpreting, he lives here and Kat lives in Providence or somewhere else that's also an hour away -- but why would he spring for a weekend at a hotel in Boston, then?) -- is active in the area punk scene -- which means he should check out my band the Anchormen -- and is still in college. But Matt's blog doesn't make for an overly personal or informative look into his life, and given its lack of frequency or depth, I'm not even sure whether he's doing the blog for himself, his friends, or fans of Model Kit. Because even if you know Matt, there's not much here.
But I'm going to give Matt the benefit of the doubt. The blog is all of two months old, and despite Matt's infrequent updates, he's involved in enough -- the Boston area, college, the punk-rock scene, a relationship -- to make for an interesting Web site. All Matt Classic needs is some focus, some direction, and -- most importantly -- some attention.
Among the Literati III
The Underground Literary Alliance, spearheaded by creative contrarian Karl Wenclas, recently launched a discussion forum to accompany its Web site. The ULA's self-described "fan site" features ULA-related news, protests and actions, various manifestos and essays, and other information. While not as spunky -- or as necessary to visit daily -- as MobyLives, it's still a good look at the anti-literati activities of this cabal of creative writers.
The Underground Literary Alliance, spearheaded by creative contrarian Karl Wenclas, recently launched a discussion forum to accompany its Web site. The ULA's self-described "fan site" features ULA-related news, protests and actions, various manifestos and essays, and other information. While not as spunky -- or as necessary to visit daily -- as MobyLives, it's still a good look at the anti-literati activities of this cabal of creative writers.
It's an Ad, Ad, Ad, Ad World VII
It's a two-fer! Ed Murray and John Ellis detail the evils of pop-under Webvertisements in recent days. While Ellis offers a couple of ad-blocking software tools, Murray impresses by offering a whole bunch. The gauntlet has been thrown. Who wants to run the gantlet next?
It's a two-fer! Ed Murray and John Ellis detail the evils of pop-under Webvertisements in recent days. While Ellis offers a couple of ad-blocking software tools, Murray impresses by offering a whole bunch. The gauntlet has been thrown. Who wants to run the gantlet next?
The Movie I Watched Last Night XVI
Friday: Y Su Mama Tambien
Another midlife crisis-like movie, compare this to American Beauty. Two teenage Mexican boys face the absence of their girlfriends for the first time. A beautiful Spanish woman faces the absence of her philandering husband, who's away at an academic conference. The three team up for an off-the-cuff weekend adventure to a beach called "Heaven's Mouth," a beach the boys thought they'd made up to lure the woman on a road trip. Along the way, friendships are tested, sexual identity is questioned, and all three rediscover their freedom and sensuality. The movie's not as racy as reviews have made it out to be, but for the big screen, I guess it is just outside of what isn't racy. The soundtrack is awesome, despite some awkward sound edits to accommodate the voiceover. And the humor inherent in this story of sexual awakening and rediscovery is welcome. Despite some beautiful seaside shots, the movie might not warrant a viewing in the theater. But it's definitely worth renting. Especially with a lover or partner.
Friday: Y Su Mama Tambien
Another midlife crisis-like movie, compare this to American Beauty. Two teenage Mexican boys face the absence of their girlfriends for the first time. A beautiful Spanish woman faces the absence of her philandering husband, who's away at an academic conference. The three team up for an off-the-cuff weekend adventure to a beach called "Heaven's Mouth," a beach the boys thought they'd made up to lure the woman on a road trip. Along the way, friendships are tested, sexual identity is questioned, and all three rediscover their freedom and sensuality. The movie's not as racy as reviews have made it out to be, but for the big screen, I guess it is just outside of what isn't racy. The soundtrack is awesome, despite some awkward sound edits to accommodate the voiceover. And the humor inherent in this story of sexual awakening and rediscovery is welcome. Despite some beautiful seaside shots, the movie might not warrant a viewing in the theater. But it's definitely worth renting. Especially with a lover or partner.
From the In Box: ASCIImation
File this under What's Old Is New Again:
Aw man, they watered this down so much. Hardcore people used to watch this on telnet. For the especially geeky people out there, I made this page just now in case you don't know telnet. Just check it out on a Windows PC. -- Joe Szilagyi
File this under What's Old Is New Again:
Aw man, they watered this down so much. Hardcore people used to watch this on telnet. For the especially geeky people out there, I made this page just now in case you don't know telnet. Just check it out on a Windows PC. -- Joe Szilagyi
Magazine Me IX
A recent feature on SF Gate takes a look at mainstream women's magazines such as Elle, Harper's Bazaar, and Vogue, discussing their general lack of content, recent attempts to return to the glamourous fashion-mag days of yore, and several reader participation-driven reinvention efforts. The piece also describes and rates the magazines' audience, tone, content, and fashion and celebrity focus.
There are some weird anomalies in the roundup. Why was Lucky -- which is arguably not as much of a traditional women's magazine as the others considered -- included while Glamour was excluded? How did SF Gate label these "women's magazines," when books such as Good Housekeeping, Family Circle, and the other survivors of the seven sisters have also been tagged with that descriptor?
A recent feature on SF Gate takes a look at mainstream women's magazines such as Elle, Harper's Bazaar, and Vogue, discussing their general lack of content, recent attempts to return to the glamourous fashion-mag days of yore, and several reader participation-driven reinvention efforts. The piece also describes and rates the magazines' audience, tone, content, and fashion and celebrity focus.
There are some weird anomalies in the roundup. Why was Lucky -- which is arguably not as much of a traditional women's magazine as the others considered -- included while Glamour was excluded? How did SF Gate label these "women's magazines," when books such as Good Housekeeping, Family Circle, and the other survivors of the seven sisters have also been tagged with that descriptor?
From the In Box: Clip-Art Comics
The Get Your ____ On stuff is a parody/homage to Rees. I even put in a disclaimer at the bottom of each page to make extra-sure nobody thought it was his stuff. Just out of courtesy. -- Jim Treacher
***
When you mention in your blog: "A Media Dietician recently suggested that Treacher's work is a parody of Rees' work," is what I wrote what you're referring to? All I meant was that "Get Your Gore On" is a satire of "Get Your War On." Although, as Treacher himself points out, it perhaps could be more accurately called a parody, or evidence of Nyquil abuse. Whatever you want to call them, they're both great.
Actually, I'm curious what you think--how well do you think a "Get Your War On" book would age, both in terms of style and substance? -- Tom Hopkins
I'll have to noodle on that. What do others think? Discuss.
The Get Your ____ On stuff is a parody/homage to Rees. I even put in a disclaimer at the bottom of each page to make extra-sure nobody thought it was his stuff. Just out of courtesy. -- Jim Treacher
When you mention in your blog: "A Media Dietician recently suggested that Treacher's work is a parody of Rees' work," is what I wrote what you're referring to? All I meant was that "Get Your Gore On" is a satire of "Get Your War On." Although, as Treacher himself points out, it perhaps could be more accurately called a parody, or evidence of Nyquil abuse. Whatever you want to call them, they're both great.
Actually, I'm curious what you think--how well do you think a "Get Your War On" book would age, both in terms of style and substance? -- Tom Hopkins
I'll have to noodle on that. What do others think? Discuss.
From the In Box: Anchormen, Aweigh! V
I've got some bad news from White Collar Crime: The tour is cancelled. At 4 a.m. [Friday] morning after our first gig in Baltimore, our van caught fire. It had run out of gas, and there's a complex process for getting it started again that went horribly awry. The flames spread quickly, and the entire van was burnt out. No one was hurt, but we lost some equipment, books, CDs, and almost all 2,000 copies of the new White Collar Crime newspaper.
Sorry to all the fine people who helped us put together shows for April 2002.
We'll be back, and we hope to see you then. We will return, a bit smarter, a bit older.
Thanks for being there, and sorry we won't see each other. We were really looking forward to it. After the tears, the pain, the loss, and the haunting, sour smell of smoke, there is hope. -- Sander Hicks
I've got some bad news from White Collar Crime: The tour is cancelled. At 4 a.m. [Friday] morning after our first gig in Baltimore, our van caught fire. It had run out of gas, and there's a complex process for getting it started again that went horribly awry. The flames spread quickly, and the entire van was burnt out. No one was hurt, but we lost some equipment, books, CDs, and almost all 2,000 copies of the new White Collar Crime newspaper.
Sorry to all the fine people who helped us put together shows for April 2002.
We'll be back, and we hope to see you then. We will return, a bit smarter, a bit older.
Thanks for being there, and sorry we won't see each other. We were really looking forward to it. After the tears, the pain, the loss, and the haunting, sour smell of smoke, there is hope. -- Sander Hicks
ASCIImation
Like Star Wars? Like ASCII art? You'll love this New Zealand production of Star Wars, an animated version done entirely in ASCII. Wonderful!
Like Star Wars? Like ASCII art? You'll love this New Zealand production of Star Wars, an animated version done entirely in ASCII. Wonderful!
Friday, April 05, 2002
From the In Box: Join the Comics Club
Just wanted to thank you for your thoughts on comics "clubs" and outreach efforts. Those are super relevant to some discussions I'm having in the hip-hop journalism world. Apparently, these ideas cut across indie media. Any success stories in other areas of indie media (punk, zines, etc.) that could carry over into comics, hip-hop, etc.? -- Clint Schaff
Just wanted to thank you for your thoughts on comics "clubs" and outreach efforts. Those are super relevant to some discussions I'm having in the hip-hop journalism world. Apparently, these ideas cut across indie media. Any success stories in other areas of indie media (punk, zines, etc.) that could carry over into comics, hip-hop, etc.? -- Clint Schaff
Roger, Wilco
Media Dietician Clint Schaff recently sent me the URL for an interview with Ken Waagner, Web designer and chief digital strategist for the band Wilco. The interview explores and expands on Wilco's online promotion of its forthcoming record, concerns with P2P music sharing, the dangers of the RIAA, and the future potential of using the Net to connect musicians and their fans. The conversation is a solid look at the role technology and grassroots media production can play in promoting and distributing mainstream media.
Media Dietician Clint Schaff recently sent me the URL for an interview with Ken Waagner, Web designer and chief digital strategist for the band Wilco. The interview explores and expands on Wilco's online promotion of its forthcoming record, concerns with P2P music sharing, the dangers of the RIAA, and the future potential of using the Net to connect musicians and their fans. The conversation is a solid look at the role technology and grassroots media production can play in promoting and distributing mainstream media.
From the In Box: Anchormen, Aweigh! V
Van caught fire last night in Baltimore. No injuries. Boston show cancelled. Thanks for trying.
"Burned all my notebooks.
What good are notebooks?
They don't help me survive.
My chest is aching,
burns like a furnace.
This burning keeps me alive."
-- David Byrne.
I'm pissed but this isn't the worst I've been through.
I haven't quite given up yet, either. I haven't slept save for a few hours crammed in the back of a rented Chevrolet, and I'm wavering between throwing in the towel and asking around about borrowing a minivan from someone. -- Sander Hicks
Van caught fire last night in Baltimore. No injuries. Boston show cancelled. Thanks for trying.
"Burned all my notebooks.
What good are notebooks?
They don't help me survive.
My chest is aching,
burns like a furnace.
This burning keeps me alive."
-- David Byrne.
I'm pissed but this isn't the worst I've been through.
I haven't quite given up yet, either. I haven't slept save for a few hours crammed in the back of a rented Chevrolet, and I'm wavering between throwing in the towel and asking around about borrowing a minivan from someone. -- Sander Hicks
Clip-Art Comics
If you've enjoy Jim Treacher's Clip-Art Nonsense, I've found some other Web-based clip-art cartoonists. David Rees, mastermind behind the scarily hilarious My New Fighting Technique Is Unstoppable has a bunch of his Fighting Technique, Filing Technique, and Get Your War On strips online. A Media Dietician recently suggested that Treacher's work is a parody of Rees' work. I'm not so sure. Also in a similar vein are the silly Floating Henry Rollins Head Haiku strips.
Any other examples of clip-art comics?
If you've enjoy Jim Treacher's Clip-Art Nonsense, I've found some other Web-based clip-art cartoonists. David Rees, mastermind behind the scarily hilarious My New Fighting Technique Is Unstoppable has a bunch of his Fighting Technique, Filing Technique, and Get Your War On strips online. A Media Dietician recently suggested that Treacher's work is a parody of Rees' work. I'm not so sure. Also in a similar vein are the silly Floating Henry Rollins Head Haiku strips.
Any other examples of clip-art comics?
Mapping the Net
Whenever someone visits the ThreeRing Web Mapping Project, the site determines your IP address, confirms your geographic location based on said IP, and adds a dot to a map of the world. The result is an impressionistic image of the Webbed world. Pretty neat.
Thanks to Metafilter.
Whenever someone visits the ThreeRing Web Mapping Project, the site determines your IP address, confirms your geographic location based on said IP, and adds a dot to a map of the world. The result is an impressionistic image of the Webbed world. Pretty neat.
Thanks to Metafilter.
Technofetishism III
I received an email today promoting Applied Wireless's ring tone and cell phone logo service. Going to their site to poke around and perhaps buy a new ring tone -- something friends of mine do frequently in Scandinavia but I'm not that aware of in the U.S. -- I wasn't that impressed, so I poked around for other ring tone providers.
That led me to MIDI Ring Tones. Thanks to them, when my phone rings, I now hear Green Day's "Basket Case." Woot! Based in St. Paul, Minnesota, MIDI Ring Tones has only been around since January 2002, but they have a wide range of available ring tones in various musical genres. They're currently working on polyphonic ring tones, which will include drum and bass sounds -- and eventually sound more like real music. And, "in addition to paying all licensing fees required by music industry organizations, MIDI Ring Tones also pays the ring tone artists, the artists who transfer popular songs into MIDI files which can then be downloaded into cell phones."
Pretty cool stuff. Download a new ring tone to your cell phone today! "Basket Case" only cost me $1.50.
I received an email today promoting Applied Wireless's ring tone and cell phone logo service. Going to their site to poke around and perhaps buy a new ring tone -- something friends of mine do frequently in Scandinavia but I'm not that aware of in the U.S. -- I wasn't that impressed, so I poked around for other ring tone providers.
That led me to MIDI Ring Tones. Thanks to them, when my phone rings, I now hear Green Day's "Basket Case." Woot! Based in St. Paul, Minnesota, MIDI Ring Tones has only been around since January 2002, but they have a wide range of available ring tones in various musical genres. They're currently working on polyphonic ring tones, which will include drum and bass sounds -- and eventually sound more like real music. And, "in addition to paying all licensing fees required by music industry organizations, MIDI Ring Tones also pays the ring tone artists, the artists who transfer popular songs into MIDI files which can then be downloaded into cell phones."
Pretty cool stuff. Download a new ring tone to your cell phone today! "Basket Case" only cost me $1.50.
The Movie I Watched Last Night XV
Thursday: The Mummy
Not the newer version starring the beefcake Brendan Fraser, but the 1932 atmospheric Universal horror film starring Boris Karloff as the brought-back-to-life Imhotep and Ardath Bey. Zita Johann beautifully portrays the heroine Helen Grosvenor, and the scenes in which she gains consciousness as Princess Anckesen-Amon while under Imhotep's spell -- the movie largely details Ardath Bey's attempts to reunite with the princess, his long-lost love -- are especially effective. The movie's slow pacing, dramatic lighting, and subtle humor speak to Universal's skill at establishing suspense, and while the movie isn't particularly shocking, it does maintain a mood of tension and tautness quite well.
Thursday: The Mummy
Not the newer version starring the beefcake Brendan Fraser, but the 1932 atmospheric Universal horror film starring Boris Karloff as the brought-back-to-life Imhotep and Ardath Bey. Zita Johann beautifully portrays the heroine Helen Grosvenor, and the scenes in which she gains consciousness as Princess Anckesen-Amon while under Imhotep's spell -- the movie largely details Ardath Bey's attempts to reunite with the princess, his long-lost love -- are especially effective. The movie's slow pacing, dramatic lighting, and subtle humor speak to Universal's skill at establishing suspense, and while the movie isn't particularly shocking, it does maintain a mood of tension and tautness quite well.
Books Going Bankrupt II
A followup report from Top Shelf:
What a difference a day makes. On Tuesday morning at 8 a.m., April 3, Top Shelf was effectively put out of business, and on Tuesday evening by 8 p.m., April 3, Top Shelf was remarkably back in business. There are not words suitable to express how honored and thankful we are that within 12 hours this amazing comics community took it upon itself to bring us back to life. And in this case, it might also be said that the power of the Internet was fully realized.
On Tuesday, after we made the announcement of our book trade distributor filing for Chapter 11 (and the subsequent fatal impact that this had on our own operation), we received over 200 phone orders and 850 online and email orders to boot. This staggering 1,000 orders has not only made us operational again (and put several thousand copies of our graphic novels into circulation), but has also reaffirmed to us that the comics industry is back, revitalized, and ready to take on the world. We're even estimating that over 100,000 people received the news or were personally involved in the discussion of this online event on that day.
With this overwhelming support, combined with the (now contradictory) fact that Top Shelf has always prided itself that every order would ship out the very next day, we ask for your patience in letting us get all of these graphic novels, comics, and CDs to you. We hope to have everything shipped out within the next few weeks. In the meantime, if all this activity has made you curious about our books, we would encourage you to ask for them at your local retailer, so that everyone along the chain, retailers and distributors alike, can also benefit from this spur of interest. And while this interest in diversity is at the forefront of everyone's mind, we encourage you to continue in the exploration and discussion of comics from all the publishers doing quality work these days: DC Comics, Marvel, Dark Horse, Image, CrossGen, Viz, Fantagraphics, Slave Labor, Oni Press, NBM, Drawn & Quarterly, Cartoon Books, Alternative Comics, Highwater Books, the publishers we represent (like Eddie Campbell Comics, etc.), and all the rest (that we apologize for not having the space to mention by name today).
If we've learned anything over these last seven years -- and witnessed it absolutely this week -- we're all in this together. And the growth and development of this amazing medium is in the most capable hands possible: the fans of this industry.
We'd also like to take a moment to give a special thank you to a few extraordinary people and organizations:
Warren Ellis and the Warren Ellis Forum. We've always known that the Warren Ellis Forum was a formidable entity, dedicated to the discussion and support of quality comics all over the industry, but their mobilization in this instance was unprecedented. We can't absolutely determine what percentage of all the orders were from this distinguished group, but our estimation is that it was significant. We cannot thank Warren or the supporters of his forum enough.
CrossGen Comics. Mark Alessi and the CrossGen staff collectively bought $5,000 worth of graphic novels and will donate them to the public library system. This completely novel and generous gesture not only helped to keep us going (in a big way), but also promises to expose hundreds of people and libraries to what comics can bring to the world of art and literature. This stunned us, and is a testament to CrossGen's contribution to our industry.
Rick Veitch and Matt Brady of ComicCon.com's Splash and Newsarama pages. Their amazing coverage, online discussions, and links for this event spurred on an uncountable array of support from the industry.
Neil Gaiman. Neil took it upon himself to discuss our situation within his daily online journal, which just happens to be the most visited daily journal on the Web. And since he's been known to have a fan or two (including us), we've been getting a nice bit of support from there as well.
And no less amazing than that of the above, the collective efforts of the crews at ArtBomb, Sequential Tart, Comic Book Resources, Comic Book Galaxy, ICv2, Gray Haven magazine, PopImage, Shotgun Reviews, the members of the Brian Michael Bendis message board, etc., who all rallied their subscribers, who in turn proudly stated that they had come from one of these very active sites.
And lastly, but never least, the comics retailing and distributing community. They are the front line of our industry, and behind the scenes they have always been the ones that have kept the independent publisher alive. The show of support from this community has not only been amazing on this particular day, but has always been there from the first moment we entered the business. They have been the group that has supported us the most.
Again, we want to thank everyone from the bottom of our hearts -- we could not have done it without you. Top Shelf will continue to try and put out the best books possible, and we look forward to not only thanking each an every one of you personally at the cons this summer, but also being able to now make some rather cool announcements in the coming weeks that should be fun and beneficial for the entire industry as well. -- Chris Staros
A followup report from Top Shelf:
What a difference a day makes. On Tuesday morning at 8 a.m., April 3, Top Shelf was effectively put out of business, and on Tuesday evening by 8 p.m., April 3, Top Shelf was remarkably back in business. There are not words suitable to express how honored and thankful we are that within 12 hours this amazing comics community took it upon itself to bring us back to life. And in this case, it might also be said that the power of the Internet was fully realized.
On Tuesday, after we made the announcement of our book trade distributor filing for Chapter 11 (and the subsequent fatal impact that this had on our own operation), we received over 200 phone orders and 850 online and email orders to boot. This staggering 1,000 orders has not only made us operational again (and put several thousand copies of our graphic novels into circulation), but has also reaffirmed to us that the comics industry is back, revitalized, and ready to take on the world. We're even estimating that over 100,000 people received the news or were personally involved in the discussion of this online event on that day.
With this overwhelming support, combined with the (now contradictory) fact that Top Shelf has always prided itself that every order would ship out the very next day, we ask for your patience in letting us get all of these graphic novels, comics, and CDs to you. We hope to have everything shipped out within the next few weeks. In the meantime, if all this activity has made you curious about our books, we would encourage you to ask for them at your local retailer, so that everyone along the chain, retailers and distributors alike, can also benefit from this spur of interest. And while this interest in diversity is at the forefront of everyone's mind, we encourage you to continue in the exploration and discussion of comics from all the publishers doing quality work these days: DC Comics, Marvel, Dark Horse, Image, CrossGen, Viz, Fantagraphics, Slave Labor, Oni Press, NBM, Drawn & Quarterly, Cartoon Books, Alternative Comics, Highwater Books, the publishers we represent (like Eddie Campbell Comics, etc.), and all the rest (that we apologize for not having the space to mention by name today).
If we've learned anything over these last seven years -- and witnessed it absolutely this week -- we're all in this together. And the growth and development of this amazing medium is in the most capable hands possible: the fans of this industry.
We'd also like to take a moment to give a special thank you to a few extraordinary people and organizations:
Again, we want to thank everyone from the bottom of our hearts -- we could not have done it without you. Top Shelf will continue to try and put out the best books possible, and we look forward to not only thanking each an every one of you personally at the cons this summer, but also being able to now make some rather cool announcements in the coming weeks that should be fun and beneficial for the entire industry as well. -- Chris Staros
Thursday, April 04, 2002
Anchormen, Aweigh! V
I'm in a bit of a pinch. And perhaps you can help.
The Anchormen had arranged a show at the Midway in Jamaica Plain this Sunday with the out-of-town bands White Collar Crime and the Ergs. Now it seems that the Midway has double-booked several other bands to play there Sunday, there are no Midway listings for Sunday night in the Phoenix, and I'm unable to get in touch with the Midway's booking agent on the phone to reconfirm that we, indeed, have a show Sunday.
If it were just the Anks, I wouldn't mind, but White Collar Crime is on tour, and if the show is a no go, they'll have nothing to in Boston other than be frustrated. So. If you know of any venues that could host a show featuring a wonderfully dramatic political pop band on super-late notice, let me know -- I'd sure like to scramble and arrange a back-up plan for this gig.
You can read a review of White Collar Crime's CD "Their Laws Are Dimwit Greed" in the Jan. 22, 2002, edition of Media Diet.
I'm in a bit of a pinch. And perhaps you can help.
The Anchormen had arranged a show at the Midway in Jamaica Plain this Sunday with the out-of-town bands White Collar Crime and the Ergs. Now it seems that the Midway has double-booked several other bands to play there Sunday, there are no Midway listings for Sunday night in the Phoenix, and I'm unable to get in touch with the Midway's booking agent on the phone to reconfirm that we, indeed, have a show Sunday.
If it were just the Anks, I wouldn't mind, but White Collar Crime is on tour, and if the show is a no go, they'll have nothing to in Boston other than be frustrated. So. If you know of any venues that could host a show featuring a wonderfully dramatic political pop band on super-late notice, let me know -- I'd sure like to scramble and arrange a back-up plan for this gig.
You can read a review of White Collar Crime's CD "Their Laws Are Dimwit Greed" in the Jan. 22, 2002, edition of Media Diet.
Sketches from Spain
My friend Tom recently returned from Spain, where he spent Holy Week with his girlfriend. He's published some sketches he made in Spain in his blog Tom Hop Dot. They are absolutely beautiful, extremely colorful, and well worth a look see.
My friend Tom recently returned from Spain, where he spent Holy Week with his girlfriend. He's published some sketches he made in Spain in his blog Tom Hop Dot. They are absolutely beautiful, extremely colorful, and well worth a look see.
From the In Box: Music to My Ears VI
I read your review and would like to discuss it with you a little. I have a sense that you relate to this music from a slant such that you do not have a large interest in how traditional western instruments (I don't mean electric guitars) are and have been used in the 20th or 21st century -- and that your main interests are literature and more electronically produced sounds. I also have a sense that your text and context for black music is possibly narrow or more mainstream. I say this because you are obviously aware of Keith Jarret and Ahmad Jahmal but possibly unaware of Paul Bley and Lowell Davidson.
This could be important because it could bring you past the veneer, the mannerism or style, and tune you into the subtleties or perhaps the source. In this case with regard to this music (not just my music) there is less of an emphasis on "symbol" and "matrix" and more of an emphasis on the subtle reactions of human timing. This is a sort of ensemble technique that is extremely human and, much like any human relationship, took my ensemble years to work out.
My main interest in this area of music is rhythm. Rhythm is still the unexplored territory in music. Very little was written for percussion until the 20th century. In black music (This is more of an umbrella term that would include jazz. I'm not referring to African music here.), the trap set is an extremely advanced instrument in that it requires independence of all four limbs and is not particularly popular among American children learning music but obviously plays a powerful and major role in popular music. Not all rhythms exist in a state of thesis or anacrusis. In the masses of complexity that embroider the rhythms of the world's music, so many of these beats or pulses occur in other places.
In literature I'm sure you must engage in some discussion of form, structure, and content. I gather you do not make these connections to music.
I am still considered young in the field of music at age 38, but Laurence Cook, I believe, is 62 years of age, and I feel you do not know very much about him. So here is some information.
About Laurence Cook: Laurence Cook studied painting at the Museum School of Fine Arts in Boston and later learned to play piano, vibraphone, and drums. He has been a major figure in the jazz avant-garde since the 1960s on 22 recordings, including "Revenge" and "Dual Unity" with Paul Bley; "Skillfullnes" with Alan Silva, "Ritti" with Joe Morris; "Fuzzagainst Junk" from the Vision 1997 Festival with Thurston Moore; "Triplet" and "Fire in the Valley" with Jemeel Moondoc; "Divine Mad Love" with Sabir Mateen; and "November 1981," "Thoughts," and "Son of Sisyphus" with Bill Dixon. He has worked with Sam Rivers, Alan Silva, the Brecker Brothers, Robin Kenyatta, Mark Whitecage, and Barre Phillips, among many others.
A paraphrase: "The older jazz is like representational painting where you paint a portrait of a person or a thing. That's playing on a song and its chords. The new music is like modern painting, action painting. You concern yourself with the surface of the canvas, the brushstrokes, the texture of the paint, the total two-dimensional surface, concern myself with the way the drum stick strikes the cymbal, the surface of the drum heads."
How you managed to say so little about Laurence Cook -- who is one of my mentors -- is beyond me and leads me to believe that you have very little connection to the text of this art form and, as a result, I sense a lack of propriety in your comments.
I feel a bit ridiculous because I am not trying to attack you and yet I feel I am by default. No one has yet been willing to review the CD, and I assume that if you didn't like it you wouldn't have reviewed it at all. So the fact that it is on your "media diet" means that you want people to listen to it. Music is really all I have so I feel I am slighting myself in my response to your review. My studio is always open. Anybody can come and listen to something from my collection or perhaps Rob Chalfen's collection as well.
Just so there's no misunderstanding, let me expand on something I wrote above. I use the term "black music" as an umbrella term. It does not refer to color as much as culture. Though my interests are the avant-garde (whatever that means) this term would cover a wide range of music: gospel, spirituals, field hollers, jazz (really a bad term), R&B, soul, rap, hip-hop, rock (what people do in the black church), etc.
One has to beg the question: What is black music? What is white music?
I live in a neighborhood with about five black churches. If you want to know what I mean, come to a service at one of them. You will find some white people in the congregation who are totally enamoured of the sublteties involved in singing from this perspective, but, of course, Cambridge is not like Boston.
It's more of a matter of cultural perspective than color. Paul Bley happens to be a white player. If it were just color, then I suppose Anita O'Day would be white music and Jesse Norman would be Black music. The whole issue of black culture in music is not very fashionable at present. It almost explains segregation in the music scene. Most of the Boston improv people seem to reject these ideas in favor of what they might call "classical sensibilites" or just free improv. Of course, because we all know what a major scale is, we are all classically trained. Aesthetically, this is viewed as more sophisticated because it is seen as some sort of cultural marriage (that never took place). I have never tried to promote myself this way.
The sad part is the political aspect of it, in which we believe that an artist is more broad, versatile, or creative because he records symphonic music -- for example, Keith Jarret, Chick Corea, and Wynton Marsalis. People like Miles Davis, Dizzy Gillespie, etc., never recorded any music other than their own. Would we have thought that they were more creative if they had recorded the Haydn trumpet concerto (like Wynton), and if they were unable to do so would we have scoffed at them for their lack of classical sensibilities? Then, to add injury to insult, they never even talk about the fact that Wynton Marsalis is one of the few black trumpet players who was allowed to play first trumpet for the symphony orchestra. Nevertheless, Miles and Dizzy have become some of the essential people who we must deal with in this music If you read the interviews with many of the great white players in the music, they will tell you who and what subtleties they admired in the music and the musicians.
Some of these comments may seem pastiche, but I find a lack of awareness and interest in what these subtleties do in the music. I say this because rhythm is still an unexplored territory in music, and much of the sound art, noise, and free improv that I hear now is very square -- though there's a lot of imagination with regards to timbre and noise, which I wholly support.
The reason I object to the term jazz is because it limits your social stance, codifies the financial area available to you, and in academia leads people to believe that you are musically illiterate. In other words, it's a token art form, and they will not hire you except as the one person on the staff in most music schools. -- Eric Zinman
I read your review and would like to discuss it with you a little. I have a sense that you relate to this music from a slant such that you do not have a large interest in how traditional western instruments (I don't mean electric guitars) are and have been used in the 20th or 21st century -- and that your main interests are literature and more electronically produced sounds. I also have a sense that your text and context for black music is possibly narrow or more mainstream. I say this because you are obviously aware of Keith Jarret and Ahmad Jahmal but possibly unaware of Paul Bley and Lowell Davidson.
This could be important because it could bring you past the veneer, the mannerism or style, and tune you into the subtleties or perhaps the source. In this case with regard to this music (not just my music) there is less of an emphasis on "symbol" and "matrix" and more of an emphasis on the subtle reactions of human timing. This is a sort of ensemble technique that is extremely human and, much like any human relationship, took my ensemble years to work out.
My main interest in this area of music is rhythm. Rhythm is still the unexplored territory in music. Very little was written for percussion until the 20th century. In black music (This is more of an umbrella term that would include jazz. I'm not referring to African music here.), the trap set is an extremely advanced instrument in that it requires independence of all four limbs and is not particularly popular among American children learning music but obviously plays a powerful and major role in popular music. Not all rhythms exist in a state of thesis or anacrusis. In the masses of complexity that embroider the rhythms of the world's music, so many of these beats or pulses occur in other places.
In literature I'm sure you must engage in some discussion of form, structure, and content. I gather you do not make these connections to music.
I am still considered young in the field of music at age 38, but Laurence Cook, I believe, is 62 years of age, and I feel you do not know very much about him. So here is some information.
About Laurence Cook: Laurence Cook studied painting at the Museum School of Fine Arts in Boston and later learned to play piano, vibraphone, and drums. He has been a major figure in the jazz avant-garde since the 1960s on 22 recordings, including "Revenge" and "Dual Unity" with Paul Bley; "Skillfullnes" with Alan Silva, "Ritti" with Joe Morris; "Fuzzagainst Junk" from the Vision 1997 Festival with Thurston Moore; "Triplet" and "Fire in the Valley" with Jemeel Moondoc; "Divine Mad Love" with Sabir Mateen; and "November 1981," "Thoughts," and "Son of Sisyphus" with Bill Dixon. He has worked with Sam Rivers, Alan Silva, the Brecker Brothers, Robin Kenyatta, Mark Whitecage, and Barre Phillips, among many others.
A paraphrase: "The older jazz is like representational painting where you paint a portrait of a person or a thing. That's playing on a song and its chords. The new music is like modern painting, action painting. You concern yourself with the surface of the canvas, the brushstrokes, the texture of the paint, the total two-dimensional surface, concern myself with the way the drum stick strikes the cymbal, the surface of the drum heads."
How you managed to say so little about Laurence Cook -- who is one of my mentors -- is beyond me and leads me to believe that you have very little connection to the text of this art form and, as a result, I sense a lack of propriety in your comments.
I feel a bit ridiculous because I am not trying to attack you and yet I feel I am by default. No one has yet been willing to review the CD, and I assume that if you didn't like it you wouldn't have reviewed it at all. So the fact that it is on your "media diet" means that you want people to listen to it. Music is really all I have so I feel I am slighting myself in my response to your review. My studio is always open. Anybody can come and listen to something from my collection or perhaps Rob Chalfen's collection as well.
Just so there's no misunderstanding, let me expand on something I wrote above. I use the term "black music" as an umbrella term. It does not refer to color as much as culture. Though my interests are the avant-garde (whatever that means) this term would cover a wide range of music: gospel, spirituals, field hollers, jazz (really a bad term), R&B, soul, rap, hip-hop, rock (what people do in the black church), etc.
One has to beg the question: What is black music? What is white music?
I live in a neighborhood with about five black churches. If you want to know what I mean, come to a service at one of them. You will find some white people in the congregation who are totally enamoured of the sublteties involved in singing from this perspective, but, of course, Cambridge is not like Boston.
It's more of a matter of cultural perspective than color. Paul Bley happens to be a white player. If it were just color, then I suppose Anita O'Day would be white music and Jesse Norman would be Black music. The whole issue of black culture in music is not very fashionable at present. It almost explains segregation in the music scene. Most of the Boston improv people seem to reject these ideas in favor of what they might call "classical sensibilites" or just free improv. Of course, because we all know what a major scale is, we are all classically trained. Aesthetically, this is viewed as more sophisticated because it is seen as some sort of cultural marriage (that never took place). I have never tried to promote myself this way.
The sad part is the political aspect of it, in which we believe that an artist is more broad, versatile, or creative because he records symphonic music -- for example, Keith Jarret, Chick Corea, and Wynton Marsalis. People like Miles Davis, Dizzy Gillespie, etc., never recorded any music other than their own. Would we have thought that they were more creative if they had recorded the Haydn trumpet concerto (like Wynton), and if they were unable to do so would we have scoffed at them for their lack of classical sensibilities? Then, to add injury to insult, they never even talk about the fact that Wynton Marsalis is one of the few black trumpet players who was allowed to play first trumpet for the symphony orchestra. Nevertheless, Miles and Dizzy have become some of the essential people who we must deal with in this music If you read the interviews with many of the great white players in the music, they will tell you who and what subtleties they admired in the music and the musicians.
Some of these comments may seem pastiche, but I find a lack of awareness and interest in what these subtleties do in the music. I say this because rhythm is still an unexplored territory in music, and much of the sound art, noise, and free improv that I hear now is very square -- though there's a lot of imagination with regards to timbre and noise, which I wholly support.
The reason I object to the term jazz is because it limits your social stance, codifies the financial area available to you, and in academia leads people to believe that you are musically illiterate. In other words, it's a token art form, and they will not hire you except as the one person on the staff in most music schools. -- Eric Zinman
Wednesday, April 03, 2002
Books Worth a Look III
These are the books I read in March 2002.
1,440 Reasons to Quit Smoking by Bill Dodds (2000)
A relatively useless self-help book for people wanting to kick nicotine. While the book's reasons are rather soft and smarmily presented, it's interesting how the reasons fall into implicit categories -- the ingredients in cigs, their health effects, the politics and economy of the tobacco industry, the social stigma, romantic needs, personal relationships and peer pressure, and will power. Pretty light on hardcore stats, but Bill accomplished what he set out to do -- offer a reason for every minute of the day.
Days to read: 1. Rating: Poor.
Available Light by Warren Ellis (2002)
Perhaps the best thing Astronauts in Trouble/Planet Lar has published, this is still a highly flawed project. One, Warren's digital photographs, taken with an Eyemodule connected to a Handspring Visor Platinum, do not make for a quality photography book. Two, his largely unedited writing, while better than that in Bad World, begs for some editorial input. Several pieces work well -- "Bush," "Gate," and "Phone" -- but otherwise, they're half-assed and half-written comic scripts or paltry prose pieces deserving more attention. Kudos for writing on your Visor, but gimmick doesn't always stick. This book would've been better without the glossy stock, the photos, or all the white space.
Days to read: 1. Rating: Good.
Batman: Arkham Asylum by Grant Morrison (1989)
Predating DC's Vertigo imprint, this comic book featuring art by Dave McKean indicates what can happen when a mainstream publisher offers serious comics. The story hinges on what happens when the Joker and other inmates take over Arkham Asylum. But the graphic novel is a deeper look at the history of the institution and its role in the Batman mythos, power plays in psychiatry, and redemption. Hit me harder when I was 16, but it's still good.
Days to read: 1. Rating: Good.
The Complete Copybook Tales by J. Torres and Tim Levins (2002)
Collecting six issues of the Slave Labor Graphics series as well as the creators' original minicomics, this trade paperback tells the tale of two young me trying to break into the comics industry. While a comic about making comics risks irrelevance, this book works because it's really about childhood and the recollection and documentation of childhood, similar to Bill Schelly's "Sense of Wonder." The Slave Labor artwork's not really my bag -- the minis are more pure -- but I can see myself in this comic, and that says a lot.
Days to read: 1. Rating: Good.
Dig USA: A Book About the Many Faces of This Generation ed. by Arthur Daigon and Ronald LaConte (1970)
An interesting artifact of mainstream analysis of the countercultures and youth movements of the '60s, this book is flawed in two ways. One, it's overly influenced by Marshall McLuhan, and its hodgepodge of original writing, newspaper reprints, graphic appropriation, and other literary assemblage falls flat. Two, the book aims to be interactive but isn't cohesive enough to encourage an in-depth analysis or exploration of the text itself. Quaint, but not critical.
Days to read: 1. Rating: Fair.
ESPers by James Hudnall and David Lloyd (1995)
ESPers #1-4 was published in the mid-'80s by Eclipse, again showing why that little publishing company was so important. Hudnall's script is rather straight-forward. The goverment is monitoring psychics, who band together to free some hostages in Beirut. Much of the book is spent establishing the characters and recruiting the team, and the resulting roundup is rather diverse ethnically and personality wise. Not the most amazing comic, but not totally generic either.
Days to read:1. Rating: Good.
The Executioner #276: Leviathan by Gerald Montgomery as Don Pendleton (2001)
While many of the Mack Bolan popcult pastiches -- such as the relatively recent nod to a Bane-like killing machine -- often fail miserably, Montgomery's homage to H.P. Lovecraft works well. A doomsday cult taps into an underground race of Cthulhu-like supersquid -- including a gatekeeper called the avatar -- that plays havoc around an offshore oil rig used for drug manufacture. Mack is on the case and helps disband the cult, as well as avert a supernatural disaster. Inspired, tasteful, and a Lovecraftian anomaly.
Days to read: 1. Rating: Good.
The Four Agreements: A Toltec Wisdom Book by Don Miguel Ruiz (1997)
Like The Greatest Salesman in the World, this near-mythic book outlines a handful of suggestions and rules to improve your life. This book is rooted in Toltec wisdom, supposedly, but its lineage doesn't matter in that the book's not overly rooted in history and myth -- and the guidelines are sound. Be impeccable with your word. Don't take anything personally. Don't make assumptions. Always do your best. Things I've heard before; and couched in a verbose yet chatty, over-explanatory manner; but well worth recommitting to.
Days to read: 1. Rating: Good.
I Hate the Man Who Runs This Bar!: The Survival Guide for Real Musicians by Eugene Chadbourne (1997)
Chadbourne's written this one for passionate working musicians resigned to struggling for success their entire lives. His advice about shows, recording, tours, and working with labels is spot on -- clever and constructively critical. The book drags at times as Chadbourne strives to share his wide range of experiences and types of people he's encountered. Still, extremely useful and inspirational if you have anything to do with independent music.
Days to read:46. Rating: Good.
Kinky Business: The Perversion of Funky Business by Waldo Palmer (2001)
Only in Europe! This English-language edition of a Swedish graphic album is a parody of self-consciously cartoony management gurus Kjell Nordstrom and Jonas Ridderstrale's business book "Funky Business." Oh, sure, National Lampoon parodied Tom Peters' "In Search of Excellence" in comic format in the early '80s, but the US doesn't have a tendency to or tradition of taking its new economic evangelists to task. The book's a shallow, sexual poke at the two shaven saviours, but the fact that this was even published rocks.
Days to read: 1. Rating: Good.
The Knights Templar and Their Myth by Peter Partner (1987)
The author, who doesn't come across as overly academic, looks at the lower-class knights who played an important role in the Christian Crusades, were eventually ostracized and imprisoned by political leaders who felt threatened by their power during the Middle Ages, and were later romanticized and mythologized by the Masons and other fraternal organizations looking for connections to an older, oftern pre-Christian tradition and truth. Partner debunks the myth well, deflating the many misinterpretations and appropriations of the Templar tale.
Days to read: 6. Rating: Excellent.
The Open Classroom: A Practical Guide to a New Way of Teaching by Herbert R. Kohl (1969)
Working to combat the authoritarian and hierarchical character of most schools, Kohl maps a plan to educate children through participation and the pursuit of mutual interests. The book touches on setting or suspending expectations, working through disputes, instituting positive and productive rules and routines, redesigning the classroom, creating lesson plans, discipline, and working with other educators. I don't know if the ideas presented are dated, but Kohl seems to set a sensible direction for change.
Days to read: NA. Rating: Good.
Pindeldyboz Vol. 2 ed. by Jeff Boison (2002)
One of several journals of new writing slightly inspired by and modeled after McSweeney's. The 18 pieces in this edition include some clunkers -- like Justin Bzdek's "Wide Mouth Bass People" and Slaney Chadwick Ross' story -- but the balance is quite impressive. John Verbos' "Lost Boys" is a delightful combination of "Lord of the Flies" and "A Separate Peace." Peter Bebergal's "Searching for Pancake Jackson" merges celebrity and self-discovery. And Jud Laghi's "Lattimer Round Trip" couples with Michael Russell's "Hermit's Diary" for a solid look at the "new economy" and the meaning of work. Consistently interesting.
Days to read: 2. Rating: Excellent.
Preacher Book 1: Gone to Texas by Garth Ennis and Steve Dillon (1995)
A faith-challenged priest is imbued with Genesis, the spirit of God, and sets out to find God -- and to learn why he abandoned humanity. I read this at the behest of Charlie, and I'm glad I did. Equal parts religion studies, mythology a la Neil Gaiman, and detective story, Ennis' writing indicates why it's worth confusing him with Warren Ellis. There's adventure, horror, love, mystery, and religion. I'll read more. This only collects the first seven issues.
Days to read: 1. Rating: Good.
Preacher Book 2: Until the End of the World by Garth Ennis and Steve Dillon (1997)
Not as rife with religious references as the first volume, this collection of issues 8-17 reveals more of Jesse's past and family history, as well as why he left Tulip. The collection also deepens his friendship with Cassidy and introduces the Grail, which deepens the religious conspiracy. The sexual subplot featuring Jesus de Sade is an unwelcome and unnecessary distraction, shocking solely for shock's sake.
Days to read: 1. Rating: Good.
Preacher Book 3: Proud Americans by Garth Ennis and Steve Dillon (1997)
Compiling issues 18-26, this volume reintroduces the religious conspiracy in fine form, as Allfather D'Aronique arrives on the scene, the Saint of Killers makes a deal with Jesse, the conception of Genesis is described, and we learn how Cassidy became a vampire. There's a nice ode to NYC and the twin towers at the end of this, but I feel like the series is losing steam. I'll give it one more volume.
Days to read: 1. Rating: Good.
Preacher Book 4: Ancient History by Garth Ennis (1998)
Collecting several Preacher one-shots and a miniseries focusing on the Saint of Killers, Ennis saves his reading-pile bacon with this collection of context-setting back stories. Out of the periodical pamphlet's monthly continuity, we learn how the Saint of Killers came to be, how Sheriff Root's son (shades of American Beauty) became disfigured, and how Jody and TC went up against a hilarious pairing of a cop on the edge and a supermodel-turned-lawyer with a dangerous secret. I despise Jody and TC, but that issue was a giggle reminiscent of American Century.
Days to read: 1. Rating: Excellent.
Preacher Book 5: Dixie Fried by Garth Ennis and Steve Dillon (1998)
Volume four won Preacher a respite and guaranteed Ennis' work a place on my reading pile for awhile longer. This volume, which collects #27-33, falls back into the series' continuity and details Cassidy's encounter with a seemingly naive fellow vamire, Jesse's return to Tulip, Areseface's hunt for Jesse, and the latter's search for the truth inside him using voodoo. Ennis' use of recurring characters is improving, but the series has lost its religious, mythic overtone.
Days to read: 1. Rating: Good.
Preacher Book 6: War in the Sun by Garth Ennis (1999)
Seven more issues that reveal Starr's introduction to and embrace of the Grail, as well as his scarification as a boy; Cassidy's struggles with alcoholicism and his love for Tulip; Jesse's confrontation of the Saint of Killers and his ongoing search for enlightenment and direction; his death; and Cassidy's betrayal. The final story about Arseface features some interesting Peter Milligan-like writing, but -- as I've said before -- the series is becoming tiresome. I'll give it one more volume, but it's wrapping up soon, so I'll probably finish the run. Sigh.
Days to read: 1. Rating: Fair.
Rose by Jeff Smith and Charles Vess (2002)
Jeff Smith's comic Bone is one of the best comics to come out of the indie-comics world in recent decades. This prelude to the cartoony adventure series might even be better in terms of its literary and artistic style. In this collection of the limited series, we are exposed to Rose's complicity in the empowerment of the Locus Master, Rose's sister Briar's jealous betrayal of all things good, and Lucius' history of protection. Vess' artwork is beautifully lavish, and despite the irritating near-transparent computer-generated word balloons, the book is welcome full-color eye candy.
Days to read: 1. Rating: Excellent.
The Spirit of Masonry by Foster Bailey (1957)
Alice Bailey's husband (?) contributes this study of Masonry, suggesting that instead of a mere men's club, it is in fact a model and process for the spiritual development of humanity. After retelling Masonry's origin and looking at its symbols and landmarks, Bailey outlines its ritual parallels to spiritual development and challenges members to eschew solely social clubs for more concerted self-improvement. Then he goes off the deep end and suggests that there are Masons on the star Sirius. A good introduction to Masonry's potential, albeit esoteric.
Days to read: 4. Rating: Fair.
Video Girl Ai Vol. 1: Preproduction by Masakazu Katsura (1999)
Past versions of this manga have helped me through other relationship breakups -- the original Japanese manga, the OAV with English subtitles -- and now this one. It does what it's designed to do. Yota's crushing on a girl. He thinks it's unrequited. At Gokuraku he rents a video girl who leaps out of the TV screen to console him. She begins to fall for him while his crush does the same, both realizing his positive qualities.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 2: Mix Down by Masakazu Katsura (2000)
Yota is torn between Moemi and Ai, who's been recalled as a defective video girl. Gokuraku's manager conspires to keep her in circulation. Yota meets Sorayama, his rival for Ai's affections, who tries to go all the way with her, with little discouragement. Yota socks him one (an act that'll cost him later), and starts to feel for Ai -- for real.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 3: Recall by Masakazu Katsura (2001)
Entering the video world, Yota strives to save Ai, his one, true love. The glass staircase and convoluted network system act as apt metaphors for the complexity of their still-young love. Moemi and Takashi distract, but Yota is resolute. Amnesiac Ai falls under the wing of Gokuraku's manager, and Yota falls under the spell of nubile newcomer Nobuku, who loves Yota like he loves Moemi and Ai. She is resolute while Ai regains her composure. And a book that could've taken many shots at media generalizations takes its first.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 4: Off-Line by Masakazu Katsura (2002)
This the meatiest edition to date. Oh, how I wish the manga were now completed in English. Ai begins to rediscover her past as Yota continues to woo Nobuko -- or vice versa. Nobuko confronts Yota. Ai confronts Yota. Naoto confronts Ai. And men are left wondering how women can handle all of this confrontation -- written by a man as Video Girl Ai is -- so well. Meanwhile, Yota encounters Moemi again, and Naoto is introduced to the wonders of Gokuraku himself.
Days to read: 1. Rating: Excellent.
William Sylvis: Pioneer of American Labor by Jonathan Grossman (1945)
This excellent biography of Sylvis mostly follows his involvement in and leadership of the Iron Molders Union and the Iron Molders' International Union. Concentrating on Sylvis' circuit-riding approach to recruitment and union organization, the book also details his union administration strategies and organizing platform, as well as his later, uninformed embrace of the cooperative movement. A good look at Sylvis' too-short life, as well as a useful organizing manual.
Days to read: 20. Rating: Excellent.
These are the books I read in March 2002.
1,440 Reasons to Quit Smoking by Bill Dodds (2000)
A relatively useless self-help book for people wanting to kick nicotine. While the book's reasons are rather soft and smarmily presented, it's interesting how the reasons fall into implicit categories -- the ingredients in cigs, their health effects, the politics and economy of the tobacco industry, the social stigma, romantic needs, personal relationships and peer pressure, and will power. Pretty light on hardcore stats, but Bill accomplished what he set out to do -- offer a reason for every minute of the day.
Days to read: 1. Rating: Poor.
Available Light by Warren Ellis (2002)
Perhaps the best thing Astronauts in Trouble/Planet Lar has published, this is still a highly flawed project. One, Warren's digital photographs, taken with an Eyemodule connected to a Handspring Visor Platinum, do not make for a quality photography book. Two, his largely unedited writing, while better than that in Bad World, begs for some editorial input. Several pieces work well -- "Bush," "Gate," and "Phone" -- but otherwise, they're half-assed and half-written comic scripts or paltry prose pieces deserving more attention. Kudos for writing on your Visor, but gimmick doesn't always stick. This book would've been better without the glossy stock, the photos, or all the white space.
Days to read: 1. Rating: Good.
Batman: Arkham Asylum by Grant Morrison (1989)
Predating DC's Vertigo imprint, this comic book featuring art by Dave McKean indicates what can happen when a mainstream publisher offers serious comics. The story hinges on what happens when the Joker and other inmates take over Arkham Asylum. But the graphic novel is a deeper look at the history of the institution and its role in the Batman mythos, power plays in psychiatry, and redemption. Hit me harder when I was 16, but it's still good.
Days to read: 1. Rating: Good.
The Complete Copybook Tales by J. Torres and Tim Levins (2002)
Collecting six issues of the Slave Labor Graphics series as well as the creators' original minicomics, this trade paperback tells the tale of two young me trying to break into the comics industry. While a comic about making comics risks irrelevance, this book works because it's really about childhood and the recollection and documentation of childhood, similar to Bill Schelly's "Sense of Wonder." The Slave Labor artwork's not really my bag -- the minis are more pure -- but I can see myself in this comic, and that says a lot.
Days to read: 1. Rating: Good.
Dig USA: A Book About the Many Faces of This Generation ed. by Arthur Daigon and Ronald LaConte (1970)
An interesting artifact of mainstream analysis of the countercultures and youth movements of the '60s, this book is flawed in two ways. One, it's overly influenced by Marshall McLuhan, and its hodgepodge of original writing, newspaper reprints, graphic appropriation, and other literary assemblage falls flat. Two, the book aims to be interactive but isn't cohesive enough to encourage an in-depth analysis or exploration of the text itself. Quaint, but not critical.
Days to read: 1. Rating: Fair.
ESPers by James Hudnall and David Lloyd (1995)
ESPers #1-4 was published in the mid-'80s by Eclipse, again showing why that little publishing company was so important. Hudnall's script is rather straight-forward. The goverment is monitoring psychics, who band together to free some hostages in Beirut. Much of the book is spent establishing the characters and recruiting the team, and the resulting roundup is rather diverse ethnically and personality wise. Not the most amazing comic, but not totally generic either.
Days to read:1. Rating: Good.
The Executioner #276: Leviathan by Gerald Montgomery as Don Pendleton (2001)
While many of the Mack Bolan popcult pastiches -- such as the relatively recent nod to a Bane-like killing machine -- often fail miserably, Montgomery's homage to H.P. Lovecraft works well. A doomsday cult taps into an underground race of Cthulhu-like supersquid -- including a gatekeeper called the avatar -- that plays havoc around an offshore oil rig used for drug manufacture. Mack is on the case and helps disband the cult, as well as avert a supernatural disaster. Inspired, tasteful, and a Lovecraftian anomaly.
Days to read: 1. Rating: Good.
The Four Agreements: A Toltec Wisdom Book by Don Miguel Ruiz (1997)
Like The Greatest Salesman in the World, this near-mythic book outlines a handful of suggestions and rules to improve your life. This book is rooted in Toltec wisdom, supposedly, but its lineage doesn't matter in that the book's not overly rooted in history and myth -- and the guidelines are sound. Be impeccable with your word. Don't take anything personally. Don't make assumptions. Always do your best. Things I've heard before; and couched in a verbose yet chatty, over-explanatory manner; but well worth recommitting to.
Days to read: 1. Rating: Good.
I Hate the Man Who Runs This Bar!: The Survival Guide for Real Musicians by Eugene Chadbourne (1997)
Chadbourne's written this one for passionate working musicians resigned to struggling for success their entire lives. His advice about shows, recording, tours, and working with labels is spot on -- clever and constructively critical. The book drags at times as Chadbourne strives to share his wide range of experiences and types of people he's encountered. Still, extremely useful and inspirational if you have anything to do with independent music.
Days to read:46. Rating: Good.
Kinky Business: The Perversion of Funky Business by Waldo Palmer (2001)
Only in Europe! This English-language edition of a Swedish graphic album is a parody of self-consciously cartoony management gurus Kjell Nordstrom and Jonas Ridderstrale's business book "Funky Business." Oh, sure, National Lampoon parodied Tom Peters' "In Search of Excellence" in comic format in the early '80s, but the US doesn't have a tendency to or tradition of taking its new economic evangelists to task. The book's a shallow, sexual poke at the two shaven saviours, but the fact that this was even published rocks.
Days to read: 1. Rating: Good.
The Knights Templar and Their Myth by Peter Partner (1987)
The author, who doesn't come across as overly academic, looks at the lower-class knights who played an important role in the Christian Crusades, were eventually ostracized and imprisoned by political leaders who felt threatened by their power during the Middle Ages, and were later romanticized and mythologized by the Masons and other fraternal organizations looking for connections to an older, oftern pre-Christian tradition and truth. Partner debunks the myth well, deflating the many misinterpretations and appropriations of the Templar tale.
Days to read: 6. Rating: Excellent.
The Open Classroom: A Practical Guide to a New Way of Teaching by Herbert R. Kohl (1969)
Working to combat the authoritarian and hierarchical character of most schools, Kohl maps a plan to educate children through participation and the pursuit of mutual interests. The book touches on setting or suspending expectations, working through disputes, instituting positive and productive rules and routines, redesigning the classroom, creating lesson plans, discipline, and working with other educators. I don't know if the ideas presented are dated, but Kohl seems to set a sensible direction for change.
Days to read: NA. Rating: Good.
Pindeldyboz Vol. 2 ed. by Jeff Boison (2002)
One of several journals of new writing slightly inspired by and modeled after McSweeney's. The 18 pieces in this edition include some clunkers -- like Justin Bzdek's "Wide Mouth Bass People" and Slaney Chadwick Ross' story -- but the balance is quite impressive. John Verbos' "Lost Boys" is a delightful combination of "Lord of the Flies" and "A Separate Peace." Peter Bebergal's "Searching for Pancake Jackson" merges celebrity and self-discovery. And Jud Laghi's "Lattimer Round Trip" couples with Michael Russell's "Hermit's Diary" for a solid look at the "new economy" and the meaning of work. Consistently interesting.
Days to read: 2. Rating: Excellent.
Preacher Book 1: Gone to Texas by Garth Ennis and Steve Dillon (1995)
A faith-challenged priest is imbued with Genesis, the spirit of God, and sets out to find God -- and to learn why he abandoned humanity. I read this at the behest of Charlie, and I'm glad I did. Equal parts religion studies, mythology a la Neil Gaiman, and detective story, Ennis' writing indicates why it's worth confusing him with Warren Ellis. There's adventure, horror, love, mystery, and religion. I'll read more. This only collects the first seven issues.
Days to read: 1. Rating: Good.
Preacher Book 2: Until the End of the World by Garth Ennis and Steve Dillon (1997)
Not as rife with religious references as the first volume, this collection of issues 8-17 reveals more of Jesse's past and family history, as well as why he left Tulip. The collection also deepens his friendship with Cassidy and introduces the Grail, which deepens the religious conspiracy. The sexual subplot featuring Jesus de Sade is an unwelcome and unnecessary distraction, shocking solely for shock's sake.
Days to read: 1. Rating: Good.
Preacher Book 3: Proud Americans by Garth Ennis and Steve Dillon (1997)
Compiling issues 18-26, this volume reintroduces the religious conspiracy in fine form, as Allfather D'Aronique arrives on the scene, the Saint of Killers makes a deal with Jesse, the conception of Genesis is described, and we learn how Cassidy became a vampire. There's a nice ode to NYC and the twin towers at the end of this, but I feel like the series is losing steam. I'll give it one more volume.
Days to read: 1. Rating: Good.
Preacher Book 4: Ancient History by Garth Ennis (1998)
Collecting several Preacher one-shots and a miniseries focusing on the Saint of Killers, Ennis saves his reading-pile bacon with this collection of context-setting back stories. Out of the periodical pamphlet's monthly continuity, we learn how the Saint of Killers came to be, how Sheriff Root's son (shades of American Beauty) became disfigured, and how Jody and TC went up against a hilarious pairing of a cop on the edge and a supermodel-turned-lawyer with a dangerous secret. I despise Jody and TC, but that issue was a giggle reminiscent of American Century.
Days to read: 1. Rating: Excellent.
Preacher Book 5: Dixie Fried by Garth Ennis and Steve Dillon (1998)
Volume four won Preacher a respite and guaranteed Ennis' work a place on my reading pile for awhile longer. This volume, which collects #27-33, falls back into the series' continuity and details Cassidy's encounter with a seemingly naive fellow vamire, Jesse's return to Tulip, Areseface's hunt for Jesse, and the latter's search for the truth inside him using voodoo. Ennis' use of recurring characters is improving, but the series has lost its religious, mythic overtone.
Days to read: 1. Rating: Good.
Preacher Book 6: War in the Sun by Garth Ennis (1999)
Seven more issues that reveal Starr's introduction to and embrace of the Grail, as well as his scarification as a boy; Cassidy's struggles with alcoholicism and his love for Tulip; Jesse's confrontation of the Saint of Killers and his ongoing search for enlightenment and direction; his death; and Cassidy's betrayal. The final story about Arseface features some interesting Peter Milligan-like writing, but -- as I've said before -- the series is becoming tiresome. I'll give it one more volume, but it's wrapping up soon, so I'll probably finish the run. Sigh.
Days to read: 1. Rating: Fair.
Rose by Jeff Smith and Charles Vess (2002)
Jeff Smith's comic Bone is one of the best comics to come out of the indie-comics world in recent decades. This prelude to the cartoony adventure series might even be better in terms of its literary and artistic style. In this collection of the limited series, we are exposed to Rose's complicity in the empowerment of the Locus Master, Rose's sister Briar's jealous betrayal of all things good, and Lucius' history of protection. Vess' artwork is beautifully lavish, and despite the irritating near-transparent computer-generated word balloons, the book is welcome full-color eye candy.
Days to read: 1. Rating: Excellent.
The Spirit of Masonry by Foster Bailey (1957)
Alice Bailey's husband (?) contributes this study of Masonry, suggesting that instead of a mere men's club, it is in fact a model and process for the spiritual development of humanity. After retelling Masonry's origin and looking at its symbols and landmarks, Bailey outlines its ritual parallels to spiritual development and challenges members to eschew solely social clubs for more concerted self-improvement. Then he goes off the deep end and suggests that there are Masons on the star Sirius. A good introduction to Masonry's potential, albeit esoteric.
Days to read: 4. Rating: Fair.
Video Girl Ai Vol. 1: Preproduction by Masakazu Katsura (1999)
Past versions of this manga have helped me through other relationship breakups -- the original Japanese manga, the OAV with English subtitles -- and now this one. It does what it's designed to do. Yota's crushing on a girl. He thinks it's unrequited. At Gokuraku he rents a video girl who leaps out of the TV screen to console him. She begins to fall for him while his crush does the same, both realizing his positive qualities.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 2: Mix Down by Masakazu Katsura (2000)
Yota is torn between Moemi and Ai, who's been recalled as a defective video girl. Gokuraku's manager conspires to keep her in circulation. Yota meets Sorayama, his rival for Ai's affections, who tries to go all the way with her, with little discouragement. Yota socks him one (an act that'll cost him later), and starts to feel for Ai -- for real.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 3: Recall by Masakazu Katsura (2001)
Entering the video world, Yota strives to save Ai, his one, true love. The glass staircase and convoluted network system act as apt metaphors for the complexity of their still-young love. Moemi and Takashi distract, but Yota is resolute. Amnesiac Ai falls under the wing of Gokuraku's manager, and Yota falls under the spell of nubile newcomer Nobuku, who loves Yota like he loves Moemi and Ai. She is resolute while Ai regains her composure. And a book that could've taken many shots at media generalizations takes its first.
Days to read: 1. Rating: Excellent.
Video Girl Ai Vol. 4: Off-Line by Masakazu Katsura (2002)
This the meatiest edition to date. Oh, how I wish the manga were now completed in English. Ai begins to rediscover her past as Yota continues to woo Nobuko -- or vice versa. Nobuko confronts Yota. Ai confronts Yota. Naoto confronts Ai. And men are left wondering how women can handle all of this confrontation -- written by a man as Video Girl Ai is -- so well. Meanwhile, Yota encounters Moemi again, and Naoto is introduced to the wonders of Gokuraku himself.
Days to read: 1. Rating: Excellent.
William Sylvis: Pioneer of American Labor by Jonathan Grossman (1945)
This excellent biography of Sylvis mostly follows his involvement in and leadership of the Iron Molders Union and the Iron Molders' International Union. Concentrating on Sylvis' circuit-riding approach to recruitment and union organization, the book also details his union administration strategies and organizing platform, as well as his later, uninformed embrace of the cooperative movement. A good look at Sylvis' too-short life, as well as a useful organizing manual.
Days to read: 20. Rating: Excellent.
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