Technofetishism XXVII
In this ever-online, always-connected, widely distributed world of communications, it's good to know that there are still gaps in the system -- and steps that people can take to cross the voids. Earlier today, I emailed a couple of my bandmates to inquire about getting a ride to Anchormen practice tonight. I did so on my laptop, using Eudora.
Minutes ago, my cell phone beeped, indicating that I'd gotten an SMS. It was Chris, saying he could give me a lift. I replied via SMS, but I wonder: Does Chris get his email on his phone? Did he read my email and then decide that replying via SMS was more expedient? It was kind of nice not to get an email in response. Gaps to cross, voids to fill, steps to take.
Wednesday, March 05, 2003
North End Moment XXXV
I found this wallet photo from a junior high or high school formal dance this morning on the pavement in the back alley. It was face up, beaming at the grey skies of Boston, image surface speckled with the light rain we're getting this morning.
Oh, to be young and in love. She looks so pleased with herself: her dress, her hair. He looks so pleased to be with her. His suit is no match for her dress, and do you think he's almost hiding behind her so he doesn't look so wide? I don't know. What I do know is that if he really loved her, and she him, the photo wouldn't have found its way to the gutters behind the Scotch & Sirloin building. Just a little bittersweet welcome to the North End today.
I found this wallet photo from a junior high or high school formal dance this morning on the pavement in the back alley. It was face up, beaming at the grey skies of Boston, image surface speckled with the light rain we're getting this morning.
Oh, to be young and in love. She looks so pleased with herself: her dress, her hair. He looks so pleased to be with her. His suit is no match for her dress, and do you think he's almost hiding behind her so he doesn't look so wide? I don't know. What I do know is that if he really loved her, and she him, the photo wouldn't have found its way to the gutters behind the Scotch & Sirloin building. Just a little bittersweet welcome to the North End today.
Tuesday, March 04, 2003
Digesting the Daily IX
Recent editions of the Daily Northwestern, the student newspaper of my alma mater, featured several media-, technology-, and activism-related items that might be of interest to Media Dieticians.
Alderman champions struggling Evanston skate park
Proposed budget calls for park to close; some say sport is bigger than baseball
(Feb. 18, 2003)
Twisted logic behind library's bizarre design
(Feb. 19, 2003)
Hip living
The Co-op has picked up a reputation as a "hippie commune," but tenants just call it home
(Feb. 24, 2003)
Weekend detention to Kellogg student Brady Busch, who was arrested Feb. 21 for pushing, grabbing, and insulting a female officer of the Evanston Police Department. Charged with battery, Busch reportedly shoved the officer, who was checking IDs, from behind so he could get past her. "Get out of the way, b-tch," he said. When arrested, the Kellogg student said, "F-ck you." Dude. You go to the Kellogg School of Management. What kind of business person do you want to be? What kind will you be? The kind that bruises the arms of police officers just so you can get into a bar? I am not impressed. Shame on you.
Recent editions of the Daily Northwestern, the student newspaper of my alma mater, featured several media-, technology-, and activism-related items that might be of interest to Media Dieticians.
Alderman champions struggling Evanston skate park
Proposed budget calls for park to close; some say sport is bigger than baseball
(Feb. 18, 2003)
Twisted logic behind library's bizarre design
(Feb. 19, 2003)
Hip living
The Co-op has picked up a reputation as a "hippie commune," but tenants just call it home
(Feb. 24, 2003)
Weekend detention to Kellogg student Brady Busch, who was arrested Feb. 21 for pushing, grabbing, and insulting a female officer of the Evanston Police Department. Charged with battery, Busch reportedly shoved the officer, who was checking IDs, from behind so he could get past her. "Get out of the way, b-tch," he said. When arrested, the Kellogg student said, "F-ck you." Dude. You go to the Kellogg School of Management. What kind of business person do you want to be? What kind will you be? The kind that bruises the arms of police officers just so you can get into a bar? I am not impressed. Shame on you.
From the In Box: From the Reading Pile XVII
Thanks for the review on the "Nowhere Fast" deal. I have something for you to review further. I say that Jesus Christ rose from the dead 2000 years ago, and that the resrrection of Jesus Christ is an undeniable fact. What is your review on that? -- Simon Woodstock
The original manuscripts of the Bible are proven to be infallible. Besides the biblical account of the miraculous resurrection of Jesus Christ from the dead, there is much evidence from first century non Christian historians that support the resurrection of Jesus Christ as well (i.e Pliny, Tacitus, Josephus etc.) The resurrection of Jesus Christ is the most historically verifiable event in all of ancient history.
Besides this, the Bible claims that Jesus is in fact God in the flesh. If a book claims that somebody is God, and they are in fact not God, that book is no source for any type of moral guidelines. That book would have to be considered to be the biggest lie of all history, and thus of no moral worth.
The Bible is infallible. The Bible claims that Jesus is God. Jesus rose from the dead, proving once and for all that this was so. The resurrection is not a theological/historical particular. The resurrection of Jesus Christ is either the most crucial event of all time, or it is absolutely nothing at all.
I respect any conclusion that you make, and I also respect you as a person, even if we disagree. Your review please.
Thanks for the review on the "Nowhere Fast" deal. I have something for you to review further. I say that Jesus Christ rose from the dead 2000 years ago, and that the resrrection of Jesus Christ is an undeniable fact. What is your review on that? -- Simon Woodstock
I would say that while I was raised Christian and read the Bible nearly every day, I don't think that the Bible is infallible. And that I would much rather concentrate on living in line with Christian morals and values than debating over theological-historical particulars. Live the change I want to make, I guess.
The original manuscripts of the Bible are proven to be infallible. Besides the biblical account of the miraculous resurrection of Jesus Christ from the dead, there is much evidence from first century non Christian historians that support the resurrection of Jesus Christ as well (i.e Pliny, Tacitus, Josephus etc.) The resurrection of Jesus Christ is the most historically verifiable event in all of ancient history.
Besides this, the Bible claims that Jesus is in fact God in the flesh. If a book claims that somebody is God, and they are in fact not God, that book is no source for any type of moral guidelines. That book would have to be considered to be the biggest lie of all history, and thus of no moral worth.
The Bible is infallible. The Bible claims that Jesus is God. Jesus rose from the dead, proving once and for all that this was so. The resurrection is not a theological/historical particular. The resurrection of Jesus Christ is either the most crucial event of all time, or it is absolutely nothing at all.
I respect any conclusion that you make, and I also respect you as a person, even if we disagree. Your review please.
Monday, March 03, 2003
The Movie I Watched Last Night LIX
Fast Company's under a denial-of-service attack, so it's a challenge to work on our Web. I'm usually not this prolific with Media Diet, I promise. I've been trying to be productive at work otherwise, but here I am again.
For what it's worth, I've decided that it's not fair game for me to review movies I stumble across on the TV and watch with less than full attention -- "Ford Fairlane" and the 1977 "Island of Dr. Moreau" recently -- so I'm going to stick with movies I rent or watch on DVD. Maybe movies on channels like HBO, but definitely not commercially interrupted movies.
Battle Royale
Amazing. The concept alone behind this movie is intriguing, but its final execution is quite impressive. Because of an economic collapse and population explosion in the Japan of the future, a law is passed that allows the government to send one class of ninth graders to a deserted island for three days. The students are given weapons, food, and water; are instructed to kill each other; and the survivor at the end gets to return to the mainland. While one would think the plot would establish an unnecessarily gory, Friday the 13th-like slasher film, director Kinji Fukasaku did a brilliant job downplaying the violence, of which there is plenty, and making sure that the characters -- more than 40 at the movie's beginning -- are relatively distinguishable from the next. Takeshi Kitano sings as the subtly unstable former teacher overseeing the whole operation, and concept aside, there are some interesting developments and twists along the way -- including the boys who hack into the military's computer system and the Battle Royale alumnus who plays a role in the most satisfying plot surprise near the end of the movie. If you're a fan of Japanese or Hong Kong action and exploitation films, this is one to see for sure.
Dot
This is an independently produced mockumentary about a start-up company called Zectek. It's been billed as the Spinal Tap of the dotcom era and hailed by Business 2.0 as more realistic than Startup.com. While it's no Spinal Tap -- and while I've yet to see Startup.com (I just moved it up in my Netflix queue) -- it's an extremely funny, caustic, and biting satire of the Net Economy hype and hyperbole. Combining reality TV-styled footage with one-on-one candid interviews and voice-over news account narrative commenting on Netscape, Yahoo, and Boo.com, the movie slowly reveals the true leadership and character traits of the founders of Zectek, as well as those they hire later. What struck me hardest in this movie is that Zectek was a business founded on nothing: no ideas, no goals, and no business plan. The founders -- all of whom, outside of the technologist, perhaps, were full of hot air -- did everything necessary to run a startup business, from acquiring office space and hiring a receptionist to making T-shirts and raising millions of dollars in venture capital. In the end, the company never did anything, much less make a product or service. It reminded me of the band I was in in junior high. We opened a bank account, designed a logo, and bought sheet music for "Axel F" and "Tonight, Tonight, Tonight," but beyond one half-serious practice in the Methodist church's youth group room, we never did anything. We even researched our band name against existing trademarks, changing our name from Nitecap to Knightcap to avoid future litigation involving a hotel chain. A silly -- and slightly sad -- callback to the heyday of the Net Economy, when you didn't even need a business plan sketched on your cocktail napkin. All you needed was a napkin.
Freejack
How did this movie ever get made? Based on the Robert Sheckley s-f novel "Immortality Inc.," the film stars Emilio Estevez, of all people, as the protagonist -- and Mick Jagger as the bounty hunter antagonist. The story is pretty basic. Emilio's heroic character is a race-car driver who perishes in a fiery wreck -- and who is sucked into the future to serve as the body for a transplanted mind. The bulk of the movie is a series of Running Man-like chase scenes in which Emilio outpaces Mick; reconnects with his fiancee, played by Rene Russo, who's become a hard-edged business woman since his death; and tries to track down the wealthy business man who took out the bounty in the first place. That person turns out to be Anthony Hopkins' character, Russo's character's mentor and employer -- and outside of a visually stimulating final sequence in which we're drawn into Hopkins' character's preserved mind, the movie is devoid of value or interest. But the movie might be worth watching for the last scenes. And if you dig Sheckley, the movie might satisfy the completist in you.
Fast Company's under a denial-of-service attack, so it's a challenge to work on our Web. I'm usually not this prolific with Media Diet, I promise. I've been trying to be productive at work otherwise, but here I am again.
For what it's worth, I've decided that it's not fair game for me to review movies I stumble across on the TV and watch with less than full attention -- "Ford Fairlane" and the 1977 "Island of Dr. Moreau" recently -- so I'm going to stick with movies I rent or watch on DVD. Maybe movies on channels like HBO, but definitely not commercially interrupted movies.
Battle Royale
Amazing. The concept alone behind this movie is intriguing, but its final execution is quite impressive. Because of an economic collapse and population explosion in the Japan of the future, a law is passed that allows the government to send one class of ninth graders to a deserted island for three days. The students are given weapons, food, and water; are instructed to kill each other; and the survivor at the end gets to return to the mainland. While one would think the plot would establish an unnecessarily gory, Friday the 13th-like slasher film, director Kinji Fukasaku did a brilliant job downplaying the violence, of which there is plenty, and making sure that the characters -- more than 40 at the movie's beginning -- are relatively distinguishable from the next. Takeshi Kitano sings as the subtly unstable former teacher overseeing the whole operation, and concept aside, there are some interesting developments and twists along the way -- including the boys who hack into the military's computer system and the Battle Royale alumnus who plays a role in the most satisfying plot surprise near the end of the movie. If you're a fan of Japanese or Hong Kong action and exploitation films, this is one to see for sure.
Dot
This is an independently produced mockumentary about a start-up company called Zectek. It's been billed as the Spinal Tap of the dotcom era and hailed by Business 2.0 as more realistic than Startup.com. While it's no Spinal Tap -- and while I've yet to see Startup.com (I just moved it up in my Netflix queue) -- it's an extremely funny, caustic, and biting satire of the Net Economy hype and hyperbole. Combining reality TV-styled footage with one-on-one candid interviews and voice-over news account narrative commenting on Netscape, Yahoo, and Boo.com, the movie slowly reveals the true leadership and character traits of the founders of Zectek, as well as those they hire later. What struck me hardest in this movie is that Zectek was a business founded on nothing: no ideas, no goals, and no business plan. The founders -- all of whom, outside of the technologist, perhaps, were full of hot air -- did everything necessary to run a startup business, from acquiring office space and hiring a receptionist to making T-shirts and raising millions of dollars in venture capital. In the end, the company never did anything, much less make a product or service. It reminded me of the band I was in in junior high. We opened a bank account, designed a logo, and bought sheet music for "Axel F" and "Tonight, Tonight, Tonight," but beyond one half-serious practice in the Methodist church's youth group room, we never did anything. We even researched our band name against existing trademarks, changing our name from Nitecap to Knightcap to avoid future litigation involving a hotel chain. A silly -- and slightly sad -- callback to the heyday of the Net Economy, when you didn't even need a business plan sketched on your cocktail napkin. All you needed was a napkin.
Freejack
How did this movie ever get made? Based on the Robert Sheckley s-f novel "Immortality Inc.," the film stars Emilio Estevez, of all people, as the protagonist -- and Mick Jagger as the bounty hunter antagonist. The story is pretty basic. Emilio's heroic character is a race-car driver who perishes in a fiery wreck -- and who is sucked into the future to serve as the body for a transplanted mind. The bulk of the movie is a series of Running Man-like chase scenes in which Emilio outpaces Mick; reconnects with his fiancee, played by Rene Russo, who's become a hard-edged business woman since his death; and tries to track down the wealthy business man who took out the bounty in the first place. That person turns out to be Anthony Hopkins' character, Russo's character's mentor and employer -- and outside of a visually stimulating final sequence in which we're drawn into Hopkins' character's preserved mind, the movie is devoid of value or interest. But the movie might be worth watching for the last scenes. And if you dig Sheckley, the movie might satisfy the completist in you.
Rock Shows of Note LVI
Like the good 30-year-old I am, I stayed in Thursday and Friday nights so I could venture out in the drizzle Saturday for a solid show at the Abbey Lounge. I arrived around 9, about 20 minutes early for the start of the first set, a solo performance by the Brooklyn-based Jennifer O'Connor. O'Connor's been coming up from New York a lot lately, and I was impressed by her emotive singer-songwriter set. More indie rock than folk, her time on stage included several highlights. Her friend Kim joined her for a song on the melodica and played really well for her first time doing so. O'Connor played one of her friend's songs -- a pleasant little number musing about whether animals dream about zoos -- that stuck with me. And she seemed to nail the cover she said she tried to play in town last week -- but screwed up. You can catch her again April 10 at the Kendall Cafe with Eric Saulnier, whom I've mentioned here previously.
Next up, Soltero. I last saw them near the end of January, but I didn't really pay much attention. Saturday night, I did. And it was high time. Reminding me of what Papas Fritas might have sounded like in their earliest of days -- if they'd come from the Coctails school of self-taught bash pop -- they delighted with some delicious strained singing, off-key harmonies, and other antics -- such as clapping in the crowd and surprising "woo-hoo" yelps. Incorporating Johnny Cash-like baritone singing, several songs really hit me hard: "The Moment You Said Yes," "Autobahn," and "Fight Song for True Love." Lyrics blend the bittersweet and the banal. And the band had its own cheering section! Two tanktopped women on the left side of the club really whooped it up. Fun on stage, fun on the floor. I'll catch Soltero again.
Admittedly, Choo Choo la Rouge was who I was really there to see, however. While I've loved their shows in the past, while I love their CD, and while I'm sheepishly embarrassed that so many of the band members remember my name while all I can muster is Vincent, this show fell a little flat. They opened with a couple of new songs, which were good to hear, but I felt that their older songs were different -- either performed with less passion or slightly rewritten. With the past strength of their choruses and catchy hooks, I'd be surprised and disappointed if the band has expurgated some of my favorite sing-along parts. Maybe they didn't. Maybe my favorite songs just seemed to end too quickly.
Lastly, the In Out. Some sad news. They were supposed to have copies of their new CD on hand Saturday night. And the label had even shipped them several boxes of the disc. But some lame jerk stole the boxes from in front of where they'd been delivered, and the band arrived with only a few copies of the record. Now, what kind of person steals packages off of porches and whatnot? That's right, a bad, mean, stupid person. From what I gathered, the band called some local used record stores to warn folks that someone might be trying to sell them, but I shudder to think what fate befell those CD's. Did the thief just trash them? People, please don't steal. Despite that setback and letdown, the band put on a good show. Sure, I wish that they'd push what they do a little further. They are an extremely good Fall-like band, but I can't get past the comparison. They're not a tribute band, but sometimes they sound so much like the Fall that I get confused. I wish they'd grow beyond that focus and make the sound they're chasing a little more their own. Regardless, they had energy. They were relatively fun to watch. And the music is worth listening to. Can't wait until they get more copies of the record.
Like the good 30-year-old I am, I stayed in Thursday and Friday nights so I could venture out in the drizzle Saturday for a solid show at the Abbey Lounge. I arrived around 9, about 20 minutes early for the start of the first set, a solo performance by the Brooklyn-based Jennifer O'Connor. O'Connor's been coming up from New York a lot lately, and I was impressed by her emotive singer-songwriter set. More indie rock than folk, her time on stage included several highlights. Her friend Kim joined her for a song on the melodica and played really well for her first time doing so. O'Connor played one of her friend's songs -- a pleasant little number musing about whether animals dream about zoos -- that stuck with me. And she seemed to nail the cover she said she tried to play in town last week -- but screwed up. You can catch her again April 10 at the Kendall Cafe with Eric Saulnier, whom I've mentioned here previously.
Next up, Soltero. I last saw them near the end of January, but I didn't really pay much attention. Saturday night, I did. And it was high time. Reminding me of what Papas Fritas might have sounded like in their earliest of days -- if they'd come from the Coctails school of self-taught bash pop -- they delighted with some delicious strained singing, off-key harmonies, and other antics -- such as clapping in the crowd and surprising "woo-hoo" yelps. Incorporating Johnny Cash-like baritone singing, several songs really hit me hard: "The Moment You Said Yes," "Autobahn," and "Fight Song for True Love." Lyrics blend the bittersweet and the banal. And the band had its own cheering section! Two tanktopped women on the left side of the club really whooped it up. Fun on stage, fun on the floor. I'll catch Soltero again.
Admittedly, Choo Choo la Rouge was who I was really there to see, however. While I've loved their shows in the past, while I love their CD, and while I'm sheepishly embarrassed that so many of the band members remember my name while all I can muster is Vincent, this show fell a little flat. They opened with a couple of new songs, which were good to hear, but I felt that their older songs were different -- either performed with less passion or slightly rewritten. With the past strength of their choruses and catchy hooks, I'd be surprised and disappointed if the band has expurgated some of my favorite sing-along parts. Maybe they didn't. Maybe my favorite songs just seemed to end too quickly.
Lastly, the In Out. Some sad news. They were supposed to have copies of their new CD on hand Saturday night. And the label had even shipped them several boxes of the disc. But some lame jerk stole the boxes from in front of where they'd been delivered, and the band arrived with only a few copies of the record. Now, what kind of person steals packages off of porches and whatnot? That's right, a bad, mean, stupid person. From what I gathered, the band called some local used record stores to warn folks that someone might be trying to sell them, but I shudder to think what fate befell those CD's. Did the thief just trash them? People, please don't steal. Despite that setback and letdown, the band put on a good show. Sure, I wish that they'd push what they do a little further. They are an extremely good Fall-like band, but I can't get past the comparison. They're not a tribute band, but sometimes they sound so much like the Fall that I get confused. I wish they'd grow beyond that focus and make the sound they're chasing a little more their own. Regardless, they had energy. They were relatively fun to watch. And the music is worth listening to. Can't wait until they get more copies of the record.
Blogging About Blogging LI
Ever wonder where you might fall in the blogging food chain? Thanks to Truth Laid Bear's blogosphere ecosystem project, now you can find out.
Ever wonder where you might fall in the blogging food chain? Thanks to Truth Laid Bear's blogosphere ecosystem project, now you can find out.
Corollary: Business Reportage Goes Boom, Now Bust II
In a recent AlwaysOn column, Red Herring founder Tony Perkins says that the magazine may be down for now, but it's not out of the swimming yet. Perkins had just penned his editorial for the magazine's 10th anniversary issue when he himself heard the news about the magazine's impending dissolution. The two pieces make an interesting inside look at the last days -- for now, perhaps -- of one of the longer-running technology business magazines.
In a recent AlwaysOn column, Red Herring founder Tony Perkins says that the magazine may be down for now, but it's not out of the swimming yet. Perkins had just penned his editorial for the magazine's 10th anniversary issue when he himself heard the news about the magazine's impending dissolution. The two pieces make an interesting inside look at the last days -- for now, perhaps -- of one of the longer-running technology business magazines.
Books Worth a Look XII
These are the books I read in February 2003.
The Blizzard of '78 by Michael Tougias (On Cape, 2003)
Published to commemorate the 25th anniversary of the Blizzard of '78, which resulted in 27 inches of snow in Boston proper, as well as 54 deaths, hundreds of destroyed homes, and 125 arrests for looting in the city, this book largely comprised photographs documenting the storms impact. The text accompanying the photos is relatively scant and drawn on news accounts and some first-person interviews, and focuses on the storm's progression, its effects on the coastline, snow removal efforts, and the accompanying destruction. Tougias compares the blizzerd to the Blizzard of 1888, which hit hardest further west and wasn't as intense as the Blizzard of '78, providing a useful interesting context. Even more interesting, I read this on the eve of a heavy snowfall this year, a snowfall in which we almost rivaled the Blizzard of '78, in accumulated snow, if not the gale-force winds and destruction. Shades of the 30 inches that fell April 1, 1997, it was a good time to read this book, safely ensconced on the Big Blue Couch at Church Corner.
Pages: 128. Days to read: 1. Rating: Good.
The Bostonians by Henry James (Penguin, 1986)
First published in 1886, this classic novel is awesome on several levels. One, as an analysis of political thinking about the North and South just after the Reconstruction, James' portrayals of Basil Ransom, a Mississippi lawyer now living in Boston and New York, is extremely intriguing. Two, James' primary theme is the state of women's rights and social activism. His characters Verena Tarrant and Olive Chancellor provide wonderful foils and divergent examples of the new woman. And lastly, the novel's setting in Boston offers a lushly detailed snapshot of the city as it was in the late 1870s. James' descriptions of Harvard, the Back Bay, and even Cape Cod make me want to walk around, book in hand, to compare the landmarks as they are today with his imagery. A must read if you live in the Boston area. And the best book I've read in a long time.
Pages: 438. Days to read: 9. Rating: Excellent.
Boston's North End by Anthony Mitchell Sammarco (Arcadia, 1997)
Despite this book's inclusion in Arcadia's Images of America series, Sammarco's visual history of the North End, one of Boston's most historic neighborhoods, doesn't quite hold up the level of excellence established by other volumes in the series. Perhaps because of the range of photographs archived by the North End Branch of the Boston Public Library and Pizzeria Regina (seems they have quite the extensive photography collection!), or perhaps because of the advent of photography, this book is limited primarily to the North End's Italian history. That's fine, but it eclipses the district's African-American and Boston brahmin past to a fault. Most of the pictures and accompanying historical text is of little note, concentrating on churches, businesses, and civic activities organized by the library, but there are a couple of notable aspects here. One, the book ably considers the neighborhood's proximity to the harbor, and there's some good maritime history included. Two, the section of the Great Molasses Flood of 1919 helped me accurately the location of the tank that burst, and impressively documents the flood's wake of destruction, as well as the location of the elevated train line once trailing along Commercial Street. Worth getting for that chapter alone, but disappointing otherwise.
Pages: 128. Days to read: 1. Rating: Fair.
Boston's Red Line: Bridging the Charles from Alewife to Braintree by Frank Cheney (Arcadia, 2002)
I love these Images of America books published by Arcadia Publishing in South Carolina. What a wonderful, wonderful concept. This edition concentrates on one line of the now-MBTA subway and trolley car system. Drawing heavily on photographs, as all of the Arcadia books do, the tome considers the history of transportation from Cambridge to Boston, William Bancroft's role in the construction of the Cambridge Tunnel, the expansion of the subway from Harvard Square to Park Street, rapid transit extension to Mattapan, and the rolling stock used on the Red Line. While many of the photographs aren't that interesting -- I'm not that interested in the cars themselves, much less which civic leaders were present at a dedication ceremony -- the image-driven representation of now-defunct train stations, stations houses, maintenance facilities, and what's replaced them on the urban landscape, offers a nice physical history of public transit in Cambridge and Boston.
Pages: 128. Days to read: 1. Rating: Good.
Brain Candy: Boost Your Brain Power with Vitamins, Supplements, Drugs, and Other Substances by Theodore Lidsky and Jay Schneider (Fireside, 2001)
Written by a brain researcher and a neurology professor, this is as objective a guide as you can get to smart drugs and related substances. Concentrating on nootropics, amino acids, hormones, vitamins, and other substances that affect mental performance and memory, Lidsky and Schneider consider the research done on each substance, their possible benefits, and their risks. Their relatively strict science is highly appreciated. By lending credence primarily to double-blind studies in which a control group was present -- and by considering whether research has been done using healthy adults, not just the elderly or those suffering from Alzheimer's -- the two are able to weigh in on the hype and hyperbole surrounding many substances no approved by the FDA. I've already decided to stop taking choline and start taking piracetam. Useful if you're interested in smart drugs and vitamins.
Pages: 236. Days to read: 12. Rating: Good.
Con and Cthulu: Uberdub by Matt Howarth (Aeon, 1996)
Matt Howarth is one of my favorite comic book artists, and while I've missed most of his single-issue work, I'm always jazzed to come across collections of his miniseries. Featuring a real-life electronic musician, Conrad Schnitzler, and the old one Cthulhu, who's disguised himself as a shoggoth and changed the spelling of his name to hide from the Elder Gods. It's an interesting mix of Savage Henry adventure story, electronic music fandom, and Lovecraftiana. But beyond the story, what I simply adore about Howarth is his artwork. Bridging the styles of the underground comics from the '60s, the first wave of minicomics makers, and the independent comics of today, Howarth's work astounds. Extremely clean yet detailed, his work incorporates some of the best shading and hash-mark drawing I've ever seen. An unsung comics hero.
Pages: 80. Days to read: 1. Rating: Good.
Deathlands: Skydark Spawn by James Axler (Gold Eagle, 2003)
Another of the men's adventure series published monthly by Gold Eagle, a division of Harlequin, this is one of the few series not ghostwritten by mulitple authors. As such, it's relatively true to the original vision of the series, which I first read while a teenager. Set in a post-apocalyptic America, the book details the adventures of a team of survivors. The team comprises stereotypical foils like most adventure team books (including Gold Eagle's former Able Team and Phoenix Force series), a neanderthalic albino, a time-traveling professor sort, and two romantically involved couples. There's also a father-son pairing, shades of Jonny Quest. Not as well-written as the Mack Bolan books, but better penned than the disappointing Destroyer series, this volume involves a factory farm for breeding children that ensnares our adventures -- and is eventually destroyed by them. Sexual festishism, the dangers of inbreeding, and an oddly comic band of mutants that follow a human female as their savior, are all worked into the story, which ends well, if not extremely quickly. I almost thought the book would be continued, but then Axler wrapped everything up in the last 20 pages. These are the Saltines of the book world, a real palette cleanser.
Pages: 349. Days to read: 22. Rating: Fair.
The Destroyer #131: Unnatural Selection by James Mullaney (Gold Eagle, 2003)
Originally created by Warren Murphy and Sapir, this men's adventure series is a counterpoint to Gold Eagle's Mack Bolan series, originally created by Don Pendleton. But it's nowhere near as interesting. The story of Remo Williams and Chiun, two comically paired masters of Sinanju, an uber-martial art, isn't quite in line with what I remember about Williams. Despite the dissatisfying lack of realism in the action scenes, the book has two redeeming features. One, the plot centers on genetics and nanotechnology -- interesting to see how that's rippling through popular culture. Two, there's an extremely silly and stereotypical celebrity cameo including Winona Ryder, Martha Stewart, Jimmy Buffet, and Mike Tyson. Ghost writer Mullaney caricatures them mercilessly. I appreciate the Mack Bolan books much, much more.
Page: 347. Days to read: 3. Rating: Poor.
Hellblazer: Haunted by Warren Ellis and John Higgins (DC, 2003)
Collecting Hellblazer #134-139 from 1999, this is one of the better Hellblazer story arcs, ably written by Ellis. The plot centers on John Constantine's haunting by an old friend, Isabel Bracknell, who was ritually murdered by an Aleister Crowley wannabe. By tracking down and defeating the ambitious dark magician, Constantine is able to release the spirit of Bracknell in the end. Ellis works in several innovative elements to the book. Constantine's magician friend Map wanders the tube tunnels beneath London to keep tabs on the city and its populace. I also enjoyed the recurring characters Sanjay, who sells Constantine his cigarettes; his undead advisors; Haine; and the bad cop Watford. Iconic characters -- and ideas -- might be what Ellis writes best.
Pages: 144. Days to read: 1. Rating: Good.
Hopping Mad edited by Albert Feldstein (Signet, 1969)
Collecting material originally published in Mad magazine in 1964 and 1968, this is one of many anthology paperbacks published by Signet. Despite occasionally awkward layouts given the dimensions of the paperback pages, it's a good look at the magazine's better days. While the Mad books are rarely thematic or cohesive in their content, there are several threads running through the pieces collected here. Two of the most obvious involve comic strips -- Bob Clarke and Frank Jacobs' "Insecurity Is a Pair of Loose Swim Trunks" and "Comics for Publications That Don't Have Comics" -- and marketing -- "The Mad Plan for Fighting the War Against Junk Mail," "Watch That Price with the Asterisk," "The Great Filter Tip Cigarette War," "Fake-Out Record Jackets, and "The Long Range Effects of Products on People." The book also includes some classic artwork from Dave Berg and Don Martin.
Pages: 192. Days to read: 2. Rating: Good.
These are the books I read in February 2003.
The Blizzard of '78 by Michael Tougias (On Cape, 2003)
Published to commemorate the 25th anniversary of the Blizzard of '78, which resulted in 27 inches of snow in Boston proper, as well as 54 deaths, hundreds of destroyed homes, and 125 arrests for looting in the city, this book largely comprised photographs documenting the storms impact. The text accompanying the photos is relatively scant and drawn on news accounts and some first-person interviews, and focuses on the storm's progression, its effects on the coastline, snow removal efforts, and the accompanying destruction. Tougias compares the blizzerd to the Blizzard of 1888, which hit hardest further west and wasn't as intense as the Blizzard of '78, providing a useful interesting context. Even more interesting, I read this on the eve of a heavy snowfall this year, a snowfall in which we almost rivaled the Blizzard of '78, in accumulated snow, if not the gale-force winds and destruction. Shades of the 30 inches that fell April 1, 1997, it was a good time to read this book, safely ensconced on the Big Blue Couch at Church Corner.
Pages: 128. Days to read: 1. Rating: Good.
The Bostonians by Henry James (Penguin, 1986)
First published in 1886, this classic novel is awesome on several levels. One, as an analysis of political thinking about the North and South just after the Reconstruction, James' portrayals of Basil Ransom, a Mississippi lawyer now living in Boston and New York, is extremely intriguing. Two, James' primary theme is the state of women's rights and social activism. His characters Verena Tarrant and Olive Chancellor provide wonderful foils and divergent examples of the new woman. And lastly, the novel's setting in Boston offers a lushly detailed snapshot of the city as it was in the late 1870s. James' descriptions of Harvard, the Back Bay, and even Cape Cod make me want to walk around, book in hand, to compare the landmarks as they are today with his imagery. A must read if you live in the Boston area. And the best book I've read in a long time.
Pages: 438. Days to read: 9. Rating: Excellent.
Boston's North End by Anthony Mitchell Sammarco (Arcadia, 1997)
Despite this book's inclusion in Arcadia's Images of America series, Sammarco's visual history of the North End, one of Boston's most historic neighborhoods, doesn't quite hold up the level of excellence established by other volumes in the series. Perhaps because of the range of photographs archived by the North End Branch of the Boston Public Library and Pizzeria Regina (seems they have quite the extensive photography collection!), or perhaps because of the advent of photography, this book is limited primarily to the North End's Italian history. That's fine, but it eclipses the district's African-American and Boston brahmin past to a fault. Most of the pictures and accompanying historical text is of little note, concentrating on churches, businesses, and civic activities organized by the library, but there are a couple of notable aspects here. One, the book ably considers the neighborhood's proximity to the harbor, and there's some good maritime history included. Two, the section of the Great Molasses Flood of 1919 helped me accurately the location of the tank that burst, and impressively documents the flood's wake of destruction, as well as the location of the elevated train line once trailing along Commercial Street. Worth getting for that chapter alone, but disappointing otherwise.
Pages: 128. Days to read: 1. Rating: Fair.
Boston's Red Line: Bridging the Charles from Alewife to Braintree by Frank Cheney (Arcadia, 2002)
I love these Images of America books published by Arcadia Publishing in South Carolina. What a wonderful, wonderful concept. This edition concentrates on one line of the now-MBTA subway and trolley car system. Drawing heavily on photographs, as all of the Arcadia books do, the tome considers the history of transportation from Cambridge to Boston, William Bancroft's role in the construction of the Cambridge Tunnel, the expansion of the subway from Harvard Square to Park Street, rapid transit extension to Mattapan, and the rolling stock used on the Red Line. While many of the photographs aren't that interesting -- I'm not that interested in the cars themselves, much less which civic leaders were present at a dedication ceremony -- the image-driven representation of now-defunct train stations, stations houses, maintenance facilities, and what's replaced them on the urban landscape, offers a nice physical history of public transit in Cambridge and Boston.
Pages: 128. Days to read: 1. Rating: Good.
Brain Candy: Boost Your Brain Power with Vitamins, Supplements, Drugs, and Other Substances by Theodore Lidsky and Jay Schneider (Fireside, 2001)
Written by a brain researcher and a neurology professor, this is as objective a guide as you can get to smart drugs and related substances. Concentrating on nootropics, amino acids, hormones, vitamins, and other substances that affect mental performance and memory, Lidsky and Schneider consider the research done on each substance, their possible benefits, and their risks. Their relatively strict science is highly appreciated. By lending credence primarily to double-blind studies in which a control group was present -- and by considering whether research has been done using healthy adults, not just the elderly or those suffering from Alzheimer's -- the two are able to weigh in on the hype and hyperbole surrounding many substances no approved by the FDA. I've already decided to stop taking choline and start taking piracetam. Useful if you're interested in smart drugs and vitamins.
Pages: 236. Days to read: 12. Rating: Good.
Con and Cthulu: Uberdub by Matt Howarth (Aeon, 1996)
Matt Howarth is one of my favorite comic book artists, and while I've missed most of his single-issue work, I'm always jazzed to come across collections of his miniseries. Featuring a real-life electronic musician, Conrad Schnitzler, and the old one Cthulhu, who's disguised himself as a shoggoth and changed the spelling of his name to hide from the Elder Gods. It's an interesting mix of Savage Henry adventure story, electronic music fandom, and Lovecraftiana. But beyond the story, what I simply adore about Howarth is his artwork. Bridging the styles of the underground comics from the '60s, the first wave of minicomics makers, and the independent comics of today, Howarth's work astounds. Extremely clean yet detailed, his work incorporates some of the best shading and hash-mark drawing I've ever seen. An unsung comics hero.
Pages: 80. Days to read: 1. Rating: Good.
Deathlands: Skydark Spawn by James Axler (Gold Eagle, 2003)
Another of the men's adventure series published monthly by Gold Eagle, a division of Harlequin, this is one of the few series not ghostwritten by mulitple authors. As such, it's relatively true to the original vision of the series, which I first read while a teenager. Set in a post-apocalyptic America, the book details the adventures of a team of survivors. The team comprises stereotypical foils like most adventure team books (including Gold Eagle's former Able Team and Phoenix Force series), a neanderthalic albino, a time-traveling professor sort, and two romantically involved couples. There's also a father-son pairing, shades of Jonny Quest. Not as well-written as the Mack Bolan books, but better penned than the disappointing Destroyer series, this volume involves a factory farm for breeding children that ensnares our adventures -- and is eventually destroyed by them. Sexual festishism, the dangers of inbreeding, and an oddly comic band of mutants that follow a human female as their savior, are all worked into the story, which ends well, if not extremely quickly. I almost thought the book would be continued, but then Axler wrapped everything up in the last 20 pages. These are the Saltines of the book world, a real palette cleanser.
Pages: 349. Days to read: 22. Rating: Fair.
The Destroyer #131: Unnatural Selection by James Mullaney (Gold Eagle, 2003)
Originally created by Warren Murphy and Sapir, this men's adventure series is a counterpoint to Gold Eagle's Mack Bolan series, originally created by Don Pendleton. But it's nowhere near as interesting. The story of Remo Williams and Chiun, two comically paired masters of Sinanju, an uber-martial art, isn't quite in line with what I remember about Williams. Despite the dissatisfying lack of realism in the action scenes, the book has two redeeming features. One, the plot centers on genetics and nanotechnology -- interesting to see how that's rippling through popular culture. Two, there's an extremely silly and stereotypical celebrity cameo including Winona Ryder, Martha Stewart, Jimmy Buffet, and Mike Tyson. Ghost writer Mullaney caricatures them mercilessly. I appreciate the Mack Bolan books much, much more.
Page: 347. Days to read: 3. Rating: Poor.
Hellblazer: Haunted by Warren Ellis and John Higgins (DC, 2003)
Collecting Hellblazer #134-139 from 1999, this is one of the better Hellblazer story arcs, ably written by Ellis. The plot centers on John Constantine's haunting by an old friend, Isabel Bracknell, who was ritually murdered by an Aleister Crowley wannabe. By tracking down and defeating the ambitious dark magician, Constantine is able to release the spirit of Bracknell in the end. Ellis works in several innovative elements to the book. Constantine's magician friend Map wanders the tube tunnels beneath London to keep tabs on the city and its populace. I also enjoyed the recurring characters Sanjay, who sells Constantine his cigarettes; his undead advisors; Haine; and the bad cop Watford. Iconic characters -- and ideas -- might be what Ellis writes best.
Pages: 144. Days to read: 1. Rating: Good.
Hopping Mad edited by Albert Feldstein (Signet, 1969)
Collecting material originally published in Mad magazine in 1964 and 1968, this is one of many anthology paperbacks published by Signet. Despite occasionally awkward layouts given the dimensions of the paperback pages, it's a good look at the magazine's better days. While the Mad books are rarely thematic or cohesive in their content, there are several threads running through the pieces collected here. Two of the most obvious involve comic strips -- Bob Clarke and Frank Jacobs' "Insecurity Is a Pair of Loose Swim Trunks" and "Comics for Publications That Don't Have Comics" -- and marketing -- "The Mad Plan for Fighting the War Against Junk Mail," "Watch That Price with the Asterisk," "The Great Filter Tip Cigarette War," "Fake-Out Record Jackets, and "The Long Range Effects of Products on People." The book also includes some classic artwork from Dave Berg and Don Martin.
Pages: 192. Days to read: 2. Rating: Good.
From the Reading Pile XVII
Bear with Me: A 24-Hour Comic
Reminding me slightly of the work of Andy Ristaino and Woodrow Phoenix, this 28-page 24-hour comic was created by Mason between 8:05 p.m., Aug. 15, and 8:04 p.m., Aug. 16, 2001. Drawn in an at-times overly abstract animation-influenced style, the wordless comic tells the tale of a door-to-door salesman who tries to introduce a bear to the pleasures of city living. Mason's slow-paced cinematic timing on pp. 4-5, the Kochalka-like affection on p. 11, and the ending -- p. 24 is basically a mirror of p. 2, only with a change of setting -- indicate that Mason put a lot of thought into his work. Better than most 24-hour comics I've seen, writing wise. But the stark lines and wordless nature of this mini make me wonder what else Mason can do. $2 to Joey Mason, Young American Comics.
Deadbeat #5 (November 2002)
Sent to me by Matt Johnson, the incarcerated publisher of the zine Poor and Forgotten, Deadbeat is published by his friend Mike S. Clocking in at 40 pages, Deadbeat is a well-printed, amateurishly laid out, stereotypical punk zine. Mike's opening editorial on the foibles of punk fashion neglects the fact that British punk was fashionable from the start. His quick history of the Dead Kennedys is a fun rundown of the band's legal crises and Jello Biafra's political ambitions. The MC5 piece is basically a track-by-track listening guide to "Kick Out the Jams," accompanied by a discography. There's also a brief piece on Teengenerate, an interview with Death Becomes You, and record reviews. Equal parts local fanzine, personal zine, and punk-rock history lesson, Deadbeat is a worthy effort deserving further development. While slightly naïve and self-analytical like so many young punk zines, Mike's attention to the past shows that he's trying to understand what formed the basis of the music he loves so much. I'd like to see more local scene commentary, however. Mike's quips about emo and skate parks made me grin. Free from Deadbeat, P.O. Box 460106, Fort Lauderdale, FL 33346.
Divocorp
I'm not quite sure where I picked this up, but I'm quite impressed by Frey's comic work. Artistically, this 40-page minicomic blends the cartoony simplicity of Herge (p. 5, panel 1) with the hyperreal attention to architectural detail of Jeff Zenick (p. 7, panel 3, and p. 33, panel 1). The story, then, is a postmodern mystery. An employee of Divocorp, Ike makes a connection between his employer and a man from the future who came back with a special message. After receiving a mysterious package, a cinematic "dream" in which he kills his boss, and a trip to a rave with the receptionist at work, we are left thinking Ike's swum to his death at sea. Frey's callbacks to earlier story details is extremely impressive, and I'm still not sure whether the murder was a dream, Ike's boss' head isn't in the box, the rave wasn't a ruse, and Natalie the receptionist isn't the author of Ike's death. But it's a wonderful story, and the cartooning is delightful, especially the back and forth on p. 14. Wonderful! I can't wait to see more. Sebastian Frey.
Genetic Disorder #16
It's been a couple of years since the previous issue of Genetic Disorder, and now that Larry's no longer running with the Kill Zinesters of Bunnyhop and Ben Is Dead, he's been living in a van, running from the law, and writing for pornographic magazines and Canadian children's TV commercials. This 76-page issue, done up in the old Flipside production style, only comic book-sized, makes me miss those halcyon days of 1996. Zines were kings then! And Larry's long-awaited re-emergence reminds me of what we've lost. I hope he's able to get work for magazines other than Hustler and Barely Legal because Genetic Disorder is one of the best one-man megazines remaining. Even Mommy and I Are One's Jessica Hunley is writing for Flaunt these days. What's in this issue? "Loser's Guide to San Diego" remembers the social club entrepreneurialism of Thad Poppel, who operated a string of sex clubs around San Diego. "Jailbait" is a two-sided telling of Larry's winter formal date with a high-school girl. "Curses" and "Dates from Hell" compiles anecdotes and newspaper reporting about curses and Satanism. "Sacrificial Lambs" continues that theme with a six-page retelling of a mistaken child abuse case in San Diego. "The Seven Days of 'Stache" and "Reader (Phone) Matches" looks at the underside of dating culture and telephone personal ads, pairing actual ads with the phone recordings and voicemails left by callers in response. And "The Skulls of Punk Rock," perhaps one of the best features in the issue, serves up more than 25 band logos that incorporate the skull. Beautiful. Larry's an extremely journalistic zine publisher, and I really appreciate his blend of seamy local history, prankish narcissism, and popcult commentary. And you know what? I met Larry briefly at the Kill Zinesters tour stop at Jacque's in Boston. I even asked him if he were a Satanist. I might be the guy he mentions in the introduction to "Curses." But then again, maybe I'm not. $4 to Larry, P.O. Box 15237, San Diego, CA 92175.
Go Metric #16 (Winter 2002-2003)
Today is a day of zine connections as I sit on the Big Blue Couch at Church Corner, it seems. Were I Mike Faloon, I'd map them all, later correcting and reprinting the chart. But I'm not. Yet, here they are. Mike is friends with Jef, drummer in the Anchormen. I last saw Mike at the Midway Café in Jamaica Plain, and I first met Jef at the Kill Zinesters stop in Boston. I also met Larry of Genetic Disorder there. Larry reviewed Razorcake in Genetic Disorder #16, which I just reviewed. There's a Rev. Norb and Maddy Tight Pants! column in Razorcake #12, which I also just reviewed. Norb and Maddy also contribute work in Go Metric this go. I've traded letters with Maddy, and Norb's from Wisconsin, my home state. Oh, and Jef drew the cover for this issue of Go Metric. Small freakin' zine world. And Go Metric? Big freakin' zine. If you only send for one zine mentioned in this Media Diet entry, make it this one. Mike compares Ben Weasel's "Fidatevi" to Yes' "Tales from Topographic Oceans;" interviews documentarian Russ Forster about his look at tribute bands, "Tributary;" provides a listeners' guide to the Figgs' "Slow Charm;" interviews Young Fresh Fellows' Scott McCaughey about his project with Wilco; discusses cultural engineering with s-f author Jim Munroe; appreciates Captain Underpants creator Dave Pilkey; and reviews 101 records. In the meantime, Brian Cogan remembers Joe Strummer, David Cawley details the history of Godzilla, Rev. Norb takes on the pratfalls and promise of the Spider-Man movie, Maddy compares the Boys to the Dead Boys, and Frank Leone reports on the state of punk rock in Japan. Arguably, this is the best issue of Go Metric yet. Mike's embrace of movies and books is extremely welcome, as long as he continues to broadcast in Indulge-o-phonica and participate in the Tuned to Itself Publishing Cooperative. Luckily, Go Metric's popcult obsessions are worth sharing. $2 to Mike Faloon, 15A South Bedford Road, Pound Round, NY 10576.
An Inside Job #2 (November 2002)
This collection of dream comics by the pseudonymous Hob is produced in an extremely appealing envelope-sized format. The four-page "Who What Where" is a pencil-shaded assortment of dreamland scene setters. The other pieces -- "Up to Date," "Hosted," Down Time," and "The Action" -- are more simple in their line work and much more involved in their storytelling. My favorites are "Hosted," which features the line, "It's the kind of life where you can get away with a lot, if you're quiet;" and "The Action," the longest selection. "The Action" recounts a dream about a party, a back-of-van orgy, and jealousy. I'm not the biggest fan of dream comics, but Bishop's artwork is extremely clean and emotive, and the stories here are interesting enough. I look forward to more non-dream comics. $2 to Eli Bishop, Graphesthesia, P.O. Box 420596, San Francisco, CA 94142.
A Last Cry for Help #2
Wow. I said not one word to Souther at APE, and I'm beginning to wonder whether I may be comics starstruck. He and Kiersh are two of my favorite comics makers, and this 24-page Crashlander production piloted by Kiersh shows good reason why. I continue to be impressed by how well these two collaborate and connect. Peas in a pod! Their combination of sentimental cartooniness a la Dan Moynihan, the cute brut of Ron Rege, Jr., and occasional process comics astounds. The mini mixes dreaminess with direction, and several elements really hit me hard. The watertower and Pac-Man icons on p. 3 are used to good effect. P. 4's main panel is a dark, introspective counterpart to the goofy strip at the bottom. P. 8 is amazing in its two-part emotional content. And the density and complexity of pp. 13 and 17 is nice to see in addition to the largely simple art. I'm not quite sure how old this is, but trust me, anything these guys do is worth checking out. Consistently creative. $2 to Dave Kiersh, 568 Grandview Ave., 2nd floor, Ridgewood, NY 11385, and Souther Salazar, 106 N. Chester Ave., Pasadena, CA 91106.
Mythos Collector #2 (Winter 2002)
Heavy on the mythos and light on the collector, this slightly misbilled Lovecraft fanzine doesn't quite live up to its promise. While its editor, Brian Lingard, has tried to differentiate it from other HPL zines such as Crypt of Cthulhu, it's really just more of the same. What we have here are three Lovecraftiana-oriented articles -- an interview with comic book adaptor Steven Philip Jones, the second part of Lingard's Lovecraft comic book price guide, and an auction watch lifted straight from Ebay (and therefore immediately outdated -- and three mythos-inspired short stories. The fiction accounts for more than 20 of the zine's 56 pages, and as far as Lovecraft-inspired writing goes, they aren't really worth the ink. That said, Shawn Scarber's humorous three-page nod is extremely welcome. Get in a get out. Until Lingard truly focuses on collecting Lovecraftiana, this fanzine isn't worth $4 -- or $5 postpaid, as his handwritten carbon copy receipt for me indicates. But as the interview with Jones shows, the idea behind the zine is solid. What's needed now is execution. $5 to Dark Tree Press, P.O. Box 748, Boylston, MA 01505.
Nowhere Fast
This full-color pamphlet was written by Simon Woodstock, a former professional skateboarder who was active for seven years in the '90s. Now he's found God and a new calling -- evangelizing to the youth set. This eight-page almost-zine, which was largely dismissed by the mainstream skateboarding magazines, outlines Woodstock's self-realization. For the most part, his religious growth stemmed from falling prey to the party lifestyle he engaged in while a pro skateboarder, which caused him to lose focus with his skating. While the pamphlet is full of photos of Woodstock skating, complete with dyed hair and clown suit, it's unclear whether he kept up his skating -- although it seems he couldn't regain and maintain focus without giving up his skating career. While I'm glad Woodstock found renewed meaning in his life, I'm not sure his work with the chapel or this skater-oriented pamphlet will have the evangelical effect he's hoping for. One, very few people in the skateboarding industry will take this seriously. Two, people interested in skateboarding in general will not know who Woodstock is. Now, if Tony Hawk were to come out as a vocal Christian, the church might have something to work with. Regardless, this is an interesting outgrowth of church culture and skateboarding fandom -- and an intriguing parallel to Christian punk rock. It's just a shame that stuff like this always starts with religion and then culture instead of the other way around. Following that path almost always results in watered-down culture. Free from Simon Woodstock, Calvary Chapel, 1175 Hillsdale Ave., San Jose, CA 95118.
Razorcake #12
Funny how things run in threes. Last night, before falling asleep, I read the Dillinger 4 interview in this issue of Razorcake, learning that Erik and Paddy grew up in Evanston, Illinois, where I went to college. Then I read a review of Razorcake in Genetic Disorder #16, learning that Razorcake was founded by former active Flipside contributor Todd after Flipside folded. And today, in the Media Diet mailbox, I received a second copy of this 108-page issue of Razorcake. I first purchased this issue at Newbury Comics because of the D4 (the real D4) interview. The second of assumedly two parts, the conversation involved everyone but Bill and touches on drunken shenanigans in Las Vegas, Lane's Ph.D. in clinical psychology, the band's penchant for Motown, punk-rock snobbishness, the Boy Scouts, working class influences, media coverage, and Erik's bar in Minneapolis. It's one of the most wide-ranging and in-depth interviews I've read with the band, and I'd imagine they interview relatively well. Other interviews include Nardwuar the Human Serviette's conversation with New York-based rapper Princess Superstar, the Rattlesnakes, the Arrivals, LA classics the Skulls, and the Spits. About a fourth of the zine is made up of reviews, and the requisite columns lead off the issue. While columns are often my least favorite part of zines, Razorcake includes several notable writers. Rev. Norb's advice column is a typgraphically aggressive, caffeine-addled, and heavily annotated roundup of letters about Ebay, hamsters, and subliminal messages in porn videos. Always worth catching up with Norb in all of his Wisconsinite glory! Former Boston zinester Rich Mackin, who left his job working on the Truth campaign for Arnold Communications to travel cross-country, offers a column about bicycles, Critical Mass, and anarchy. And Maddy, editrix of the cute zine Tight Pants!, lists her top 10 punk rock and non-punk things, some of which include scholarships, D4, Ben Snakepit (with whom I'll hang out at SXSW), grad school, and the Portland Zine Convention. You can guess what side those things fall on. But the magnum opus of the issue might very well be "East L.A. Punk Rock Family Tree," a six-page, flowchart-driven history of what area musicians played in which bands compiled by Jimmy Alvarado. Ranging roughly from 1980 to 2000, the project reminds me of my old hypertext history of the Bay Area punk-rock scene. All in all, Razorcake is just as dense as Flipside ever was (RIP, Flipside), but is eminently more readable to me. Maybe it's because it's less LA-centric. Maybe it's because it seems less cliquey and scene in-jokey. And maybe it's because it combines the familiar and the new -- a welcome read. $3 to Razorcake, P.O. Box 42129, Los Angeles, CA 09942.
War Against the Princes
This is a photocopied 20-page collection of anti-authoritarian writings by poet and guitarist Doug Saretsky. Written between November 2000 and May 2001, the chapbook is largely inspired by the anti-globalization protests in Ohio. Saretsky lambastes apathetic punk rockers who aren't politically active. He parallels the authoritarianism of high-school hierarchies with the police state. "Black Bandanna" comes across as almost-lyrics to a Dillinger 4 or Propagandhi song. Saretsky also remembers the first time he was arrested for shoplifting and his various moving violations and run-ins with the law. I appreciate the local nature of his poetry -- and I respect the romantic activism surrounding the Transatlantic Business Dialogue at the of 2000 in Ohio -- buy Saretsky's series of "Arrest" poems bother me. Drunk driving is not only illegal -- it's dangerous. Criticize the cops when your direct action is valid, but cop to your own bad decisions, too, OK? Doug Saretsky, Black Hoody Nation, 1970 Westwood Northern Blvd. #5, Cincinnati, OH 45225.
Soundtrack: Count the Stars, "Never Be Taken Alive," and Wayne Kramer Presents Beyond Cyberpunk
Bear with Me: A 24-Hour Comic
Reminding me slightly of the work of Andy Ristaino and Woodrow Phoenix, this 28-page 24-hour comic was created by Mason between 8:05 p.m., Aug. 15, and 8:04 p.m., Aug. 16, 2001. Drawn in an at-times overly abstract animation-influenced style, the wordless comic tells the tale of a door-to-door salesman who tries to introduce a bear to the pleasures of city living. Mason's slow-paced cinematic timing on pp. 4-5, the Kochalka-like affection on p. 11, and the ending -- p. 24 is basically a mirror of p. 2, only with a change of setting -- indicate that Mason put a lot of thought into his work. Better than most 24-hour comics I've seen, writing wise. But the stark lines and wordless nature of this mini make me wonder what else Mason can do. $2 to Joey Mason, Young American Comics.
Deadbeat #5 (November 2002)
Sent to me by Matt Johnson, the incarcerated publisher of the zine Poor and Forgotten, Deadbeat is published by his friend Mike S. Clocking in at 40 pages, Deadbeat is a well-printed, amateurishly laid out, stereotypical punk zine. Mike's opening editorial on the foibles of punk fashion neglects the fact that British punk was fashionable from the start. His quick history of the Dead Kennedys is a fun rundown of the band's legal crises and Jello Biafra's political ambitions. The MC5 piece is basically a track-by-track listening guide to "Kick Out the Jams," accompanied by a discography. There's also a brief piece on Teengenerate, an interview with Death Becomes You, and record reviews. Equal parts local fanzine, personal zine, and punk-rock history lesson, Deadbeat is a worthy effort deserving further development. While slightly naïve and self-analytical like so many young punk zines, Mike's attention to the past shows that he's trying to understand what formed the basis of the music he loves so much. I'd like to see more local scene commentary, however. Mike's quips about emo and skate parks made me grin. Free from Deadbeat, P.O. Box 460106, Fort Lauderdale, FL 33346.
Divocorp
I'm not quite sure where I picked this up, but I'm quite impressed by Frey's comic work. Artistically, this 40-page minicomic blends the cartoony simplicity of Herge (p. 5, panel 1) with the hyperreal attention to architectural detail of Jeff Zenick (p. 7, panel 3, and p. 33, panel 1). The story, then, is a postmodern mystery. An employee of Divocorp, Ike makes a connection between his employer and a man from the future who came back with a special message. After receiving a mysterious package, a cinematic "dream" in which he kills his boss, and a trip to a rave with the receptionist at work, we are left thinking Ike's swum to his death at sea. Frey's callbacks to earlier story details is extremely impressive, and I'm still not sure whether the murder was a dream, Ike's boss' head isn't in the box, the rave wasn't a ruse, and Natalie the receptionist isn't the author of Ike's death. But it's a wonderful story, and the cartooning is delightful, especially the back and forth on p. 14. Wonderful! I can't wait to see more. Sebastian Frey.
Genetic Disorder #16
It's been a couple of years since the previous issue of Genetic Disorder, and now that Larry's no longer running with the Kill Zinesters of Bunnyhop and Ben Is Dead, he's been living in a van, running from the law, and writing for pornographic magazines and Canadian children's TV commercials. This 76-page issue, done up in the old Flipside production style, only comic book-sized, makes me miss those halcyon days of 1996. Zines were kings then! And Larry's long-awaited re-emergence reminds me of what we've lost. I hope he's able to get work for magazines other than Hustler and Barely Legal because Genetic Disorder is one of the best one-man megazines remaining. Even Mommy and I Are One's Jessica Hunley is writing for Flaunt these days. What's in this issue? "Loser's Guide to San Diego" remembers the social club entrepreneurialism of Thad Poppel, who operated a string of sex clubs around San Diego. "Jailbait" is a two-sided telling of Larry's winter formal date with a high-school girl. "Curses" and "Dates from Hell" compiles anecdotes and newspaper reporting about curses and Satanism. "Sacrificial Lambs" continues that theme with a six-page retelling of a mistaken child abuse case in San Diego. "The Seven Days of 'Stache" and "Reader (Phone) Matches" looks at the underside of dating culture and telephone personal ads, pairing actual ads with the phone recordings and voicemails left by callers in response. And "The Skulls of Punk Rock," perhaps one of the best features in the issue, serves up more than 25 band logos that incorporate the skull. Beautiful. Larry's an extremely journalistic zine publisher, and I really appreciate his blend of seamy local history, prankish narcissism, and popcult commentary. And you know what? I met Larry briefly at the Kill Zinesters tour stop at Jacque's in Boston. I even asked him if he were a Satanist. I might be the guy he mentions in the introduction to "Curses." But then again, maybe I'm not. $4 to Larry, P.O. Box 15237, San Diego, CA 92175.
Go Metric #16 (Winter 2002-2003)
Today is a day of zine connections as I sit on the Big Blue Couch at Church Corner, it seems. Were I Mike Faloon, I'd map them all, later correcting and reprinting the chart. But I'm not. Yet, here they are. Mike is friends with Jef, drummer in the Anchormen. I last saw Mike at the Midway Café in Jamaica Plain, and I first met Jef at the Kill Zinesters stop in Boston. I also met Larry of Genetic Disorder there. Larry reviewed Razorcake in Genetic Disorder #16, which I just reviewed. There's a Rev. Norb and Maddy Tight Pants! column in Razorcake #12, which I also just reviewed. Norb and Maddy also contribute work in Go Metric this go. I've traded letters with Maddy, and Norb's from Wisconsin, my home state. Oh, and Jef drew the cover for this issue of Go Metric. Small freakin' zine world. And Go Metric? Big freakin' zine. If you only send for one zine mentioned in this Media Diet entry, make it this one. Mike compares Ben Weasel's "Fidatevi" to Yes' "Tales from Topographic Oceans;" interviews documentarian Russ Forster about his look at tribute bands, "Tributary;" provides a listeners' guide to the Figgs' "Slow Charm;" interviews Young Fresh Fellows' Scott McCaughey about his project with Wilco; discusses cultural engineering with s-f author Jim Munroe; appreciates Captain Underpants creator Dave Pilkey; and reviews 101 records. In the meantime, Brian Cogan remembers Joe Strummer, David Cawley details the history of Godzilla, Rev. Norb takes on the pratfalls and promise of the Spider-Man movie, Maddy compares the Boys to the Dead Boys, and Frank Leone reports on the state of punk rock in Japan. Arguably, this is the best issue of Go Metric yet. Mike's embrace of movies and books is extremely welcome, as long as he continues to broadcast in Indulge-o-phonica and participate in the Tuned to Itself Publishing Cooperative. Luckily, Go Metric's popcult obsessions are worth sharing. $2 to Mike Faloon, 15A South Bedford Road, Pound Round, NY 10576.
An Inside Job #2 (November 2002)
This collection of dream comics by the pseudonymous Hob is produced in an extremely appealing envelope-sized format. The four-page "Who What Where" is a pencil-shaded assortment of dreamland scene setters. The other pieces -- "Up to Date," "Hosted," Down Time," and "The Action" -- are more simple in their line work and much more involved in their storytelling. My favorites are "Hosted," which features the line, "It's the kind of life where you can get away with a lot, if you're quiet;" and "The Action," the longest selection. "The Action" recounts a dream about a party, a back-of-van orgy, and jealousy. I'm not the biggest fan of dream comics, but Bishop's artwork is extremely clean and emotive, and the stories here are interesting enough. I look forward to more non-dream comics. $2 to Eli Bishop, Graphesthesia, P.O. Box 420596, San Francisco, CA 94142.
A Last Cry for Help #2
Wow. I said not one word to Souther at APE, and I'm beginning to wonder whether I may be comics starstruck. He and Kiersh are two of my favorite comics makers, and this 24-page Crashlander production piloted by Kiersh shows good reason why. I continue to be impressed by how well these two collaborate and connect. Peas in a pod! Their combination of sentimental cartooniness a la Dan Moynihan, the cute brut of Ron Rege, Jr., and occasional process comics astounds. The mini mixes dreaminess with direction, and several elements really hit me hard. The watertower and Pac-Man icons on p. 3 are used to good effect. P. 4's main panel is a dark, introspective counterpart to the goofy strip at the bottom. P. 8 is amazing in its two-part emotional content. And the density and complexity of pp. 13 and 17 is nice to see in addition to the largely simple art. I'm not quite sure how old this is, but trust me, anything these guys do is worth checking out. Consistently creative. $2 to Dave Kiersh, 568 Grandview Ave., 2nd floor, Ridgewood, NY 11385, and Souther Salazar, 106 N. Chester Ave., Pasadena, CA 91106.
Mythos Collector #2 (Winter 2002)
Heavy on the mythos and light on the collector, this slightly misbilled Lovecraft fanzine doesn't quite live up to its promise. While its editor, Brian Lingard, has tried to differentiate it from other HPL zines such as Crypt of Cthulhu, it's really just more of the same. What we have here are three Lovecraftiana-oriented articles -- an interview with comic book adaptor Steven Philip Jones, the second part of Lingard's Lovecraft comic book price guide, and an auction watch lifted straight from Ebay (and therefore immediately outdated -- and three mythos-inspired short stories. The fiction accounts for more than 20 of the zine's 56 pages, and as far as Lovecraft-inspired writing goes, they aren't really worth the ink. That said, Shawn Scarber's humorous three-page nod is extremely welcome. Get in a get out. Until Lingard truly focuses on collecting Lovecraftiana, this fanzine isn't worth $4 -- or $5 postpaid, as his handwritten carbon copy receipt for me indicates. But as the interview with Jones shows, the idea behind the zine is solid. What's needed now is execution. $5 to Dark Tree Press, P.O. Box 748, Boylston, MA 01505.
Nowhere Fast
This full-color pamphlet was written by Simon Woodstock, a former professional skateboarder who was active for seven years in the '90s. Now he's found God and a new calling -- evangelizing to the youth set. This eight-page almost-zine, which was largely dismissed by the mainstream skateboarding magazines, outlines Woodstock's self-realization. For the most part, his religious growth stemmed from falling prey to the party lifestyle he engaged in while a pro skateboarder, which caused him to lose focus with his skating. While the pamphlet is full of photos of Woodstock skating, complete with dyed hair and clown suit, it's unclear whether he kept up his skating -- although it seems he couldn't regain and maintain focus without giving up his skating career. While I'm glad Woodstock found renewed meaning in his life, I'm not sure his work with the chapel or this skater-oriented pamphlet will have the evangelical effect he's hoping for. One, very few people in the skateboarding industry will take this seriously. Two, people interested in skateboarding in general will not know who Woodstock is. Now, if Tony Hawk were to come out as a vocal Christian, the church might have something to work with. Regardless, this is an interesting outgrowth of church culture and skateboarding fandom -- and an intriguing parallel to Christian punk rock. It's just a shame that stuff like this always starts with religion and then culture instead of the other way around. Following that path almost always results in watered-down culture. Free from Simon Woodstock, Calvary Chapel, 1175 Hillsdale Ave., San Jose, CA 95118.
Razorcake #12
Funny how things run in threes. Last night, before falling asleep, I read the Dillinger 4 interview in this issue of Razorcake, learning that Erik and Paddy grew up in Evanston, Illinois, where I went to college. Then I read a review of Razorcake in Genetic Disorder #16, learning that Razorcake was founded by former active Flipside contributor Todd after Flipside folded. And today, in the Media Diet mailbox, I received a second copy of this 108-page issue of Razorcake. I first purchased this issue at Newbury Comics because of the D4 (the real D4) interview. The second of assumedly two parts, the conversation involved everyone but Bill and touches on drunken shenanigans in Las Vegas, Lane's Ph.D. in clinical psychology, the band's penchant for Motown, punk-rock snobbishness, the Boy Scouts, working class influences, media coverage, and Erik's bar in Minneapolis. It's one of the most wide-ranging and in-depth interviews I've read with the band, and I'd imagine they interview relatively well. Other interviews include Nardwuar the Human Serviette's conversation with New York-based rapper Princess Superstar, the Rattlesnakes, the Arrivals, LA classics the Skulls, and the Spits. About a fourth of the zine is made up of reviews, and the requisite columns lead off the issue. While columns are often my least favorite part of zines, Razorcake includes several notable writers. Rev. Norb's advice column is a typgraphically aggressive, caffeine-addled, and heavily annotated roundup of letters about Ebay, hamsters, and subliminal messages in porn videos. Always worth catching up with Norb in all of his Wisconsinite glory! Former Boston zinester Rich Mackin, who left his job working on the Truth campaign for Arnold Communications to travel cross-country, offers a column about bicycles, Critical Mass, and anarchy. And Maddy, editrix of the cute zine Tight Pants!, lists her top 10 punk rock and non-punk things, some of which include scholarships, D4, Ben Snakepit (with whom I'll hang out at SXSW), grad school, and the Portland Zine Convention. You can guess what side those things fall on. But the magnum opus of the issue might very well be "East L.A. Punk Rock Family Tree," a six-page, flowchart-driven history of what area musicians played in which bands compiled by Jimmy Alvarado. Ranging roughly from 1980 to 2000, the project reminds me of my old hypertext history of the Bay Area punk-rock scene. All in all, Razorcake is just as dense as Flipside ever was (RIP, Flipside), but is eminently more readable to me. Maybe it's because it's less LA-centric. Maybe it's because it seems less cliquey and scene in-jokey. And maybe it's because it combines the familiar and the new -- a welcome read. $3 to Razorcake, P.O. Box 42129, Los Angeles, CA 09942.
War Against the Princes
This is a photocopied 20-page collection of anti-authoritarian writings by poet and guitarist Doug Saretsky. Written between November 2000 and May 2001, the chapbook is largely inspired by the anti-globalization protests in Ohio. Saretsky lambastes apathetic punk rockers who aren't politically active. He parallels the authoritarianism of high-school hierarchies with the police state. "Black Bandanna" comes across as almost-lyrics to a Dillinger 4 or Propagandhi song. Saretsky also remembers the first time he was arrested for shoplifting and his various moving violations and run-ins with the law. I appreciate the local nature of his poetry -- and I respect the romantic activism surrounding the Transatlantic Business Dialogue at the of 2000 in Ohio -- buy Saretsky's series of "Arrest" poems bother me. Drunk driving is not only illegal -- it's dangerous. Criticize the cops when your direct action is valid, but cop to your own bad decisions, too, OK? Doug Saretsky, Black Hoody Nation, 1970 Westwood Northern Blvd. #5, Cincinnati, OH 45225.
Soundtrack: Count the Stars, "Never Be Taken Alive," and Wayne Kramer Presents Beyond Cyberpunk
Music to My Ears XXVIII
One of my not-too-long ago Ebay impulse buys was a 100-plus cassette collection of mid- to late '80s heavy metal and hard rock music. This is a slightly awkward pairing of reviews of two of those recordings -- I'm not sure whether I'll try to review all of them, but these two fill a particularly soft spot in my heart -- and a long-delayed local record review. Thank you for your patience!
Anthrax "I'm the Man" EP (Island, 1987)
This multi-faceted and belatedly unfortunately named metal band's jokey rap entreet is a slightly self-aware yet clever parody of what would eventually emerge as a genuine genre -- rap metal or nu metal. By presaging the mixture of rap and metal, poking fun at the malevolent Metallica in the process and playing off the stupidity of one band member, Charlie Benante, the band released this 1987 EP laden with live tracks that should have been relegated to a cassingle of the day. Padding the EP wiith the "censored radio version" in addition to the "def uncensored version" unripe for radio play, as well as a live "extremely def ill uncensored version" represents the worst kind of commercial complicity. The "Among the Living" album brought the band new attention, but did it really attract the demand for this? Anthrax's cover of "Sabbath Bloody Sabbath," as well as the Dallas-recorded live versions of "Caught in a Mosh" and the Judge Dredd-inspired "I Am the Law" are interesting solely as lively rarities, but "I'm the Man" as a joke song with unintended consequences hardly deserves its own EP. The song, as good as it is, could have easily been a bonus track on the next album. Had Anthrax not stayed with Island, I'd cry contractual obligation.
Def Leppard "Pyromania" (Phonogram, 1983)
My sister was a big Def Leppard fan, and this was one of the first cassettes I borrowed (stole) from her room. Despite the synthesizer opening to the first AC/DC-inspired track "Rock! Rock! (Till You Drop)," the record's not that embarassing. The guitars and vocals are anthemic, and the drums are mixed well. But outside of the video-ready "Photograph," and perhaps "Die Hard the Hunter," the album is relatively boring, given the songs' speed. Leppard's too-long faux-live opening "Stagefright" is interesting, albeit a cliched rock-band concert shill. "Too Late for Love" and "Die Hard the Hunter" close out what might be one of the more promising A sides of an LP, regardless of the slow tempos. The B side, then, starts with the synth-heavy single, "Foolin'." I must admit that I'd forgotten "Rock of Ages," which holds up well despite the flawed drum effects. And then "Action Not Words" happens. All in all, this is an extremely strong album. The synth-swelling "Billy's Got a Gun" is a weak ending, but otherwise, with several solid songs on the record, Def Leppard is able to keep it real 20 years later.
The Fleece "Wrecked at Rehearsal" (Teagown, 2002)
I have a Fleece T-shirt. It's not made of fleece, and I didn't feel ripped off when I bought it, but there we go. The band sent me this CD about six months ago, just before I left for the 2002 CoF Roadshow, and it's well worth waiting to concentrate on. Thanks for your patience! With the quiet opening to "The Press Release," complete with Papas Fritas-like vocals, albeit out of tune, the band's come a long way from the first time I saw them. Tuneful yet discordant, their earnestness is admirable. And the triumphant head of the song is awesome. Hooray for organ. The second song, "The Vanishing Face," features some Lance Hahn-styled vocals and more triumphant guitars over keyboards. Quite pleasing. The stop and start section preceding the ending is most impressive. The rest of the record continues to impress. The keyboard-tinged Elephant Six-ness of "Perfect Hands" perfectly casts the slightly out-of-tune vocals, shades of Sinkcharmer and Soltero, which I totally appreciate. There are some piano flubs, but they're OK, as the jangly "Everything Has Not Been Discovered" entices rather than discourages. Wrapping up the record, "As You Were" cascades with an almost triumphant guitar proposal leading into a Neutral Milk Hotel-meets-Graham Smith vocal overture that indicates an increasing interest in melodic mention. A fine release, slightly uneven at first, but in the end, impressive. Beautiful, little-known New England pop goodness.
One of my not-too-long ago Ebay impulse buys was a 100-plus cassette collection of mid- to late '80s heavy metal and hard rock music. This is a slightly awkward pairing of reviews of two of those recordings -- I'm not sure whether I'll try to review all of them, but these two fill a particularly soft spot in my heart -- and a long-delayed local record review. Thank you for your patience!
Anthrax "I'm the Man" EP (Island, 1987)
This multi-faceted and belatedly unfortunately named metal band's jokey rap entreet is a slightly self-aware yet clever parody of what would eventually emerge as a genuine genre -- rap metal or nu metal. By presaging the mixture of rap and metal, poking fun at the malevolent Metallica in the process and playing off the stupidity of one band member, Charlie Benante, the band released this 1987 EP laden with live tracks that should have been relegated to a cassingle of the day. Padding the EP wiith the "censored radio version" in addition to the "def uncensored version" unripe for radio play, as well as a live "extremely def ill uncensored version" represents the worst kind of commercial complicity. The "Among the Living" album brought the band new attention, but did it really attract the demand for this? Anthrax's cover of "Sabbath Bloody Sabbath," as well as the Dallas-recorded live versions of "Caught in a Mosh" and the Judge Dredd-inspired "I Am the Law" are interesting solely as lively rarities, but "I'm the Man" as a joke song with unintended consequences hardly deserves its own EP. The song, as good as it is, could have easily been a bonus track on the next album. Had Anthrax not stayed with Island, I'd cry contractual obligation.
Def Leppard "Pyromania" (Phonogram, 1983)
My sister was a big Def Leppard fan, and this was one of the first cassettes I borrowed (stole) from her room. Despite the synthesizer opening to the first AC/DC-inspired track "Rock! Rock! (Till You Drop)," the record's not that embarassing. The guitars and vocals are anthemic, and the drums are mixed well. But outside of the video-ready "Photograph," and perhaps "Die Hard the Hunter," the album is relatively boring, given the songs' speed. Leppard's too-long faux-live opening "Stagefright" is interesting, albeit a cliched rock-band concert shill. "Too Late for Love" and "Die Hard the Hunter" close out what might be one of the more promising A sides of an LP, regardless of the slow tempos. The B side, then, starts with the synth-heavy single, "Foolin'." I must admit that I'd forgotten "Rock of Ages," which holds up well despite the flawed drum effects. And then "Action Not Words" happens. All in all, this is an extremely strong album. The synth-swelling "Billy's Got a Gun" is a weak ending, but otherwise, with several solid songs on the record, Def Leppard is able to keep it real 20 years later.
The Fleece "Wrecked at Rehearsal" (Teagown, 2002)
I have a Fleece T-shirt. It's not made of fleece, and I didn't feel ripped off when I bought it, but there we go. The band sent me this CD about six months ago, just before I left for the 2002 CoF Roadshow, and it's well worth waiting to concentrate on. Thanks for your patience! With the quiet opening to "The Press Release," complete with Papas Fritas-like vocals, albeit out of tune, the band's come a long way from the first time I saw them. Tuneful yet discordant, their earnestness is admirable. And the triumphant head of the song is awesome. Hooray for organ. The second song, "The Vanishing Face," features some Lance Hahn-styled vocals and more triumphant guitars over keyboards. Quite pleasing. The stop and start section preceding the ending is most impressive. The rest of the record continues to impress. The keyboard-tinged Elephant Six-ness of "Perfect Hands" perfectly casts the slightly out-of-tune vocals, shades of Sinkcharmer and Soltero, which I totally appreciate. There are some piano flubs, but they're OK, as the jangly "Everything Has Not Been Discovered" entices rather than discourages. Wrapping up the record, "As You Were" cascades with an almost triumphant guitar proposal leading into a Neutral Milk Hotel-meets-Graham Smith vocal overture that indicates an increasing interest in melodic mention. A fine release, slightly uneven at first, but in the end, impressive. Beautiful, little-known New England pop goodness.
Pieces, Particles XIII
The following media-related stories recently spotted in print publications might be worth a look. Heads and decks, only. Heads and decks.
Books on the Run by Andy Cornell, Punk Planet #46 (November/December 2001)
The projet Mobilivre-Bookmobile project builds a bridge between zines and book arts.
Caution, Planets Ahead by Sam Hooper Samuels, Smithsonian, March 2003
The world's largest (maybe) 9-planet solar system model goes up along Route 1 in northern Maine
Comic Book Collection by Ed Symkus, The Cambridge Tab, Feb. 28, 2003
Zeitgeist reveals true comic superheroes: the artists
A Concept in CDs That Offers Profits to Artists, Prized Tracks to Fans by Sean Glennon, The Boston Globe, March 2, 2003
Discs available only at concerts grow in popularity among indie acts
A Critic Reading His Critics by Bernard Holland, The New York Times, March 2, 2003
Some letters from readers are very nice, some genuinely instructive. But others are alarmingly vicious.
The Crusaders by John Pilger, New Internationalist #333 (April 2001)
John Pilger uncovers the hidden history of Western media propaganda.
Drawing a Blank by Chris Ziegler, Punk Planet #46 (November/December 2001)
DIY comic artists sketch out life in the margins
Empires of the Senseless by Katherine Ainger, New Internationalist #333 (April 2001)
The media don't just promote globalization -- they're an integral part of the process
Fire Your Inner Slave Driver by Joe Robinson, Utne, March-April 2003
Is "work guilt" keeping you from getting most out of life?
Going Postal by Sarah Raper Larenaudie, Fashions of the Times, Feb. 23, 2003
When W or Elle puts Gisele on the cover, you can expect a torrent of letters, pro or con. Who would bother?
Hitmakers for Hire by Jenny Eliscu, Rolling Stone, March 20, 2003
Writing chart-toppers isn't complicated for the Matrix
Hooked on Comics by Mike Miliard, The Boston Phoenix, Feb. 28, 2003
Collector Robert Cronin give fans a glimpse beneath the panels
How Protesters Mobilized So Many and So Nimbly by Jennifer 8. Lee, The New York Times, Feb. 23, 2003
"Smart mobs," text-messaging -- and organizers who think like field commanders.
Kaufman on TV by Jason Dove, Chunklet #16
The following lists several of the many pieces of Kaufman footage that I have obtained in the past few years. Some are available as regular or standard releases and some are considered hard to find, rare, out of print or bootlegged. With this trusty key we can categorize most of the Kaufman performance footage that is available. In the process, we can analyze and perhaps begin to understand some of the many facets of this ultimate method actor
A More Perfect Union by Linda Frye Burnham, Utne, March-April 2003
A troubled Southern community turns to theater for healing
A New Monopoly Earth First, August-September 2001
Large-scale, global anti-capitalism protests putting smaller, local, anti-capitalism protests out of business
Sitcoms and the Single Girl by Marcelle Karp, Bust, Summer 2001
These TV gals showed us that you don't need a man, as long as you've got your girls
Social Centers by Adam Bregman, Alternative Press Review, Spring 2001
Italy's cultural underground
Staging a Comeback by Rick Rothacker, Northwestern, Spring 2003
Richard Geer helps economically depressed towns find their muse -- and their pride -- through community theater.
A Star-Studded Kid-Lit Scam by Tracy Mayor, The Boston Globe Magazine, Feb. 23, 2003
What do Spike Lee, Lynne Cheney, and Jerry Seinfeld have in common? Along with other celebrities, they write children's books that shoot to the top of the bestseller list no matter how bad they are.
Top 12 Most Luddite Films of All Time Alternative Press Review, Spring 2001
Up Against Wal-Mart by Karen Olsson, Mother Jones, March/April 2003
At the world's largest and most profitable retailer, low wages, unpaid overtime, and union busting are a way of life. Now Wal-Mart workers are fighting back.
You Are What You Queue by Craig Tomashoff, The New York Times, March 2, 2003
Our lives and psyches are more public than ever, thanks to Netflix.
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 might be worth a look. Heads and decks, only. Heads and decks.
Books on the Run by Andy Cornell, Punk Planet #46 (November/December 2001)
The projet Mobilivre-Bookmobile project builds a bridge between zines and book arts.
Caution, Planets Ahead by Sam Hooper Samuels, Smithsonian, March 2003
The world's largest (maybe) 9-planet solar system model goes up along Route 1 in northern Maine
Comic Book Collection by Ed Symkus, The Cambridge Tab, Feb. 28, 2003
Zeitgeist reveals true comic superheroes: the artists
A Concept in CDs That Offers Profits to Artists, Prized Tracks to Fans by Sean Glennon, The Boston Globe, March 2, 2003
Discs available only at concerts grow in popularity among indie acts
A Critic Reading His Critics by Bernard Holland, The New York Times, March 2, 2003
Some letters from readers are very nice, some genuinely instructive. But others are alarmingly vicious.
The Crusaders by John Pilger, New Internationalist #333 (April 2001)
John Pilger uncovers the hidden history of Western media propaganda.
Drawing a Blank by Chris Ziegler, Punk Planet #46 (November/December 2001)
DIY comic artists sketch out life in the margins
Empires of the Senseless by Katherine Ainger, New Internationalist #333 (April 2001)
The media don't just promote globalization -- they're an integral part of the process
Fire Your Inner Slave Driver by Joe Robinson, Utne, March-April 2003
Is "work guilt" keeping you from getting most out of life?
Going Postal by Sarah Raper Larenaudie, Fashions of the Times, Feb. 23, 2003
When W or Elle puts Gisele on the cover, you can expect a torrent of letters, pro or con. Who would bother?
Hitmakers for Hire by Jenny Eliscu, Rolling Stone, March 20, 2003
Writing chart-toppers isn't complicated for the Matrix
Hooked on Comics by Mike Miliard, The Boston Phoenix, Feb. 28, 2003
Collector Robert Cronin give fans a glimpse beneath the panels
How Protesters Mobilized So Many and So Nimbly by Jennifer 8. Lee, The New York Times, Feb. 23, 2003
"Smart mobs," text-messaging -- and organizers who think like field commanders.
Kaufman on TV by Jason Dove, Chunklet #16
The following lists several of the many pieces of Kaufman footage that I have obtained in the past few years. Some are available as regular or standard releases and some are considered hard to find, rare, out of print or bootlegged. With this trusty key we can categorize most of the Kaufman performance footage that is available. In the process, we can analyze and perhaps begin to understand some of the many facets of this ultimate method actor
A More Perfect Union by Linda Frye Burnham, Utne, March-April 2003
A troubled Southern community turns to theater for healing
A New Monopoly Earth First, August-September 2001
Large-scale, global anti-capitalism protests putting smaller, local, anti-capitalism protests out of business
Sitcoms and the Single Girl by Marcelle Karp, Bust, Summer 2001
These TV gals showed us that you don't need a man, as long as you've got your girls
Social Centers by Adam Bregman, Alternative Press Review, Spring 2001
Italy's cultural underground
Staging a Comeback by Rick Rothacker, Northwestern, Spring 2003
Richard Geer helps economically depressed towns find their muse -- and their pride -- through community theater.
A Star-Studded Kid-Lit Scam by Tracy Mayor, The Boston Globe Magazine, Feb. 23, 2003
What do Spike Lee, Lynne Cheney, and Jerry Seinfeld have in common? Along with other celebrities, they write children's books that shoot to the top of the bestseller list no matter how bad they are.
Top 12 Most Luddite Films of All Time Alternative Press Review, Spring 2001
Up Against Wal-Mart by Karen Olsson, Mother Jones, March/April 2003
At the world's largest and most profitable retailer, low wages, unpaid overtime, and union busting are a way of life. Now Wal-Mart workers are fighting back.
You Are What You Queue by Craig Tomashoff, The New York Times, March 2, 2003
Our lives and psyches are more public than ever, thanks to Netflix.
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.
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