From Ogre:
Do goths swirl the other way below the equator?
(Well, I thought it was funny….)
“Cool Monsoon (Weather Storm)” by Mad Professor/Massive Attack from the album No Protection (1995, 7:10).
Enthusiastically Ambiverted Hopepunk
From Ogre:
Do goths swirl the other way below the equator?
(Well, I thought it was funny….)
“Cool Monsoon (Weather Storm)” by Mad Professor/Massive Attack from the album No Protection (1995, 7:10).
There was a bit of discussion here a few months back about the upcoming Tim Burton/Johnny Depp/Danny Elfman version of Charlie and the Chocolate Factory. As a quick followup to that, the first poster for the film has just hit the ‘net:
Sure, it’s only the very slightest glimpse of what we might expect, but I like the look of the poster.
(via the HTF)
“Super Charger Heaven (Adults Only)” by White Zombie from the album Supersexy Swingin’ Sounds (1996, 5:17).
Looks like someone’s come up with a new, not-really-all-that-clever use for comment spam: using it to attempt to Googlebomb someone that they’re ticked off at.
The following showed up in my inbox three times, with three different IP addresses:
IP Address: 202.175.26.151
Name: Whiny Communist Bitch
Email Address: commie\@mamamusings.net
URL: http://www.mamamusings.netComment:
I just can’t shut my pie hole.
Normally, that’d be a sure sign of the standard comment spam, but I was pretty sure that mamamusings.net was another weblogger, so I headed over to be sure, and to give her the details.
Turns out that she already knows, which is good.
Heartening to know we can all be so mature, isn’t it? Didn’t “commie” go out of vogue as an insult a couple decades ago, anyway?
“Honey” by Amos, Tori from the album More Pink – The B-Sides (1994, 3:49).
Just a few quick impressions, because it’s way past my bedtime on a weeknight (and having to say that before it’s even 1am is so depressing…).
Excellent show.
Wandered up to the Vogue at just a tad after 9pm and headed in. Got to say hello to some of the few people I know — Ogre, Mickey, and Kayo — and then ran into Richard just a few moments later. Ended up getting a table right up by the side of the stage, with a perfect view.
The Arid Sea opened, who I knew pretty much nothing about. Not bad at all, though admittedly, not so good that I’m going to be rushing out to pick up an album. A good opening show.
Voltaire came up shortly afterwards. While on his albums he has backing musicians, his performance was simply him and an acoustic guitar. He started by walking up to the mic and saying, “Hi! I’m…Rammstein!” and then proceeded to do a tongue-in-cheek cover of “Du Haßt Mich” (“You / You love / You love this / Even though you don’t know what I’m saying.”)
The next song was “Ex-Lover’s Lover”, and then he went through a good number of songs that I didn’t know (as The Devil’s Bris is the only album I own — something that will have to change), but were all very entertaining.
He prefaced a song about being eaten by cannibals by talking about how he’d just done a show in Japan the week before, and while he was able to do his between-song chatter in Japanese, the songs themselves were in English, so the Japanese audience didn’t pick up on all of the puns in his songs. He did say that the show in Japan went really well, though, and so he’d decided to do the exact same performance, since it went over so sucessfully — and then proceeded to speak in Japanese.
Between two of the songs he took a moment to read a few short passages from a small book he’s just put out, What is Goth?, commenting that “the surest way to a girls…(long pause)…heart…is suck-ass Goth poetry.”
There was actually a lot of fun between-song banter, and since much of the music I was hearing for the first time, that’s much of what I’m remembering. He told a story about going to the PTA meeting for his six-year old’s school, a fancy private school in New York, and realizing that both Dave Gahan (the lead singer of Depeche Mode) and David Bowie also had children in the same school (“The parent choir is going to rock!”).
Also, just before a very sweet (if disturbing) lullabye “written to scare my son to death, apparently,” he told another short story about his son. Apparently he came home and heard one of his son’s friends talking to the nanny, and declaring that, “that coat smells like his dad.” At his point, Voltaire paused, hiding around the corner to find out just how bad he smelled.
“What does his dad smell like?” asked the nanny.
“Evil.” (Much laughter here from the audience.)
Then the nanny followed up on this. “And what does evil smell like?”
And then, very matter-of-factly, the friend just said, “Pretty good, actually.”
He ended up finishing his show with “When You’re Evil,” only with a slight twist to the final lyrics:
It gets so lonely being evil.
What I’d do to see a smile,
Even for a little while,
And no one loves you when you’re DJ Eternal Darkness…
All in all, much fun, and well worth staying up past my bedtime for.
“Anniversary” by Voltaire from the album Devil’s Bris, The (1998, 4:35).
This week’s Stranger cover:
I’d never heard of Sarah Vowell, the voice of Violet Parr in The Incredibles, before I started to read the various reviews of the film once it opened. Turns out she’s a writer and radio personality, which is how her voice caught director Brad Bird’s ear when he heard her story about her father’s cannon on This American Life.
The Luxo weblog has tracked down the broadcast in question, and it’s well worth hearing (streaming RealMedia audio).
“Push Downstairs” by Underworld from the album Beaucoup Fish (1999, 6:03).
I’ve been playing with HTML for quite a few years now. Every so often over the years, I’ve actually been bright enough to make a quick copy of my website and archive it. Tonight, in a mad burst of misplaced nostalgia, I pulled them all out of the digital dustbin and have put them back online. As an added bonus, this allowed me to put some really old entries into my archives, from the pre-“blogging” days when I was just hand-coding pages and updating them as I saw fit. My archives date back to 1995 now!
Curious enough to check out just how my design and web skills have evolved over the years? Feel free to wander through. Some links will work, some won’t — caveat emptor and all that.
February 14, 1997: One year later, and things have improved dramatically. This basic design would last through the next three archives, and while it’s a bit broken now, I still like the general idea. Featured one of the first incarnations of a Gigs Music Theatre site, though it’s just a single page here.
April 21, 1997: A few months later. A little less content, as I started to focus on expanding the Gig’s page. Design is the same (and is still slightly broken in modern browsers).
March 30, 1998: Another year goes by, and things are still pretty static. The design is the same (though by this point, it works in modern browsers). The Gig’s page has evolved into a full-fledged site by this point, though.
August 5, 2002: Whoops! Four years went by with no archiving. I’ve been kicking myself for this of late, as I was doing some hand-coded “blogging” back then that I don’t have copies of anymore. Still, at least I have this. By this point, the design has changed majorly, and I was using MovableType to handle my weblogging.
My lord I’ve been doing this for a long time.
“Kat-A-Mandu” by Poems for Laila from the album Katamandu (1992, 5:11).
I hinted at this in one of my linklog posts last week, but this whole situation with Arafat keeps reminding me of the Schrödinger’s Cat quantum mechanics paradox.
Maybe he’s dead, maybe he’s alive. Nobody seems to really know, and nobody wants to open the box to find out.
“OK This is the Pops” by Tones on Tail from the album Night Music (1991, 3:07).
Just a heads-up for anyone who might be in the area and interested: Voltaire (who I’ve mentioned here before) will be playing at the Vogue tomorrow night, along with The Arid Sea.
Doors open at 9pm, \$10 at the door.
I’ll be there.
“Ex Lover’s Lover” by Voltaire from the album Devil’s Bris, The (1998, 4:51).
Ars Technica has a great review of Delicious Library, the new book/movie/music/game cataloguing software from Delicious Monster. I’ve downloaded the demo and have started to poke around with it…so far, quite enjoying what I see.
The second page of the review does a wonderful job of going into just why we Mac people are Mac people, and how nice it can be to get software also made by and for Mac people.
There is simply a “climate of excellence” on the Mac platform. Any developer that does not live up to community standards is looked down upon, or even shunned. Commercial, open source, freeware, shareware, it doesn’t matter: pay attention to detail, or else.
Windows users, think about what your typical download and installation experience is like. How many dialogs are you presented with? What do the file names and icons look like? Do you have to run an installer? What kind of manual clean-up is required afterwards?
Linux users, when you look at the carefully laid out disk image contents in the screenshot and links above, think about how far “desktop Linux” has to come before it can even begin to think about details like how single-icon drag-installed applications are arranged in their disk image windows.
Yes, I know, all of this is “pointless” and “dumb” because looks are meaningless. It’s the software that counts—the code, the bits, not the packaging, right? And so we come to an important difference between Mac enthusiasts and other computer users. Mac users understand that the packaging counts too (and are willing to pay for it). Happily, you get a lot of nice things “for free” on the Mac platform these days: composited windows, large icons, rich disk image and application bundle standards, etc.
So very true.