What Musicians Can Teach Us About Employment In A Digital World

It was 1998, the Internet came creeping into our lives like the first tendrils of creamer in a cup of coffee.  The first round of CD burners had to be bought separately. They cost almost half as much as the computer itself with a strong possibility of installing an additional port to connect the giant serial cable.  It wouldn't be more than 3 or 4 years before every computer came with a CD-R as a standard drive. Around that time Napster snuck in with file sharing technology utilizing MP3 compression.  Piracy was no longer about the old tape dub paradigm of buying a cd and making copies for friends. Now you could just go find any new album posted up by someone on the other side of the country.

We had record/video stores back then and the harbinger of doom that would eventually put record stores out of business and loose havoc on the Record industry confronted you in tubes of 10, 50, and 150 CD-Rs on a shelf where top ten albums used to live. The big labels mustered all their collective strength and tried to put up a fight.  DART already gave them a portion of the sales of blank media, but they went further suing websites and even consumers using the file sharing and piracy websites.  It was way too late though, technology had drifted into Wild West territory.  $14.99 could never compete with free.  

In those days, Silicon Valley was quickly maneuvering the wild west of cyberspace into real world supremacy. The computer industry simply had more economic clout than the record industry.  Freedom of speech warred with intellectual property.  There was no game book on how to fight a data storm.  When bandwidth started growing and the video industry became threatened by the same fate as the music industry piracy really met a slightly more prepared foe. The danger of malware being downloaded with the desired new movie or album contributed to that portion of the internet becoming a shady red light district.  SOPA had its moment but collapsed under scrutiny of totalitarianism. Eventually legal disruption would siphon off the profits into software gatekeepers. One by one technology would beat out established institutions,  Netflix would destroy Blockbuster and Spotify and YouTube would become primary means of media distribution. Streaming and On Demand would replace owning and rentals.  Uber and Lyft came for the Taxi companies.  AirBnB came for the hotel industry. Amazon came for brick and mortar retail.  It won't be long before all incomes are effected by this blossoming Technological Revolution, that's the world we live in now.    

So how do we survive?

Musicians, even in the glory days were at the bottom of the food chain.   The creators of the content so deeply craved were consistently beholding record labels who took as little as 50% of all revenue, after recouped costs for advances on recording, touring and promoting.  As now, few rose to the top and made fortunes.  The industry funneled investment into "sure shots" leading gradually to more generic than the generic that came before. Quality of creation suffered for economics, taste factored less and less as businessmen discovered the population would consume whatever they doled out. Minimum investment maximum gain.  

The Internet at the turn of the millennium held a momentary promise of democratizing the industry, returning power to creators by tearing down the infrastructure between creators and consumers.  Little did we know what that meant, but we all made our MySpace pages and bought into the new paradigm.  We were the forefront of the "indie" revolution, directly accessing and selling to our fans like never before. 

The modern musician cannot consider creating music their sole occupation. The artist needs now be an entrepreneur, a marketing expert, a booking agent, a tour and business manager, a publisher, a lawyer, a graphic designer, a highly connected networker, etc. etc.  Oh, and you also need a day job. Fortunately most of this new "workload" can be done from a smart phone. Simultaneously, technology also simplified actual creation, enabling common to achieve standard quality with little or no effort. The market floods, the commodity of music suffers a sort of inflation despite being consumed more than ever before, and the value of the consumable drops dramatically...Yet fortunes are to be made by offering access. 

So a shift occured in the nature of the artist.  They continue creating, no longer expecting any real recompense in the here and now.  However, the greatest tragedy the artist can imagine is going through the struggle and loving effort of creating a masterpiece no one will ever see, and a new niche of visibility middlemen was born. Those offering access to consumers convinced the content creators that sharing everything for free rewards the commodity of exposure (potentially with a someday payout).  Every kid with GarageBand is giving away their tracks on ReverbNation while BFA Composers lurk in forums like beggars seeking an unpaid gigs to build a portfolio, and if you wiggle your ears right while touching your nose with your elbow you can get your stuff on internet radio or Spotify. Opportunistic Business Sharks circle picking at the edges.  Music libraries accept submissions and take 50% for royalty free placement.   Networking gatekeepers commodify connections.  Pay to post "seeking", pay to respond.  We fall under the spell of "Market through Facebook, build up a following..." Pay for some ads or risk invisibility.  Use the tools and platforms and networking sites.  Play friendly. Schmooze a little.  Email influencers, like their feeds.  Get a shout out from a blog. See a bump in new commodity of likes.  Pour more hours into the marketing struggle. 

Somehow the system, like a great alchemist, turned creativity into a form of consumerism. 

If the goal was to make a living doing what we love, how did we end up convinced that doing something else would open the doors to getting rich off of our dreams?  It was madness focusing on results instead of process.  Putting promotion over the craft, leaning ladders against wrong walls and wondering why results aren't forthcoming. We called the new pursuit branding and identity.  It's what the stars were doing. All the Success Blogs said it was imperative to breaking through the noise and being noticed.  They sold the desire to be perceived into an outer ideal, rather than leveraging our personal truth, we lost sight of the path.  To have all those hours back, to instead perfect something hidden but unmistakably genius. 

Time unlocks purpose when faced with giving up childhood idolizations and moving on or choosing to carry our efforts into an uncertain future.  Every year that passes you must make a decision to continue. The source of resiliency is passion. The journey is the destination. Everything needed to know could be found in practice.  Slowing down through a difficult passage.  Persistence to build strength and speed.  Coordination and altering approach. Internalizing and assimilating.  Learning the rules to break them.  Baby steps towards greatness.  The practice improves the whole person. The pursuit was a spiritual one, meditations in motion, one step cleaner, faster, stronger, longer. To find joy by disappearing in the effort.  

And that is when you get the reward...  

So how does all of this relate to a coal miner?  

I don't think of coal mining as an emotionally rewarding task.  Not particularly good for the environment either.  Coal miners are, however, losing their lucrative jobs like musicians did thanks to changing technology.   Like musicians they are in need of day jobs. Gainful employment.  

What followed originally was a diatribe against the failings of late capitalism and a romantic exploration of a utopian future. This derailed into a whole new post. To be read...

Instead I'll conclude with the original design intact.   What musicians have to teach us about 

employment in a digital age is:

On occasion you may have to do some menial shit you don't want to do in order to finance the life you accept living.  It may seem beneath you but if it keeps you fed, with a roof over your head you can survive enough to side hustle a true ambition.  Start planting the seeds today and water them every chance you get.

Constantly seek personal improvement with persistence and focus.  A siren song of media and marketing seeks to convert your efforts into their profits. Don't fall for it.  Pursue your goal diligently. Find interest in the cloud surrounding your path and grow from where you are.   Become the best at what you want to be, if you are not that then the propping up will blow down in the first wind.  Change is inevitable, the skills of today will become obsolete tomorrow. If you are not climbing you are sliding down hill.  A good investor will tell you to diversify... the same goes for skills and talents.  Never stop learning.

Musings On Old Art

Old art and the acquisition of new skills leaves one to wonder whether or not they should go "George Lucas" on old projects and revitalize them or let them go and move on to the next creation, pushing forward once again into uncharted territory.  A third option exists which is destroy it and never ever let it be seen. Ever. 

The great fear is perpetual turd polishing, that yesterdays little baby was in fact a giant useless piece of shit that needs flushing.  The great waste is hoarding work expecting that some day its inherent value will increase like wine in a cask. 

One might consider art an exercise to develop self, but if the past is just training for that which is to come then should the fruit of that labor be disposable or hidden like a dirty secret.  Art created in a vacuum might serve some cathartic purpose of time passage but will doubtful bring the outcome of self expression the artist needs.   Art by its nature demands a sacrificial victim to experience the creation.  Its reward center craves the notice of another for the price of sharing.  Value allotted to art lies solely with the beholder.  Take a look at the works of Basquiat for example: childish, simple, however lauded and applauded, held in high esteem by collectors, highly priced.  What is it that sets these works apart?  Certainly we are somewhat attracted to the lives of these artists, elevating value with the use of celebrity and hype. Ideally the childish free playing artist presented to the masses will die young leaving the collectors to hype and create inflated value for the now obligation free investment. The value of abstraction will always be questionable, and most of the time a name is all that matters...I digress. 

I think I'm presenting a case for outsider music, the schizophrenic on a Casio keyboard.  They are found on the street their dedication brings them to the attention of at least a select few who herald it as innovative and original. Its existence goes against everything the mainstream wishes to cram down our collective throats. 

This does not serve the evolving artist   seeking technical mastery behind creativity.  I venture to say that the artist in pursuit of this virtuoso goal will never be able to achieve it because the horizon of quality will always be over the next mountain.  It seems such a waste that those early mountains should be lost. Thus reiterating whether or not one should go back to early works to "fix" them with quality and skills acquired in later life.  

 I seem to be on the fence about this issue because I would rather move on and create something new than spend my time re-examining and repairing my past. Yet I am reluctant to let go even of things that now serve only as embarrassing milestones.  Occasionally I think that kid as stupid and naive as he was had some decent ideas.  Most of those thoughts were incomplete and crippled from inception. They laid dormant on hard drives for years. Stealing precious gigabytes and waiting to be nurtured from inadequacy into a state of sharability.  Growth and life experience leads us away from that place  and now as a completely different person it seems pointless to have these immature ideas lingering around and taking up space. By Beiber standards they could have been great, but who is holding them self to Bieber standards.  That silliness needs be delivered by a 15-23 year old like the one that wrote it.  That silliness needs someone like the grown up I am now make it good.  That moment has passed, I am different, the culture is different, and going back to reshape my little gremlin babies seems wrong but necessary if I was to proudly present them to the light of day. 

These works I have snuck into being invisibly available to the scrutiny of the public eye. The cost is seeking them,  which turns out is a lofty price to pay.  I create some new name for an old thing and banish it to exile in some dark corner of the web, mostly to keep them from dying, or at least tell myself I didn't kill them.  When these works were made there was no YouTube or Bandcamp, or ReverbNation. MySpace was the start of all that, and even that was late to the party.   So the works have served no purpose in exposure.  Instead it's me that now needs to shine a light on these blighted creations.  I want them to go be their own thing.  Their connection to my name leads me to prefer that they fit the personal brand I now seek to maintain, but instead they represent a kid I once was. I love them for that but they exist as reminders that that kid wasn't good enough. 

 In today's society who we are and what we show are expected to be two separate things.  The past that helped arrive somewhere is not so important as where the public eye sees and recognizes our current position. 

Ideally that current position would be above the herd so that they might look up in adoration and respect or envy and loathing... As long as they are looking. 

The great fault lies in not putting each thing out as it comes.  YouTube is littered with kids posting amateur videos, some of these videos launch careers and pave the way to work with talents that compensate and elevate the artists brand allowing their genius to shine down upon the masses. In the new world of "Content  Is King", quality may not be as important as it once was.  Polished can come across as fake, amateur can come across as genuine.  

Perhaps our evolution can be an inspiration to help another start challenging them self.  Perhaps improving our old art can help us develop new skills or help us touch back on a commercial sensibility rejected along the way. All I know is if I stop creating, I might as well be dead.  The stuff I'm making now I'm pretty happy with.  5 years from now I'll probably feel like it's garbage, and that's ok because that means I'm getting better. 

The Future of Noise Music and Childrens Rebellion

In this time of Miley Cyrus, Beiber boinking Selena Gomez, American Idol, Rhianna getting beat up over a herpes incident,  Lady Gaga's fashion use to gain stardom,  Green day getting old and political,   Chocolate Rain and the Double Rainbow Song blasting to insane YouTube heights, remixed and remashed media overload,  shortening attention spans,  the flooding of the markets by the amateur,  the birth of indie music.  the death of indie music, a label driven genre called indie.  Where are we headed?  Blending backwards and round we go again, shifting each pass with a new hue to collide with the old.  Musical trend cycling has placed us in an 1980s shit warp.  The music industry has been shaken in so many ways by technology since the early nineties, the advent of digital music,  freeing up the market to the underdog.  What began as an assault on the damage already done by the big record labels has backfired by the the "Do It Your Selfers" flooding the market with thoughtless mediocrity.  The recording of music was once difficult when proper facilities and the knowledge of their operation was required... now any Joe can do it with programs that come standard on a MacBook or in an iPhone app.  Quality control right out the window.
So now the trick is to get noticed amongst the rubble... somehow... and the musical revolution has been reduced to a media manipulation popularity contest.  To have the time to create quality creations often means the neglect of the realities of the day: kitten comments,  Chuck Norris,  drunk babies and the ruthless recycling of media on and on, though the concept of Memes has become a digital virus, its not really a new idea is it?  Warhol was doing it and now you can too with the war hole preset on Mac Photo Booth.   Complain about it as much as we can,  this reality is here to stay.  What is? What is just stupid?  Indifference and small thought.  It has all been said before.

There is rumor on the wind of Americana bursting through the earth and back into the mainstream, but  the nature of revisionist roots music is inherently reproducing a much further back past. So we wait for a movement, in which something unique will bubble its way into the Echelons of Popular culture. 

But there is hope, Ruscha knew it 40 years ago.

There is possibility the future must be opening towards, and rebellion must certainly play its part in the midst of the brainwashing seeking to render us all thoughtless at the mercy of Murphy's Glee recycling.  Some massive cataclysmic shift away from the American Idol prototype of stardom.   Thought is hoped to prevail,  but it is rebellion which is unavoidable.  If you like the music your parents like, most likely it's not cool.  For those fortunate enough to have parents with good taste, there will probably be a period of rebelling into something else in between.   So that you can come back to it with a mature mindset shaped and renovated before being allowed to think its cool.   Noise is the path, the disturbance in the status quo,  like Obi Won Kenobi It's our only hope.  Just wait and see.  The pure opposite of pop... but as pop? 

It has begun rising up through the Cracks especially in Electronic music like Mr. Oizo, The Books, Matmos, Lexanculpt, Hrvatski, The dirty synthesizer,  the Digital Concréte manipulation of audio files.  Despite being ideas Explored By Pierre Schaeffer, Stockhausen, Iannis Xenakis in the early 1900s they have not fairly found their way into the public sight.  Merzbow with his monstorous forward thinking, leads Japan as a beacon of hope to the underground success of noise followed by such names as Melt Banana, The Bordoms and then the much more highly musical Worlds end Girlfriend who pulls no punches when it comes to being noisy.  Add this all to The Underculture of Industrial, Einstürzende Neubauten, Diamanda Galas, Skinny Puppy, Wolf Eyes, Yellow Swan, this stuff makes the Ultimate act of musical rebellion of the 70s seem like kids with guitars.  Not to subtract from Punk music in any way,  It has most definitely paved the way. And is probably the greatest example of how a countercultural movement can swing its way into becoming a Pop culture phenomenon. 

Mark my words, It will not be too long before noise rises.  The economic situation is ripe, people feel unsettled, it leads to needing an outlet, something aggressive perhaps they will take to the streets perhaps they will burn things. We can hope that a creative outlet overwhelms the destructive one.  Street art carries the poetic terrorism inherent in boundary pushing, and doesn't something so underground rising to popularity deserve its own special soundtrack.  New is needed, something is going to have to give,  Kids will only put up with so much of what they are fed. The standard quality of music has become flaccid, There is just not enough time to practice being a real musician. The tools exist to turn everyone into a walking sampler. And this will truly be the failing and breaking point of the noise movement.  The copy cats who think that noise has no shape or form.  The limited mind space to look at the abstract painting and say I could do that and regurgitate with out the background.  But none the less this is the nature of Pop, and the blanket it will weave will ever grow. and in the end perhaps computers will make music only for other computers to hear.

What Exactly Is Americana music?

I think its time to face it...  Country music has failed us (at least the label).  There are a few artists trying to redeem the genre but most are just riding that horse into the ground.  One can see the trajectory, and our favorites are amongst the culprits as Country music mutated from Bill Monroe, Hank Williams,Woody Guthrie, and Carter Family, to Johnny Cash, Ray Price, Waylon Jennings, Dave Dudly, Merle Haggard, then Barbara Mandrell, Alabama,  George Strait, to Garth Brooks(We will just Pretend Chris Gaines never happened), Clint Black,  Shania Twain, Kenny Chesney, Keith Urban and then to Carrie Underwood and Taylor Swift.  Country has pushed towards rock ever since it was put on the radio,  and taken out of the hills and barns, Rockabilly,  the world influenced by Buddy holly,  and Elvis Presley,  It was a sign of the times the wash of the conglomerate on everything. Honky Tonk lead to Rhinestone Cowboys and disco slipped its hand into the faded blue jeans of the dance hall.  Popular means plastic despite the substance underneath.   The interesting paradox of the migration of the genre "Country" to the Viacom stereotype of pop music phenomenon (complete with rock guitars, highlit hair,  and perhaps a cowboy hat and an embroidered plaid)  has left many artists struggling for a way to label the music of the current underground (and soon to be very popular) movement returning to roots directions.

 "Oh Brother Where Art Thou?" was perhaps the turning point where mainstream culture breathed a new breath of past into a young generation, resetting the trajectory at the mark. Some artists were there before but, only a small contingency of people were into it. I think the revival that injected the old bluegrass or hills blues soul back in a big commercial way hails back to the Coen Brothers who made that world relevant in a huge way.  The ripple has been spreading ever since spawning the birth of a huge contingency of artists  who are now creating western themed "Americana" Music, yet are having a hard time trying to define themselves, There seems to be this huge revival of Roots centered music,  as is supported by sites like No Depression,  and a random splattering of blogs.  It seems to be leaking out into the mass media and mainstream.  and becoming fashionable once again but we can't really call it "Country Music" anymore. The thousands of roots country variations unsure of what to call themselves have turned to labels like Roots Music, Americana,  Folk,  Alternative Country,  Insurgent Country, Folk Noir,   there is even a contingency advocating a genre called XXX after moonshine bottles of yore.  The greater harm here though is that "Country"seems to have been clamed by the Nashville camp, who redefined the genre with a steady evolution into bleached hair, designer clothes, pop rock music with a drawl etc. and somehow lost itself In the process.  

It all goes back to Tin Pan Alley

Songwriters handing over songs to big name producers, producers polishing,  artists into the cookie cutter cutout of "What Sells." the remaining struggling CEOs pushing last ditch efforts to make sure their artists get the exposure on the last of the dying radio airwaves.  Since the 90s the distance between R&B Radio and country Radio has been growing smaller and smaller,  Granted there is still a difference,  I heard a country song that felt the need to claim it was country music lyrically because it was obscured in the timbre and production( i think it was called "This is a Country Song".   Songs like "I swear" by Baker & Myers pounded the charts in 1994 crossing genres and released by both John Micheal Montgomery and All-4-One. Take Townes Van Zant, writing from the rough he may just be considered folk though he wrote Pancho and Lefty which turned out to be a huge country hit in the hands of Willie Nelson and Merle Haggard.  but the Willie and Merle version is pretty electric. That should set the stage for where things are coming from and how they are sold. 

Now that "Americana" is becoming popular, it is finding itself in a similar identity crisis as its older relative, "Country".  But to be fair,  Americana is a lot more ambiguous.  Technically all things made in america are "Americana".  Not really fair because hip-hop, jazz and blues have their own genre,  folk too i suppose is its own thing.  Furthermore there are a lot of European bands knocking on the door of the american sound and doing it well where america is faltering.  So the American sound, must captivate the american Pioneer spirit,  perhaps the popularity exists because economically we the hipsters like to think of now as our own great depression.  Perhaps we are hung up on the Idea of the wild west, outlaws and anarchy but that comes from the Italians.  Is "Americana" defined by instrumentation, using acoustics or sounding old?  No matter what we end up defining this as, It is happening, it is growing and it is a counter-cultural phenomenon.  It is also a repetition of the past and where the Noughts reminded us of the 80s, I am pretty sure we are gearing up for some mixture of this and 90s grunge for the Teens.  I would continue to speculate but I am interested to see how this plays out.

How Does Radiohead Do it?

Radiohead is a special case in music.   

One day after their album "King of Limbs" came out, It had already taken its place crowning the internet top searches.  Millions of YouTube hits and hundreds of bloggers offered interpretations of lyrics, comparisons to previous albums, reposted and otherwise cashed in on the success it was destined for.  'The Robotanists' even went about making  a cover album of the newborn baby within the day. 

  Fans of Radiohead can't seem to get enough, conservative music listeners (the kind that listen to Top 40 radio) are eager to patiently listen to it and try to understand it, marveling in the evolution of the megagroup and relishing in how they (the listeners) are now "Artful" because of the new sounds they are privy to.  'King of Limbs' feels like something that you know shouldn't be alive but keeps looking at you in the face, very much existing.

Many hail "King of Limbs"as Experimental, yet it has become vastly popular with listeners who seem to have missed that memo decades ago re: The arrival of Experimental music. (Bjork, Sigur Ros, Autechre,  Lexaunculpt,  Hrvatski, Matmos, Venetian Snares, Boards of Canada,  IDM, the list is long). Many are quick to pigeon hole, or expect something else, be it the next level on the Experimental ladder, or a retreat back to the good sing-along Karma Police days.  I see it as a step on a obvious trajectory,  Radiohead has been on this path beyond cult ever since teaming up with producer Nigel Godrich for 'Ok Computer' back after they proved that they could be your everyday true rock band. 

'Ok Computer' opened the door to the change that nobody was expecting. The jazz influence snuck in but carried on its back something far more whimsical: Ambiences, open song stuctures, electronic beats, layers upon layers, found woven through out anything Godrich touches.  'Kid A' and 'Amnesiac' dove deeper in the new electronic direction and everyone flipped out because 'Techno' was no longer the only electronic music. But truth be told the music to this day is very specific to Radiohead, it has always been specifically Radiohead and will continue to be characteristically Radiohead.

So let me get this out of my system once and for all.  If you think this new album "King of Limbs" is experimental go listen to Pierre Shaeffer and see where tape music came from,  if you want great pop music with noise overtones and actual depth Radiohead fits the bill.  I have to give props to them, Radiohead keeps opening the ears of those that are unaware of what is out there. Ok. so is not new, but it is very good and the more times I listen to it the deeper in I go.  In my humble opinion, this one hits the mark right where 'In Rainbows' missed... They have created a thick luscious environment,  hung on to instruments,  chopped up some live drums and put them back together.   My first impression is how old the music seems classic, retro like "Baba O'Riley" by The Who.  The textures though are far more complex,  back masking guitars, delay units, and feeding into that stumbling Art Blakey Jazz drum segments,  Living in poly-rhythms, colliding with this lounge exotica sleek swing thing.   And at the top everything delays like dub music fading into an atmosphere to set the stage for more and more looping offset to pretty much obscure the fact that this is thus far extremely minimal repetitive music in standard 4/4.   "Little by Little" sounds like a throwback to Nirvana back in their "Bleach" days,  however Radiohead is still very much there, amongst the whining and through all frequencies.

The Confusing Racial Implications of the Goat Rider Party

Strange musical economy... the rules never changed. Instead the method to the madness mutated in a most dismaying manner. It does make some sense though, and the blogs really are doing a service to the musicians at this point.  Especially because everyone is an artist now, Garage Band musicians are falling out of the trees like shaken up termites chewing at the rims of media formats. and Double Rainbow is getting the most plays.

Strange musical economy... Maybe the rules did change,  but still The artists remain poor at the bottom of the money net, and instead of spending money in studios which used to separate the chaff from the grain, they now pay for marketing and promotion or to submit their music through some third party who managed to convince venues a tollway between them and the artists was a good idea(quality control, you know?)

I did so think that the world of Americana music would have divorced itself from such silliness as that which spawns Lady Gaga's embryonic form of Miley Cyrus, that doomed offspring of my Achy Breaky Heart.  The entirety of the Disney clan now fully aware of the sordid lives they must lead in the aftermath witnessing their star role model Brittany Spears and sister sliding down awkward paths.

Indeed the Justin Beiber Selena Gomez Sex Tape is only the beginning.  After all with Usher producing it and Demi Levato lending a hand(quite literally) the show should be spectacular. "But they are still children" the Christian right wing will cry out uncertain who to blame for the actions of those left in charge of babysitting their own lost children trying so hard to be grown up versions of their idols. They rapidly duplicate every move of virginal experimentation detailed by the Twitter play by play and steal mommy's credit card for the new Disney Porn Site selling subscriptions by the millions. Indeed, the mouse will sell everything after the hostile acquisition of Hustler.  Amy Winehouse toasts from her "Snuggie" on heroin couch,  While Madonna bitterly explains to her manager "I did that years ago." Sex always sells the most of everything,  Its the lowest common denominator that the media craves, and because the market is now set to be based on media,  the ad campaign must be original... Much like The Avant-Americana Stylings of TEARS OF THE MOOSECHASER... 

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The Merge of Democracy and the Insurance Company

we each play a part in the system

one to their own way

the way we fill our time

the way we teach

the way we grow

the point of living every day

to play

is to teach

the radiation

from which the power does spread

the east

in distance waves

workers on the other side

earliest film

a post apcolyptic playground

rhythm in frames per second

moving in comfortable silence

the eye watching you

the way a child sees his father

----------------------------------------------------------------

I have thoughts, I can write a Blog

sigh...
I just watched "Julie and Julia". It showed me something about continuity, which is often the cry of the masses, and indeed a mismatched gathering of self stimulation is in fact just that. Yet the overwhelming number of Blogs will testify to the value of self adoration and reaching out to strangers in this time of our civilization's evolution. Shall I share my perspective on the world? In time dear child, but first view this image Tripp Nestor. (I have heard the people like pictures)

Now, there is this ongoing debate about real art vs. digital art, another about real writers and throw away bloggers. Furthermore we have endless copyright issues, remixing of video and music. (by the way that picture you need permission to use that image) Yes we have worked our selves towards something, in a few hundred years they may explain the phenomenon. Will it be a modern Renaissance? What is going to be seen as the worth that comes out of this time of reckless freedom of expression? Is success to be measured by the number of google hits one has? Will those hits equate to ease of living, wealth or prosperity?

Who knows?

In the vaults of the future...

The proof will be in the pudding.