oh, let's have an adventure.

thelittlefrenchbullblog: (by Krissy Photography.)

Sun, 24 Feb 2013 17:17:55 -0500

thelittlefrenchbullblog:

(by Krissy Photography.)

Best.

Sun, 24 Feb 2013 14:17:48 -0500

Best.

Little Fiction.: Little Fiction Top Tens.

Thu, 20 Dec 2012 09:18:48 -0500

Little Fiction.: Little Fiction Top Tens.:

little-fiction:

We’re wrapping up the year the only way we know how.

With lists.
From some of our favourite writers, editors, shopkeepers, and thing makers.

Specifically:
Leesa Cross-Smith’s Top Ten Favorite Things I Watched on Netflix This Year.

Danny Goodman’s Top Ten Reads of 2012, or Why My Cat Eats…

Check out my top ten lyrics of the year on Little Fiction!

Photo

Sun, 02 Dec 2012 13:49:59 -0500

Photo

Sun, 25 Nov 2012 11:57:07 -0500

Photo

Sun, 25 Nov 2012 10:31:40 -0500

ingodwetrustnyc: Jim Henson and Bert.

Fri, 23 Nov 2012 13:32:59 -0500

ingodwetrustnyc:

Jim Henson and Bert.

sdzoo: Flynn the red panda is an expert relaxer. By Penny...

Fri, 23 Nov 2012 13:29:48 -0500

sdzoo:

Flynn the red panda is an expert relaxer. By Penny Hyde

MY ANIMAL DOPPELGANGER.

faithistorment: Pont de Singe: Installation by Olivier...

Tue, 20 Nov 2012 19:59:45 -0500

faithistorment:

Pont de Singe: Installation by Olivier Grossetete

What!

this is what it looks like inside my brain, in case anyone was...

Sun, 18 Nov 2012 14:25:20 -0500

this is what it looks like inside my brain, in case anyone was wondering.

sosuperawesome:

Alexander Jansson

sdzoo: We’re thankful for best friends. Photo by Ion Moe. Oh...

Sun, 18 Nov 2012 12:03:01 -0500

sdzoo:

We’re thankful for best friends. Photo by Ion Moe.

Oh my stars.

HOBART: rereading DFW's "Shipping Out"

Sun, 18 Nov 2012 11:45:56 -0500

HOBART: rereading DFW's "Shipping Out":

hobartpulp:

and my brain keeps wanting to read this footnote:

Like all Megaships, the Nadir has given each deck some 7NC-related name rather than a number, and already I am forgetting whether the Fantasy Deck is Deck 7 or 8. Deck 12 is called the Sun Deck; 11 is the Marina Deck and has the pool and…

anticipatedstranger: Herman Melville

Sun, 18 Nov 2012 11:42:44 -0500

anticipatedstranger:

Herman Melville

kels fjord: books as strongboxes

Fri, 16 Nov 2012 16:55:02 -0500

kels fjord: books as strongboxes:

Henry James, you rascal.

kelsfjord:

I’ve been having fun ‘proofing’ Marías’s Written Lives (available soon as an ebook!), and have semi-unsuccessfully resisted quoting everything in it. The book is a compilation of authorial mini-bios of authors––some truths slightly embellished and stitched together for a more interesting…

kristenaiken: TAYLOR SWIFT CHALLENGE Inspired by our intense...

Thu, 15 Nov 2012 09:22:52 -0500

kristenaiken:

TAYLOR SWIFT CHALLENGE

Inspired by our intense shared hatred, Rob showed me how easy it is to make a TSwift-style song. The above was written and thrown together in about 10-15 minutes. … You really only need a couple lines about hating a boy, some repetition, and your most cloying pop voice. NOW YOU TRY!

Kristen Aiken, throwing down pop hits like it ain’t no thang.

"When I started making records, the model of economic exchange was exceedingly simple: make..."

Thu, 15 Nov 2012 06:50:21 -0500

“

When I started making records, the model of economic exchange was exceedingly simple: make something, price it for more than it costs to manufacture, and sell it if you can. It was industrial capitalism, on a 7’ scale. The model now seems closer to financial speculation. Pandora and Spotify are not selling goods; they are selling access, a piece of the action. Sign on, and we’ll all benefit. (I’m struck by the way that even crowd-sourcing mimics this ‘investment’ model of contemporary capitalism: You buy in to what doesn’t yet exist.)

But here’s the rub: Pandora and Spotify are not earning any income from their services, either. In the first quarter of 2012, Pandora— the same company that paid Galaxie 500 a total of $1.21 for their use of ‘Tugboat’— reported a net loss of more than $20 million dollars. As for Spotify, their latest annual report revealed a loss in 2011 of $56 million.

Leaving aside why these companies are bothering to chisel 10,000ths of a cent from already ridiculously low ‘royalties,’ or paying lobbyists to work a bill through Congress that would lower those rates even further— let’s instead ask a question they themselves might consider relevant: Why are they in business at all?

The answer is capital, which is what Pandora and Spotify have and what they generate. These aren’t record companies— they don’t make records, or anything else; apparently not even income. They exist to attract speculative capital. And for those who have a claim to ownership of that capital, they are earning millions— in 2012, Pandora’s executives sold $63 million of personal stock in the company. Or as Spotify’s CEO Daniel Ek has put it, ‘The question of when we’ll be profitable actually feels irrelevant. Our focus is all on growth. That is priority one, two, three, four and five.’

Growth of the music business? I think not. Daniel Ek means growth of his company, i.e., its capitalization. Which is the closest I can come to understanding the fundamental change I’ve witnessed in the music industry, from my first LP in 1988 to the one I am working on now. In between, the sale of recorded music has become irrelevant to the dominant business models I have to contend with as a working musician. Indeed, music itself seems to be irrelevant to these businesses— it is just another form of information, the same as any other that might entice us to click a link or a buy button on a stock exchange.

”

- Damon Krukowski. (via marathonpacks)

Photo

Thu, 15 Nov 2012 06:48:26 -0500

"There are certain emotions in your body that not even your best friend can sympathize with, but you..."

Sun, 11 Nov 2012 15:50:46 -0500

“There are certain emotions in your body that not even your best friend can sympathize with, but you will find the right film or the right book, and it will understand you. ””

- Björk (via moonbrains)

village-idiocy: clean fun

Sun, 11 Nov 2012 12:55:12 -0500

village-idiocy:

clean fun

aquariumdrunkard: Sevens :: Bruce Springsteen – Dream Baby...

Sun, 11 Nov 2012 08:00:28 -0500

aquariumdrunkard:

Sevens :: Bruce Springsteen – Dream Baby Dream (Suicide Cover)

Though it’s no fault of his own, any time Bruce Springsteen sings a phrase like “Come on baby, you gotta dream, baby, dream,” it’s gonna sound hopeful. It’s gonna sound like a heartfelt plead, and it’s gonna run right up to the border between profound simplicity and simple platitude.

Such is the case in The Boss’s live version of proto-punkers Suicide’s classic early single “Dream Baby Dream.” The New York duo of Alan Vega and Martin Rev made repetitive, sparse electronic music, heavy on atmospherics and bone-scraping vocal yawps. The group would serve as a major influence for several generations of post-punks and no-wavers, from Joy Division and Nick Cave all the way up through Dirty Beaches. The open structure and random shouts of Springsteen’s “State Trooper,” from Nebraska, are a direct homage to Suicide’s “Frankie Teardrop.”

The original “Dream Baby Dream” juxtaposes Vega’s high-lonesome rockabilly posturing against Rev’s minor bassline, half-mic’d keyboards, and an insistent alarm clock clack-track. Vega’s reading of the lyrics—several variations on the title phrase—seem at first like a co-option of early rock’s saccharine content; Vega sings as if dreaming is an escape whose impotence is known by the singer but not his baby. But Vega’s phrasing builds into a nearly-rhythmless mania by the song’s end, and the backing track clicks away, unmoved by the singer’s shouts. The words are the same (“Dream baby, dream baby, dream baby, dream baby”) but the place from which Vega pushes them is primal; the song’s ironic opening is annihilated.

Springsteen anthemizes “Dream Baby Dream” without amputating it. His cover, powered by a steady pump organ, closed out nearly every show on his 2005 Devils and Dust solo tour. It’s slower than the original, more drawn out; the pump organ is more human than Rev’s drum machines, and his rising croon is more recognizably sympathetic than Vega’s howl. The paranoia of the original is replaced with a sense of hard-earned conviction; Springsteen’s between-syllable gasping and the organ’s steady hum exhort the audience to dream, to dream, to dream, as if that’s all we’ve got. It’s a near-perfect partner to the menacing bleeds of synth that underpinned that tour’s version of Nebraska closer “Reason To Believe,” which Springsteen spoke-sang through a hushed and distorted harmonica mic. While the delivery is different, the message is the same: in the dark dim light, dream; in the dissonant distance, dream. words/ m garner

Listen…. Sevens :: Bruce Springsteen – Dream Baby Dream (Suicide Cover)

Yes Yes Yes Yes Yes Yes.