tvg hates tvg: the house that sandpaper built
mystification: show me how (tvg hates tvg remix)

on a new black hoe sublabel called golden age. it says:

TVG Hates TVG (Pinecone Moonshine, Black Hoe, SyncoPathic) brings us the debut release on Golden Age. "The House That Sandpaper Built" showcases his style nicely with afflicted atmospherics and clever drum sequencing lead this track down a dark and nightmarish tunnel. The flipside, "Show Me How To Cry Remix" takes the Black Hoe Alimony original by Hungary's Mystification and deconstructs it until it's only faintly recognizable - completely reworked from the ground up. This upfront remix is sure to amaze, whether you know the original or are entirely new to our signature sound. With this release it seems inevitable that Golden Age will continue to do big things.


bombah: the original rudegyal murda sound (2009)
on more recordings netlabel:
After a long hiatus More Recordings comes back, and they’re taking no motherfucking prisoners as they drop the one like the Bombah’s new joint, “The Original Rudegyal Murda Sound”! Five tracks of serious other level Ragga Jungle flavors from outerspace and the underworld. Rolling with the mighty Vinyl Pushas Sound System, she rocks the production tip like a true rudegyal, bringing all sorts of gangster ragga jungle tracks for the space cruisers. Awesome to see More Recordings back online and coming with such a nice one-two-three-four-five punch package like this! Especially wicked to hear her workout with the japanese dancehall business on the tune “Faia”.

Don’t mess around. Just cop this one.

Bombah - “The Original Rudegyal Murda Sound”
01 - Bombah - Lady In The Studio
02 - Bombah - Mash It Up
03 - Bombah - Dancehall Queen
04 - Bombah - Faia
05 - Bombah - Gunshot




socioblogopia. a very cool idea from wicked anomie.


i'm there.


they also have some audio up from previous events.


jammie thomas retrial begins today.


tehran. the opposition.


punk rock is bad for you, and bad for society

and if you don't believe quincy, here is more evidence, from 1983:



Darkbrowed shadows! lo, they travel down the faded depths of light
Where the evening like a bride, lies blushing in the arms of night!
Now the mellow west is changing, and a flush of rosey red
Deepens in the silent heavens, over Kembla’s topmost head;
See! beyond the gnarly brushwood, cragging up in gleamy crowds,
All the hills of Bulli shimmer, like a heap of verdant clouds;
Glowing with a league of sunset lying, like a gilded pall,
Where the pines, like blackbirds, nestle in the cliffs of Corrimal.

Beaming westward, with a sinking splendour shining on its way,
Lo! a lonely planet loiters on the footsteps of the day;
Glancing backwards, as it drops behind a waste of forest-land,
Where we sit, my friends and brothers, by the hollow ocean-strand!
Kembla waxeth grand and gloomy, and the wildwood echoes ring
Sadly down the haggard gorges, like a wailing on the wing;
Flying past the windy caverns, where the crawling sea-waves roam
Hissing as they drag the beaches with their skirts of seathing foam!

Yet a deeper darkness brooding, blackens all the mountain’s edge,
And a startled mist is creeping under Keira’s beetling ledge!
But behold the stars have broaden’d, and they sit, a golden throng,
Where a ring of steadfast brightness overarches Wollongong;
While the nightwinds, growing mighty, hurry with an eerie croon
Past the whistling reedtops trembling on the long and low lagoon;
As a fearful sound of screaming wanders thro’ a swampy maze
Down to where the ocean cometh, raving round his roaring bays!

Kembla! now a fleecy glory o’er thy craggy head is thrown,
But ‘tis hard to watch this evening dying from thine ancient cone!
Let me linger here a little! See, a sweet and mournful gleam
Bends above the fallen sunset, like the halo in a dream! –
Do I dream, my friends and brothers? Shall I never see again
Morning, like a splendid monarch, trading Illawarra’s plain?
No! – a light is on the harbour, where the quivering vessels lie;
And the Present scowls upon me; and the Past goes wailing by!

Many years of sun and shadow have I seen beneath this hill –
But ‘tis vain to harp upon them, with a weak and broken will!
Tho’ I feel that I am weary, left alone to think and pine
Over Youth and Beauty vanish’d over Passion’s pale decline;
Standing, like a blasted ruin, shatter’d by the storms of strife
Sweeping with a thundering echo, down the dismal ways of life!
O the wrecks of Faith and Promise! O the blessed springs of yore –
O the faded things behind me! O the dreary void before!

Lo! the white moon shakes her silver tresses o’er the distant deep;
And a pale cloud, like a dreamer, walketh heaven in its sleep!
Now the western winds go trampling wildly over moaning seas;
And the gloomy caves are filling with a flood of symphonies!
But the night is waxing older, and the ship is down the bay!
And before tomorrow dawneth Kembla will be far away!
Lead me, brothers, to the vessel, so that thro’ the moony haze
I may watch your faces fading from my yearning, hopeless gaze!

edward basil (1861). i'm not a fan but hey, it mentions the beautiful landscape i see every day. i found it here - don't ask why. this blog is now 490 posts and two years old. happy birthday blog!


today is national day of slayer, it has been since 2006 (06/06/06).


as indicated previously here: 1992.


si cfp

Symbolic Interaction, a peer-reviewed journal published quarterly by the University of California Press and the Society for the Study of Symbolic Interaction, invites submissions for a special issue dedicated to the application of symbolic interactionism to internet research.

Erving Goffman's concept of "the presentation of self" has become foundational to much scholarly understanding of online identity in chat, email, game environments, blogs, and social networks. Yet other aspects of the rich tradition of symbolic interaction -- including other concepts developed by Goffman -- have been largely ignored by internet researchers.

For this special issue, we welcome a broad range of approaches to studying computer-mediated interactions between individuals and within communities online, that utilize other lines of thought by Goffman, or the works of George H. Mead, Charles Cooley, Herbert Blumer, James Carey, Carl Couch, Norman Denzin or other theorists in the interactionist tradition. Definitions of the social situation, negotiation of meanings, social processes, framing, and other interactionist principles are possible theoretical foundations.

Qualitative studies will be privileged in the evaluation of submissions, as well as those reflecting recent theoretical developments in symbolic interaction theory. Topics may include online communities, virtual environments, games, social networking sites and any other forms of computer-mediated communication.

Papers that are supplemented by online materials are encouraged, and
space will be made available on the journal’s website (http://is.gd/gQ4Z) for authors to place links, examples, illustrations, or further discussion of the published texts.

Please send submissions electronically to mjohns at luther.edu.
Deadline for submissions is September 1, 2009.


buttress o'kneel: mash-up your ass (2009)

plunderphonic mashcore on night terror. that i am currently liking. some more here, and also on what may be the perfect url: interwebmegalink.net.


i want to go here, so i wrote, among other things, this:

As a model of resource distribution, social interaction, and collective content management, peer-to-peer technologies (p2p) offer unprecedented insights into the contemporary organisation of information and the limitations of the legal, cultural, and institutional frameworks under which this organisation is currently managed. The utopian ideal of p2p music distribution, for instance, imagines the largest collectively and voluntarily maintained, decentralised (and thus easily accessible), and free archive of recorded sound in human history. P2p is often associated with open source, hacker, creative commons, and general collaborative approaches to content production and distribution, and with the dissemination of a number of niche genres which would otherwise have remained largely unknown (or, indeed, might never have developed at all). Taken in its broader environment, p2p has also arguably been instrumental to the emergence of netlabels as distributive and cultural phenomena. It cannot be doubted that the impact of p2p on the established music industry, the legal framework in which it operates, and the practices of artists, fans and consumers has been profound, and it can also be argued that p2p in some ways contributed to the ground for the user-generated content and participatory nature of ‘Web 2.0’.
For some time, it has been popular to conceptualise p2p with frameworks drawn from anthropological economics, which bypass the normative catallactic assumptions about market behaviour associated with neoclassical economism (the ‘rational’, means/end calculating, self-interested market agent and so on). In particular, the array of concepts around the economy of the gift, derived variously from Mauss, Malinowski and others, have been deployed to account for the ostensibly ‘irrational’ altruism and reciprocity which seem to characterise so much p2p activity. However, it may be that this use of theories of the gift tend to exaggerate and romanticise the benevolence of p2p behaviour, and unwittingly enforce the utopian idealism associated with p2p as a social practice with political implications, and as an alternative model for the equitable distribution of cultural goods.
For the purposes of this paper, I would like to suggest that there are good grounds for considering p2p in broader terms, considering its excessive and ‘destructive’ as well as ‘constructive’ aspects. Such consideration could contribute productively to the critical assessment and invigoration of accounts of p2p as an exercise in consumer sovereignty, collective solidarity, participatory culture, and political action. To this end, I suggest a perspective informed by the ‘accursed share’ of Bataille’s general economy, in which superabundance and excess are inherent, inevitable and yet nonetheless continuously threatening to the status quo. In this way I hope that both the excessive and problematic tendencies of p2p culture (which it is sensible to enumerate), and the bizarre over-reactions to it, can be elaborated and better contextualised. Bataille’s general economy effectively collapses the isolation of ‘economy’ as a form of cultural flow, and thus perhaps one of the most significant benefits it offers is an interest in circulations otherwise not usually considered: the musical and cultural forms which p2p users themselves gift to the content industries and society at large. Rather than persisting in valorising the potentials of p2p and contrasting it with the market’s ongoing assimilation of the commons into private hands, this paper proposes a devil’s advocate critique of p2p culture, grounded in observations concerning its current forms and directions, the limits to its use arising from the identitarian preoccupations and practices of many of its users, weaknesses in the system which derive precisely from its populism, and the very real problem of superabundance of cultural content.
I will argue that the gift is the form of what we are given by the content producers, and that superabundance, p2p gluttony and abject glory (in a variety of subcultural musical forms, and a variety of approaches to the ordering and dissemination of knowledge and information) are the sullied return, the perfect gift back. But these are cultural as well as economic returns. For Mauss (and Bataille) the gift economy is a total social phenomenon (with echoes of Durkheim), incorporating religious, economic, aesthetic, moral etc. realms (Mauss 1990: 3). Thus it would be ill-advised to solely consider the economic consequences of disruptive technology such as p2p without also taking cognisance of consequences in other domains (domains segmented by economism and other boundaries). The law is the area most usually publicised, for good reason. But there are also significant ramifications for cultural and aesthetic practices.