Friday, February 27, 2009

Fun Sounds

saw these dudes last night at this party.

they are the shit.

in completely different ways.

chang chang (sweet boy who spits it.)


alex hannah (charming boy who gives it)

Long Drive

i am getting away.

traveling to Massachusetts and portland.

i am excited to see new surroundings.

Thursday, February 26, 2009

I know what boy's like





feels cool.

Weerd Science



"I needed you the baby; but you gave me the clap"
"--Clap! Clap!--"

i want to refer to this as amazing.

Wednesday, February 25, 2009

Two Tongues

saves the day meets say anything.

just released their first album Feb 3.
Vagrant Records

Two Tongues EPK

Two Tongues (<-clicky)

H20 Calculator

Do ittt.

New Day New Look

colors inspired by the wonderful, Barney.

not sure if it hurts my eyes yet. we'll see.

Tuesday, February 24, 2009

Dan Witz

Cool Guy.

see for yoself!

and check out this interview.. (also viewable on his website)

This excerpt from an interview with Dan Witz by Marc and Sara Schiller of The Wooster Collective took place in August of 2007. The full text will be included in Dan Witz. In Plain View. 30 years of artworks illegal and otherwise. To be published by Gingko Press in the Fall of 08. With an introduction by Carlo McCormick.

When you were a kid did you have a black sketchbook?

I did! It went everywhere with me, along with my rapidograph pen. I drew compulsively in styles shamelessly derivative of R. Crumb and Raw Comix. Nothing special. I don't remember being very impressed with myself as a prodigy or anything, but I was the class artist by default. My dream was to move to New York City to be poor and find my dark side and meet the right people and make a career out of my suffering.

You've said your creativity's connected to your rebelliousness.

Well... I had this really normal, healthy childhood. Nice parents, safe home, supported. A nightmare. The worst background possible for an avant-garde artist. Starting around fourteen, I began rebelling, I sought out extreme situations -- the stranger the better. I thought you had to have felt real pain to be authentic. So I cultivated my dark side in the hopes of making me a more interesting person, and a more interesting artist-and, maybe, attract some dark, interesting women. It wasn't until much later though that I actually did my Robert Johnson going-down-to-the-crossroads thing.

I guess I was afraid of being too ordinary. Too well adjusted. Too susceptible to the traps of comfort and security. In the early 70's that kind of apathy was widely perceived as the cause of the world's problems. It was how the Vietnam war got started, what made people sleepwalk through life and why the world was so fucked up. Art, being an artist, being awake, was going to be my rebellion against this state of affairs.

(I thought) I needed to burn that middle class midwestern programming out of me. Scorched earth policy. Drugs and drink. Romanticizing debauchery. I read Bukowski and Kerouac, William Burroughs, Hunter S. Thompson, and listened to Jim Morrison and the Velvet Underground; I idolized dead and dissipated rock stars (Jimi, Janis...), devoured movies like Clockwork Orange and Apocalypse Now. Anything nihilistic or anarchic appealed to me. I wore black. My hair-everything about me was annoying to older people.

Also, during this time -- this is embarrassing -- my friends and I adopted a motto taken from a beer ad: "You only go around once in life, so grab for all the gusto you can." Schlitz, I think it was. Embarassing, not just because of that word, Åegusto', but because that's basically how I made all my decisions for the next 20 years.

When did you get your first tattoo?


What was it?

A star.

A star? Does that have any meaning?

It meant I had a tattoo. In 1974 having a tattoo-even a tiny little star--was unusual. At least where I came from.

What was the influence RISD had on you?

Coming from suburban Chicago, it was a shock. The Eastern private- school culture was very intimidating. Everything midwestern about me was wrong --my hair, my shoes, my taste. Eager, wide-eyed me, I liked Magritte and The Grateful Dead. I wore hiking boots. Brown hiking boots. Every kid growing up in America deals with taste snobbery, but this was combative. But eventually I had to admit they had a point. The Sex Pistols and Andy Warhol were more relevant; hippie times were over. I began to understand that style wasn't necessarily a bad thing. And rebellion was sexy. So it was quick: I got my hair cut, got some black boots, and adjusted my taste in music.

Art students should know everything new that's happening. That's their job. In such a world, nothing is worse than having the wrong opinions or being uninformed. Their scorn, or the mere risk of it, was a formative experience for me.

Was art school still something you were rebelling against or a place you could express yourself?

Both. Art schools back then were more anti-establishment, less explicitly about careers. Being a loser was considered acceptable, even interesting. Art was still [viewed as] an essential part of the social fabric, an agent for change. Artists had a social responsibility. There was this almost religious belief that Cubism and Modernism had changed the world, painting had freed something; art was a potent force,capable of influencing the public. It sounds quaint now but pictures on a wall could actually change the way people thought.

The big discovery during this period was that there were things hidden below the surface, forces of subtle power. It was an artist's job to bring these to light, and these universal truths would re-connect us with ourselves and help the world become a better place. Anyway, I bought it.

Besides the politics, did you learn drawing and the basics?

Definitely. And photography. And carpentry. And oil painting technique . And color theory. And anatomy. A lot of useful things.

So, if this was the era of conceptual art, how did your influence move from R. Crumb and Raw Comix to painterly realism? How and why did your technique get so realistic, so technical?

This was later, after I moved to New York: I was at Cooper Union but spending more time exploring the city, in bars and clubs, hanging around the art-punk scene. That group despised successful artists. "Posers", they called them. Personally, still wanting to be successful, I tried to keep an open mind. I did my time in museums and video rooms. Mostly, though, I found conceptual art unrewarding and dull. Apparently the goal was to be removed from ordinary life, to be beyond regular people's access, and if you wanted the entrance code you had to work really hard to get it. Why? I understood reductionism but what was wrong with letting people in? What good is art that makes people feel unworthy and left out? I still don't know. This was the beginning of a life-long aversion to anything exclusionary. Or boring. Especially boring. For me, that was the worst thing art could be. If you couldn't dance to it (metaphorically, I mean) then fuck it.

And, since that was the mono-movement of the times, I was happy to rebel against it. Realism, accessability seemed really seditious at the time. That suited me fine.

Mostly, I just wanted to make the kind of art I wanted to see. I look back and see that developing my own style had a lot to do with rejection Å| rebelling against the status quo, a reaction...Mostly I defined myself by what I didn't want to be.

When did the street start influencing you?

Back then, Providence was the costume jewelry capital of the world. Walking around I'd find all this tiny metal stuff laying on the ground--fittings, ball bearings, odd, tiny, inscrutable things--robot flotsam. When my pockets got full, I'd set up these ordered displays on window ledges or other flat surfaces. Carefully, like in a museum cabinet or store window, I'd line the objects up or make a regimented little circle or something and leave it behind. I don't think it ever occurred to me to photograph it. I liked thinking about people coming upon them and being mildly puzzled. This was also the first street art I made in New York when I transferred to Cooper Union. I still do this by the way. The stuff is mostly plastic now, which although more colorful, isn't as much fun.

Right. So you moved to New York. When was this?


What were your first impressions of New York?

Terror. The black-out and riots had just happened. If you lived outside NYC back then, you thought you'd be mugged the minute you got to town, that they'd steal the gold fillings from your teeth before you got out of Port Authority.

That's all for today!


this guy is insane.
He is from Buenos Aires.


when i first saw this animation, i was whoaaa.

MUTO a wall-painted animation by BLU from blu on Vimeo.


fun type faces.

and other things.


kim hiorthøy

his myspace.

writer, graphic designer, musician, filmmaker and illustrator.

interesting dudeeee.

Hating on Fairey


interesting, but this dude is really hating on Shepard. i don't know, i dont really have much of an oppinion on it, besides the fact that i think Shepard should continue doing what he is doing, there is no doubt he is talented. I mean this guy claims that Shepard has no evidence of even knowing how to draw. But, Shepard went to RISD for illustration, so isn't that evidence?

no need to hate.

and if you're going to hate on "pop-ish art" on clothing, there is much worse out there than Obey.

Happy Ness

Money can buy happiness?

-a WhyFiles special.

Monday, February 23, 2009


doesn't mean better.

i was told this today.

and it made me ponder.

i have posted a lot today. it because my brain is busy. eh.


a lot of things doing.
wearin' on meh.

this song just spits happiness and lightness into my ears?

the video made me laugh too.

i hadn't clue that Elija was in directing. apparently, this was his debut.

Brain Music

this is my playlist, entitled "BRAIN" ... it's all the stuff that's been keeping me going as of lately. check them out if you're unfamiliar. it's all good.

pardon, the strain on the eyes.


defined as: the feeling one gets when they are hearing beautiful noise equivalent to the feeling one gets when they are being sexual active. this feeling stems from the ears and causes the tightening of muscels, smile emerging, etc.

^well, at least in my brain.

had one walking down the street the other day, it was caused by "Styrofoam Boots/It's All Nice" -Modest Mouse, the last minute of it is GREAT.


from belgium
Morr Music
real name: Arne Van Petegem

checkyy. ...go beyond their myspace, it barely gives this band justice.

mad good sounds.
some real deep moments.

Show Central

SO many goodies coming to town.

it's been dead since november, and i am very excited to see these guys, many for the first time!


march 9- Kimya Dawson
march 31- A Day to Remember
april 3- Dan Deacon
april 4- Matt & Kim
april 5-Jamie Stewart (xiu xiu)
april 10- Margot & the Nuclear So and So's with Cloud Cult
april 22-of montreal
may 12- animal collective

and mucho mo!

superrrr stoked!


what to do, what to do. this decision makes my brian ache a tad and i'm not a fan. i wish something would fall from the sky and tell me what to do.

maybe i'll just spend next year in a hut in a small village, wandering each day.

What it do.

On saturday, my friend and i picked up these books in a box marked "free." my book is about the correlation of being afraid of the dark and night rainbows and casey's was about overcoming stuttering. GOOD PICKS. and casey's book had amazing pictures in it, which must've belonged to the people who marked the box "free".

and this is what the tattoo actually looks like (it says beauty) since you couldn't tell in the other post.

Sunday, February 22, 2009

Friday, February 20, 2009



a recent ad/popup on a website...

there are many funny things about it..

Radical Face business

radical face sounds excellent, but they have crazy depth.

also involved with: electric president, mother's basement and iron orchestra.
from Jacksonville.


and his work (Ben Cooper) is sweet.


so enjoyable.

Be happy that you are about to discover this. and if you already knew, be proud.

or just be whatever.

all their songs are different. i like them simply because they have a song called "dictionary"


Thursday, February 19, 2009




Grizzly Bear is mad good.

this video is mad weird.

i love it.

The Mary Onette's



Polly Borland


Eye New It!

but quite the contrary.

Fun Facts!

...on your eyes.

interesting biz-uh-ness!

Wednesday, February 18, 2009


Her Space Holiday

Marc Bianchi
San Mateo, California

He started in Indian Summer, also very good.

-was also part of Mohinder

...both of which apparently had a mentionable impact on California hardcore.

Her Space Holiday.

enjoy; =)

Tuesday, February 17, 2009




isn't it true.

great sounds, from great people.

Thursday, February 12, 2009


some photo's from a few weeks ago, ever-so pleasant.