Archive

Brooklyn Talks: Iggy Pop and Jeremy Deller with Tom Healy

I use my body, as a lot of peo­ple do that work in pub­lic, as a kind object of com­merce, frankly. When I go out and do a gig, some­body has to pay for the pres­ence. And that’s a cer­tain gig. When you’re still push­ing a hype like that, you lack cul­tur­al weight until you get to the end of that sto­ry where every­body knows you real­ly don’t have to any­more except for an inte­ri­or reason.

Indie Music and the Web

I think it’s deeply impor­tant that we add a work­ing knowl­edge of busi­ness and busi­ness mod­els to what it means to be web-literate. The sites that we use, there’s big mon­ey behind them, and there’s even big­ger prof­it motives in front of them. We need to be able to think crit­i­cal­ly about where we build our com­mu­ni­ties, about what they’re doing with our data, and about when—not if—they mon­e­tize us.

The Conversation #31 — Claire Evans

I think if there are peo­ple who are able to take a step back­wards, take that prover­bial zoom out, and real­ize that everybody’s kind of doing the same thing in dif­fer­ent ways, and be able to step from one per­spec­tive to the oth­er and ask dif­fer­ent kinds of ques­tions based on where they are at any giv­en moment time, then it just becomes a game. I think it becomes joy­ful and engag­ing. I mean, I’m not inter­est­ed in find­ing the answer to any­thing. I don’t think there is the answer to anything.

Getting Vinyl in Kenyan Basements to Collectors Globally

I’m going to take you through a project that I start­ed back home in Kenya that aims to col­lect vinyl that peo­ple just have chill­ing around at home. Basically we used to have the only press­ing plant in East Africa between 1976 and 1990, and we used to press about a hun­dred and thir­ty thou­sand LPs every year. But right now there are lots of peo­ple who have those, but they’re not doing any­thing with them. 

1983: A Blackened Window on the World

Rammellzee […] con­sid­ered graf­fi­ti as virus­es. And what he liked to do was to con­nect his pro­duc­tion to mil­i­tary lan­guage. He was say­ing that the graf­fi­ti artists were in a kind of sym­bol­ic cam­paign against the stan­dard­iza­tion of the alphabet.

Words about Sounds about Pier 9

I decid­ed to go ahead and apply sound to the work­shop. What kind of sounds can the work­shop make? What kind of sounds can the work­shop edit?

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