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<title>BrokenLogic</title>
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<lastBuildDate>Tue, 03 Jun 2008 18:00:00 -0800</lastBuildDate>

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  <title>The Nominee</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/the-nominee/">original page</a>.]</strong></p>

<p><img src="/images/thenominee.jpg" alt="" /></p>

<p>Photo: <a href="http://www.justingoodephotography.com/">Justin Goode</a></p>
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  <pubDate>Tue, 03 Jun 2008 18:00:00 -0800</pubDate>
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  <title>To the Rescue</title>
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<p>So my pass time for summer session registration was this morning. Being the  absentminded person that I am, I didn&#8217;t realize this until about half an hour after the specified time, when I was no longer anywhere near a computer with internet access. Knowing that by the time I could be, my classes may very well have been filled up by registrants from the next pass, I busted out the iPhone. Navigated to my student account, and&#8230; boom, there was some error blocking my registration. No time to waste. Quickly Googled the contact info for the registrar&#8217;s office, hit the autolinked phone number, and was on the line with someone who fixed the issue within minutes. Hung up, went back, and finished registering successfully.</p>

<p>All while on the bus.</p>

<p>The iPhone has also, on at least three separate occasions, saved me from waiting several hours in line for the Davis-Berkeley shuttle by allowing me to pick up reservations dropped at the last minute, at which time anyone without a reservation would be standing in said line, inconveniently (for the iPhone-less) outside of WiFi coverage.</p>

<p>I&#8217;m sure people who have not experienced the joy of owning an iPhone watch those saves-the-day type testimonial ads and think &#8220;that&#8217;s nice, but how often does something like that happen?&#8221; As an iPhone owner, let me assure you that it happens quite often, and every time it does, it is pretty much awesome, and you are all &#8220;I am living in the twenty-first century.&#8221; And I don&#8217;t even have <abbr title="third generation">3G</abbr> or <abbr title="Global Positioning System">GPS</abbr> or [insert missing killer feature of choice].</p>

<p>Man, I can&#8217;t wait for the 2.0 software upgrade next month.</p>
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  <pubDate>Mon, 05 May 2008 23:52:37 -0800</pubDate>
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  <title>A More Perfect Union</title>
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<p>This is a public service announcement.</p>

<p>If you have not already done so, I strongly urge you to read and/or watch Barack Obama&#8217;s recent speech, &#8220;<a href="http://my.barackobama.com/page/content/hisownwords/">A More Perfect Union</a>.&#8221; For those who don&#8217;t follow <abbr title="United States">US</abbr> election news closely, the speech was prompted in part by controversial comments made by Obama&#8217;s former pastor, <a href="http://en.wikipedia.org/wiki/Jeremiah_Wright">Jeremiah Wright</a>, but is also an exposition of the state of American race relations in general. At approximately 5000 words (or 40 minutes delivered), it is somewhat lengthy, but I believe must be absorbed in its entirety to be fully appreciated. No news article or highlight reel can do it justice.</p>

<p>There is much that can be said about this speech, but for now, all I will say is this: Show me another living politician in America who can give a speech like this, let alone write it himself in only two days (according to <a href="http://www.newsweek.com/id/124122/">Newsweek</a>).</p>
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  <pubDate>Tue, 18 Mar 2008 23:37:34 -0800</pubDate>
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  <title>Hope</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/hope/">original page</a>.]</strong></p>

<p class="poster"><a href="http://www.barackobama.com/"><img src="/images/obama-hope.jpg" alt="" /></a></p>

<p>Artwork courtesy of <a href="http://obeygiant.com/post/obama">Shepard Fairey</a><span>.</span></p>
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  <pubDate>Sat, 02 Feb 2008 17:28:23 -0800</pubDate>
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  <title>WebClip Bookmark Icons</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/webclip-icons/">original page</a>.]</strong></p>

<p>With iPhone v1.1.3 and the iPod touch January Software Upgrade come the ability to customize your home screen with bookmarks to your favorite sites. By default, the bookmark icon is a thumbnail of the website, but webmasters can specify a custom icon if they so desire. </p>

<p>Because tiny thumbnails are often indistinguishable and thus not very helpful, I whipped up some custom icons for popular sites that either lacked them (at the time) or had ones I weren&#8217;t quite satisfied with, as well as some generic app icons. All are designed to be as simple and recognizable as possible.</p>

<p>To use any of these icons, you&#8217;ll need <a href="http://allinthehead.com/retro/319/how-to-set-an-apple-touch-icon-for-any-site">Drew McLellan&#8217;s bookmarklet</a> for setting custom bookmark icons, which I&#8217;ve reproduced here. Simply drag it to Safari&#8217;s Bookmarks Bar, and then sync it to your iPhone or iPod touch: <a class="bookmarklet" href="javascript:var%20links=document.getElementsByTagName('head')[0].getElementsByTagName('link');for(var%20i=0;i%3Clinks.length;i++){if(links[i].getAttribute('rel')=='apple-touch-icon'){links[i].parentNode.removeChild(links[i])};%20break;};var%20s=document.createElement('link');s.setAttribute('rel',%20'apple-touch-icon');s.setAttribute('href',prompt('Touch%20icon%20URL?','http://'));document.getElementsByTagName('head')%5B0%5D.appendChild(s);void(s);">Set touch icon</a></p>

<p class="download">After you&#8217;ve done so, you can specify whichever icons you&#8217;d like directly from this web server: <a href="http://iphone.graphr.net/icons/">http://iphone.graphr.net/icons/</a></p>

<p>You can also grab a <a href="http://iphone.graphr.net/icons/37-webclip-icons.zip">zip file of all 37 icons</a> available so far. I will likely be adding more as I make them.</p>

<p>If there are any other popular sites for which you&#8217;d like a custom bookmark icon (either because it doesn&#8217;t have one or could use a better one), drop me a comment and I just might give it a shot.</p>
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  <pubDate>Fri, 18 Jan 2008 18:39:35 -0800</pubDate>
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  <title>2008</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/2008/">original page</a>.]</strong></p>

<p>Happy New Year?</p>
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  <pubDate>Tue, 01 Jan 2008 00:00:01 -0800</pubDate>
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  <title>Lemme have that.</title>
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<p>I&#8217;m not sure if that guy had already been in the car when we boarded it, or if he entered after we sat down, but in any case, I didn&#8217;t realize that <a href="http://blog.awcchista.com/">Chungster</a> and I weren&#8217;t alone until a few minutes into the one-stop <abbr title="Bay Area Rapid Transit">BART</abbr> ride from Castro Valley to Bay Fair. It was after <span class="caps">1 AM</span>, and I was taking the last train home from a get-together at <a href="http://k.metaminstrel.net/">Kass</a>&#8217;s. (Not the first time I&#8217;ve done so, incidentally.)</p>

<p>I was fiddling around with my iPhone, as I often do when I&#8217;m bored, when I noticed him sitting diagonally across from me. A black man, maybe in his 20s, in a puffy orange jacket and sagged jeans. He was eyeing the iPhone. At this point, a person with more sense probably would&#8217;ve decided to put it away. Somehow, I didn&#8217;t.</p>

<p>A few minutes later, I realized he was trying to get my attention. I pulled out one of my earphones, and looked up.</p>

<p>&#8220;Huh?&#8221;</p>

<p>He muttered something.</p>

<p>&#8220;What?&#8221;</p>

<p>He repeated himself, slurring the words.</p>

<p>&#8220;Sorry, I can&#8217;t understand what you&#8217;re saying.&#8221;</p>

<p>He repeated himself yet again. Finally, I was able to make it out. &#8220;Lemme have that.&#8221; It took maybe a second for something in my head to click, and for me to understand what he was talking about. I skipped a beat.</p>

<p>&#8220;Uh, no.&#8221;</p>

<p>I slipped the phone back in my pocket, and watched for his reaction. He scowled at me and started shifting around in his seat. Something about his demeanor was almost comical, as if he was imitating a rapper he&#8217;d seen on <abbr title="Black Entertainment Television">BET</abbr>, and I think I might&#8217;ve laughed if I hadn&#8217;t been so damn nervous. He shoved a hand into his jacket pocket and pushed it slightly forward. Maybe I&#8217;ve seen too many movies or something, but my immediate thought was: <em>He doesn&#8217;t really have a gun.</em></p>

<p>I&#8217;ve never really been in a fight in my entire life, but it occurred to me that he might try to attack me, and I suddenly found myself consciously sizing him up. His enormously puffy jacket made it difficult to gauge his build, but he wasn&#8217;t significantly larger than I was. I started mentally running through my possessions for anything that could potentially be used as a weapon. <em>I could take him.</em></p>

<p>I briefly considered trying to talk him out of it. My mind could only regurgitate useless movie clich&eacute;s. <em>Don&#8217;t do this, man. It&#8217;s not worth it.</em></p>

<p>I thought about just standing up and moving to the next car, but something kept me glued to my seat. <em>You don&#8217;t scare me.</em></p>

<p>I could almost feel the synapses firing as I calculated my next move. Maybe five seconds had passed. Finally, I threw him the most disbelieving look I could muster, broke off eye contact, and shoved my earphones back in.</p>

<p>Thankfully, the train pulled into Bay Fair only a few seconds later. We disembarked and made our way to a crowd of people coming out of an adjacent car. (Why that car had so many people while ours was almost completely deserted, I have no idea.) After a while, I glanced back to see him disappearing down the stairs to the station floor.</p>

<p>Once my heart had stopped hammering in my chest, I played the scene over in my head and realized that I had essentially risked not only my own safety, but Chungster&#8217;s as well, for the sake of a <em>phone</em>. In retrospect, it seemed incredibly irresponsible. All I can say in defense is that I had a gut feeling, correct or not, that we were never in any real danger. Regardless, I&#8217;m still not sure if I responded appropriately.</p>

<p>While I retained enough mental faculty to be able to drive Chungster home safely, I could barely think about anything else for the rest of the night.</p>

<p>I would have to be delusional to say that I lead anything but a sheltered life. I&#8217;ve never lived in a city with a high crime rate or gone to a school where there was any serious concern about gang violence or drug use. Which isn&#8217;t to say I don&#8217;t hear, see, and read about that shit all the time in the news and in the media, but it&#8217;s not something I&#8217;ve ever had to experience first-hand. As a result, I&#8217;m probably pretty naive about it.</p>

<p>I hate things like racial profiling. I don&#8217;t want to be the one who takes a detour to avoid crossing paths with a black guy in some deserted area. I don&#8217;t want to have to automatically assume the worst in people. I don&#8217;t want to live with constant fear and paranoia. I want to give people the benefit of the doubt, even when they arguably don&#8217;t deserve it. </p>

<p>Sadly, it only takes a few incidents like this one to cement a negative stereotype in people&#8217;s minds.</p>

<p>Sometimes I can&#8217;t figure out how anyone can be anything but overly cynical or completely naive.</p>
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  <pubDate>Sun, 30 Dec 2007 17:05:27 -0800</pubDate>
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  <title>Perfect</title>
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<p>It&#8217;s been a while, yeah?</p>

<p>You&#8217;re probably wondering what could&#8217;ve motivated me to post today. The answer: <a href="http://www.illdoctrine.com/2007/12/beating_the_little_hater.html">this video</a> from <a href="http://www.illdoctrine.com">Ill Doctrine</a><sup>1</sup>, described by Anil Dash<sup>2</sup> as &#8220;<a href="http://www.dashes.com/anil/2007/12/blogs-of-the-year-ill-doctrine.html">the best video blog on the web</a>.&#8221; It expresses almost perfectly my attitude when approaching certain tasks, and, in extension, why I stopped writing here. Or more accurately, <em>how</em> I stopped writing, as there was never really a reason <em>why</em>.</p>

<p>Done watching the video? Good.</p>

<p>I have to say I&#8217;m curious as to how many people are afflicted with the aforementioned combination of procrastinatory and perfectionist tendencies. Hearing my own symptoms described so accurately by someone else has led me to believe that it may not be as uncommon as I had previously thought.</p>

<p>In high school, I would often put off big projects that I actually cared about because I never felt ready or &#8220;inspired&#8221; enough to do a good enough job on them. Before I knew it, it&#8217;d be the night before the deadline, and I&#8217;d only have a few hours to throw something together. Faced with the choice of turning in something half-assed or turning in nothing at all, I often chose the latter, as insane as it sounds. I assure you I am not just making this up to justify all the miscellaneous assignments I have not turned in over the years. Even so, I would never dare to actually use this as an excuse, because I think it ranks lower than &#8220;dog ate my homework&#8221; on the believability scale. Or at least, that&#8217;s what I used to think.</p>

<p>Truth be told, I would willingly take tests or quizzes or do all manner of in-class assignments every day if it meant the abolition of homework, simply because there is no opportunity to procrastinate on something that is due at the end of class. Of course, I realize this would never happen, because one of the primary reasons homework exists is to force you to develop good work habits by intentionally allowing you that opportunity to procrastinate. Unfortunately, the development of good work habits is something that has somehow evaded me throughout my entire academic career, while opportunities to procrastinate rarely go unexploited.</p>

<p>Perhaps the most interesting aspect of this is that every once in a while, I would actually take the other route, and attempt to do whatever I could with the limited amount of time I had left. More often than not, the result would be surprisingly decent, so much so that no one could tell that I hadn&#8217;t spent days putting it together. What this tells me is that not only do I procrastinate and have a perfectionist streak, I probably also routinely underestimate my ability to perform up to my own standards.</p>

<p>I&#8217;m not sure if I really have a point to make here, but in any case, I feel like I&#8217;ve at least struck some sort of blow against my &#8220;little hater&#8221; by posting this.</p>

<div class="footnotes">

<h4>Footnotes</h4>


<ol>
<li><p>If you&#8217;re interested, some other videos I enjoyed were <a href="http://www.illdoctrine.com/2007/10/why_albums_used_to_matter.html">Why Albums Used to Matter</a>, <a href="http://www.illdoctrine.com/2007/10/machine_guns_and_stupid_choice.html">Machine Guns and Stupid Choices</a>, and <a href="http://www.illdoctrine.com/2007/09/how_to_avoid_george_bush_syndr.html">How to Avoid George Bush Syndrome</a>.</p></li>
<li><p>I quote Anil Dash to avoid having to use the term &#8220;blog&#8221; myself (which I detest), or resort to something unwieldy (&#8220;video weblog&#8221;) or even more retarded (&#8220;vlog&#8221;). Yes, I realize that this leaves me with no personally preferred terms for a weblog in video format.</p></li>
</ol>



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  <pubDate>Tue, 18 Dec 2007 16:37:18 -0800</pubDate>
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  <title>Voxtrot at UC Davis</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/voxtrot-at-ucd/">original page</a>.]</strong></p>

<p>So <a href="http://www.voxtrot.net">Voxtrot</a> played a show at our school quad today&#8230; to a relatively sedate crowd, unsurprisingly enough. Guess that&#8217;s what happens when you play a free show on a college campus during lunch hour. I&#8217;m betting the vast majority of the audience had never even heard of these guys.</p>

<p>At one point, the people on the Entertainment Council (the ones who set up the concert) motioned for the audience&#8212;who were sprawled across the grass at the time&#8212;to stand up&#8230; to little effect, of course. Even at the end, only a few dozen people were actually standing and crowded in front of the stage. The lead singer later remarked that this was the most casual venue he had ever played. Ah, well. At least that meant I could get up close for some <a href="http://www.flickr.com/photos/aqhong/sets/72157600294597282/">good photos</a>.</p>

<p>Unexcitable audience notwithstanding, though, they put on a pretty good show. I&#8217;m actually not overly enamored with their full-length debut (which came out about a week ago), but luckily, they played a lot of songs from their old <abbr title="extended play">EP</abbr>s as well, including my personal favorite, &#8220;<a href="http://www.greenpeaness.org/mp3/voxtrot_mothers.mp3">Mothers, Sisters, Daughters &amp; Wives</a>.&#8221; The sound quality was surprisingly decent for such a seemingly makeshift setup.</p>

<p>That said, Voxtrot are nothing extraordinary. But that&#8217;s okay, because they don&#8217;t aim to be. Sometimes all you need is some good, catchy guitar pop on a warm summer (or spring) day.</p>
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  <pubDate>Thu, 31 May 2007 19:50:44 -0800</pubDate>
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  <title>Nineteen Years</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/nineteen-years/">original page</a>.]</strong></p>

<p>Happy birthday!</p>

<p>You&#8217;ve reached an age that has absolutely no significance whatsoever.</p>

<p>No, being the last year with a &#8220;-teen&#8221; suffix doesn&#8217;t count for jack. Sorry.</p>

<p>By the way, this cake kinda sucks.</p>
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  <pubDate>Sat, 26 May 2007 00:30:06 -0800</pubDate>
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  <title>One Year</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/one-year/">original page</a>.]</strong></p>


<ol>
<li><strong>2006 05 20</strong>: Ordered.</li>
<li><strong>2006 05 21</strong>: Shipped.</li>
<li><strong>2006 05 24</strong>: Received.</li>
<li><strong>2006 06 18</strong>: First repair: failed speaker.</li>
<li><strong>2006 07 03</strong>: Returned.</li>
<li><strong>2006 07 06</strong>: <abbr title="random access memory">RAM</abbr> upgraded from 512MB to 2GB.</li>
<li><strong>2006 08 12</strong>: Second repair: <a href="/sad-mac/">random shutdowns</a>.</li>
<li><strong>2006 08 16</strong>: <a href="/four-days/">Returned</a>.</li>
<li><strong>2006 08 30</strong>: Third repair: <a href="/sad-mac-reprised/">random shutdowns reprised</a>.</li>
<li><strong>2006 09 19</strong>: <a href="/update/">Returned</a>.</li>
<li><strong>2006 09 27</strong>: Hard drive failure, replacement requested.</li>
<li><strong>2006 10 04</strong>: <a href="/crossover-ftw/">New hard drive received</a>.</li>
<li><strong>2007 02 21</strong>: Hard drive upgraded from 60GB 5400rpm to 100GB 7200rpm.</li>
<li><strong>2007 04 16</strong>: Fourth repair: <a href="/fix-it/">backlight flicker</a>.</li>
<li><strong>2007 04 20</strong>: Returned.</li>
<li><strong>2007 04 30</strong>: Poor battery life, replacement requested.</li>
<li><strong>2007 05 02</strong>: New battery received.</li>
</ol>




<ul>
<li>Days of ownership: <strong>365</strong>.</li>
<li>Number of repairs: <strong>4</strong>.</li>
<li>Number of service incidents (including repairs): <strong>6</strong>.</li>
<li>Total number of days out of commission: <strong>50</strong>.</li>
<li>Approximate number of days out of commission per week: <strong>1</strong>.</li>
</ul>




<ul>
<li>Owning a Ferrari that&#8217;s in the shop one day a week instead of a Yugo: <strong>priceless</strong>.</li>
</ul>


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  <pubDate>Thu, 24 May 2007 21:08:38 -0800</pubDate>
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  <title>Fix It</title>
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<p>The MacBook is in the shop again, this time for an issue with <a href="http://www.appledefects.com/?p=179">backlight flicker</a>. The flickering on mine isn&#8217;t nearly as severe as what some others have been experiencing, and to be honest, it doesn&#8217;t really bother me much, but since my warranty expires in about a month, I figure I should get it fixed while I can, rather than risk having the condition deteriorate any further.</p>

<p>For those keeping count, this is repair number four&#8212;number five if you consider replacement of a failed hard drive a &#8220;repair.&#8221; Seeing as Apple apparently has the <a href="http://www.bloggingstocks.com/2006/10/13/apple-still-leads-the-pack-at-consumer-reports/">lowest repair rate</a> in the industry, either everyone else <em>really</em> sucks, or I just have rotten luck. Or both.</p>

<p>That said, I can see why they score high in tech support, at least. As much as I hate having to wait for repairs, I can&#8217;t really complain about any of my customer service experiences, either in-store or over the phone.</p>

<p><ins><span class="caps">UPDATE</span>: Well, that was quick. Picked up Wednesday afternoon, back Friday morning. Not bad.</ins></p>
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  <pubDate>Thu, 19 Apr 2007 18:46:58 -0800</pubDate>
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  <title>In Memoriam</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/in-memoriam/">original page</a>.]</strong></p>

<p>In Memoriam<br />
April 16, 2007<br />
Virginia Tech</p>
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  <pubDate>Mon, 16 Apr 2007 19:05:12 -0800</pubDate>
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  <title>No, Really / Unshackled</title>
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<p>Just to clear up any confusion, <a href="/banned/">yesterday&#8217;s entry</a> was a bit of an April Fools&#8217; meta-joke, made at the expense of those not in the know. The real joke is that what I wrote&#8230; wasn&#8217;t. In other words, yes, I actually <em>am</em> permanently banned from accessing the internet via the school network. Not very funny when I put it that way, but oh well.</p>

<h4>On a happier note&#8230;</h4>

<p><a href="http://www.apple.com/pr/library/2007/04/02itunes.html">Apple and <span class="caps">EMI </span>have teamed up</a> to release <span class="caps">EMI</span> Music&#8217;s entire catalog on the iTunes Store&#8230; without <abbr title="digital rights management">DRM</abbr>. Not only that, but these tracks will be encoded at a bitrate of 256kbps, double that of the <abbr title="digital rights management">DRM</abbr>-encumbered tracks currently available, and pretty damn close to <abbr title="compact disc">CD</abbr> quality.</p>

<p>Which means that for the first time ever, (some) songs purchased from the iTunes Store will not be limited in how many <abbr title="compact disc">CD</abbr>s they can be burned to, or how many iPods or computers they can be played on, or indeed, limited to <abbr title="compact disc">CD</abbr>s or iPods or computers at all. You can do with these digital downloads everything you&#8217;ve always been able to do with a regular <abbr title="compact disc">CD</abbr> purchased from a brick-and-mortar music store, and the sound quality isn&#8217;t too far off either.</p>

<h4>It&#8217;s about fucking time.</h4>

<p>To be clear, Apple isn&#8217;t the first online retailer to offer music sans <abbr title="digital rights management">DRM</abbr>. Services like <a href="http://www.emusic.com/">eMusic</a> have long sold high-quality, <abbr title="digital rights management">DRM</abbr>-free music, but the selection was limited to relatively obscure, independent artists. The fact that <span class="caps">EMI, </span>one of the Big Four record labels, is jumping on the <abbr title="digital rights management">DRM</abbr>-free bandwagon&#8212;and reports indicate that it was <span class="caps">EMI </span>who approached Apple, and not vice versa&#8212;marks a giant leap of faith in an otherwise extremely conservative industry that has been stubbornly insisting on an inverse relationship between <abbr title="digital rights management">DRM</abbr> and piracy for years.</p>

<h4>What&#8217;s the catch?</h4>

<p>That said, these higher-quality, <abbr title="digital rights management">DRM</abbr>-free tracks will not be replacing the old <abbr title="digital rights management">DRM</abbr>-laden ones (yet), but rather offered alongside them for 30 cents more, at $1.29. Full albums, however, will remain at $9.99 a pop. Not a bad deal.</p>

<p>As much as I try to <a href="http://www.riaaradar.com/" title="Recording Industry Association of America">avoid supporting the <span class="caps">RIAA</span></a> because of all the things they do wrong, it would defeat the purpose to <em>not</em> support them when they do something right. So I fully intend to purchase a few albums&#8217; worth of <abbr title="digital rights management">DRM</abbr>-free music from the iTunes Store when they become available in May, and I encourage anyone planning on buying music under an <span class="caps">EMI </span>label to take that route as well, if possible.</p>

<h4>Why? </h4>

<p>Because every <abbr title="digital rights management">DRM</abbr>-free song purchased sends a message to <span class="caps">EMI </span>and the rest of the major labels: You don&#8217;t need <abbr title="digital rights management">DRM</abbr> to make money. <abbr title="digital rights management">DRM</abbr> has never stopped piracy and it never will, but it does make life harder for your paying customers as well as deter many potential ones. So stop combating piracy, and start competing with it. </p>

<p>Want to sell me some music? Want to sell me anything, for that matter? Make it high-quality, make it affordable, and make it convenient, but by all means, do <em>not</em> saddle it with some ridiculous rights management scheme that dictates what I can or cannot do with my purchases, and assumes I&#8217;m a criminal out to destroy your revenue stream. The rest will take care of itself.</p>
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  <pubDate>Mon, 02 Apr 2007 20:25:00 -0800</pubDate>
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  <title>Banned</title>
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<p>Remember <a href="/caught/">this</a>? Well, I guess I didn&#8217;t learn my lesson the first time around, because I got caught&#8230; again. This time for downloading a movie. Thanks, Paramount Pictures.</p>

<p>Consequently, I&#8217;ve been permanently banned from accessing the internet through the UC Davis network, effective immediately. The ethernet port in my room has been shut off. My computer&#8217;s <abbr title="Media Access Control">MAC</abbr> address has been blacklisted. My wireless login has been disabled.</p>

<p>Suffice it to say that my online activity is now severely restricted, and that BrokenLogic will be updated even more sporadically, if at all. Things should be back to normal in three months or so  when the school year ends. Thanks for your understanding.</p>

<p><span class="caps">P.S. </span><a href="http://broken.tumblr.com/">My Tumblr</a> may be updated more frequently than this site&#8230; or not. Couldn&#8217;t hurt to check, though.</p>
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  <pubDate>Sun, 01 Apr 2007 12:28:23 -0800</pubDate>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/hiatus/">original page</a>.]</strong></p>

<p><span>BrokenLogic is <br />on a brief hiatus while <br />I gather my thoughts</span></p>
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  <pubDate>Tue, 06 Mar 2007 18:49:55 -0800</pubDate>
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  <title>Us Kids Know</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/us-kids-know/">original page</a>.]</strong></p>


<dl>
<dt>The Arcade Fire</dt>
  <dd>at The Greek Theatre</dd>
  <dd>in Berkeley, CA</dd>
  <dd>on June 1st</dd>
</dl>




<p>See you there.</p>
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  <pubDate>Thu, 01 Mar 2007 23:55:39 -0800</pubDate>
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<p>Sometimes, I get the feeling that stupidity is self-inflicted. That people are really only as smart as they want to be. And that for some reason or another, the youth culture has decided that intelligence, and perhaps even thought itself, is something to be stigmatized, something to be avoided at all costs. And that the kids followed suit, dumbing themselves down in order to be accepted, to fit in, because being smart means being a nerd, and being a nerd isn&#8217;t &#8220;cool.&#8221; And maybe&#8212;just maybe&#8212;there was a time when we didn&#8217;t feel like intellect was something to be ashamed of, but we&#8217;ve stashed those feelings away in a little tin box with the rest of our childhood memorabilia, because that time is past, and now is the time to grow up, and growing up means going dumb, it means getting hyphy, it means downloading &#8220;<a href="http://www.youtube.com/watch?v=zKV2981agEI">This Is Why I&#8217;m Hot</a>&#8221; in droves until it reaches #1 on the iTunes Store.</p>

<p>It&#8217;s only ironic if you think it is.</p>
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  <pubDate>Tue, 27 Feb 2007 22:30:10 -0800</pubDate>
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  <title>Free Culture?</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/free-culture/">original page</a>.]</strong></p>

<p>One of the downsides of being a chronic procrastinator is that I&#8217;m not very proud of most of the work I do for school. I&#8217;ll always know that I could&#8217;ve done a much better job on an assignment if I had simply set aside more time to do it, and yet I never do. I find minor comfort in the fact that I can usually pull together something decent in short order, but I rarely take pride in the quality of the work itself. Which is a bit disappointing.</p>

<p>But I&#8217;ll make an exception today, and share my final paper for <abbr title="Introduction to Technocultural Studies">TCS 1</abbr>. Not because it was procrastinated any less than every other paper I did, but because it was less obviously so, due to the nature of the assignment. And also because I thought it was a fairly interesting exercise.</p>

<p class="nomargin">Part of the requirements read as follows:</p>


<ul>
<li><em>Must be 100% plagiarized.</em></li>
<li>Make each source in your bibliography a different color, and then color-code the fragments of your text to indicate from which source you stole the text.</li>
<li>You may add incidental, connecting words of your own, but there should not be an original complete sentence.</li>
<li>Your plagiarized chunks must be smaller than complete paragraphs, and fragments smaller than complete sentences are encouraged.</li>
</ul>



<p>Of course, the paper isn&#8217;t truly &#8220;plagiarized,&#8221; as all the works are cited, but you get the idea. Of the four options we were given for the topic of the paper, I chose the following:</p>

<blockquote><p>The impact of technology on the tension between intellectual property on the one hand and artistic and intellectual freedom on the other.</p></blockquote>

<p>&#8230;which I felt was particularly appropriate given the format of the paper. I have to say, it was surprisingly difficult to copy-and-paste together an essay without making it sound copy-and-pasted together. I&#8217;m still not sure if I succeeded, but the professor apparently thought so.</p>

<p>So without further ado, here it is. </p>

<p><ins><span class="caps">UPDATE</span>: As per Lloyd&#8217;s request, a link to <a href="javascript:disableColors()">disable the coloring</a>. Refresh the page to re-enable it.</ins></p>

<div class="paper"><div>

<h4>Intellectual Property and Artistic Freedom</h4>

<p><span class="s7">We are in the midst of an unfinished global techno-cultural revolution.</span> <span class="s3">We live in a &#8220;cut and paste&#8221; culture enabled by technology.</span> <span class="s7">But how did we get from &#8220;liberty, equality, fraternity&#8221; to &#8220;rip, mix, burn?&#8221;</span> <span class="s1">The phenomenal growth of the internet has greatly intensified the force of this</span> <span class="s7">revolution.</span> <span class="s3">Anyone building a presentation knows the extraordinary freedom that the cut and paste architecture of the Internet created.</span> <span class="s1">This is propelling an unprecendented expansion in the scope and duration of intellectual property protection&#8212;as well as more intrusive kinds of enforcement and new technologies of control. At the same time that</span> <span class="s4">a massive system of lawyers regulating creativity as copyright law</span> is <span class="s4">expand</span>ing <span class="s4">in unrecognizable forms,</span> <span class="s1">a powerful force in the opposite direction is gaining momentum.</span> <span class="s7">Like the French and American Revolutions,</span> this particular <span class="s7">revolution</span> <span class="s7">has ideological origins and could have any of several outcomes. It could be a triumph for freedom or unfreedom. It could devolve into violent chaos or a stifling sense of order.</span></p>

<p>In <span class="s3">America</span>, <span class="s4">we established a regime that left creativity unregulated.</span> <span class="s7">Culture is anarchistic if it is alive at all. It grows up from common everyday interactions among humans who share a condition or set of common symbols and experiences.</span> <span class="s4">It was</span> a <span class="s4">culture</span> in <span class="s4">which you didn&#8217;t need the permission of someone else to take and build upon.</span> <span class="s7">The collection of end products of culture&#8212;the symphonies and operas, novels and poems that survive rigorous peer review of markets and critics&#8212;are often taken as the culture itself. Instead, culture is the process that generates those products,</span> <span class="s3">and it has become an increasingly important part of America.</span> <span class="s7">If it is working properly, culture is radically democratic, vibrant, malleable, surprising, and fun.</span></p>

<p><span class="s1">Copyright</span> <span class="s8">was intended to protect literary, artistic, musical, and computer-generated works for a limited period of time.</span> <span class="s4">Copyright law did not control derivative work.</span> <span class="s6">The common perception is that copyright first and foremost protects the well-being and interests of artists.</span> <span class="s3">At first slightly, then quite extensively, the law protected the incentives of creators by granting them exclusive rights to their creative work, so that they could sell those exclusive rights in the commercial marketplace</span>; <span class="s8">this grant of a limited monopoly against republication is supposed to provide enough of a reward to encourage creativity.</span> <span class="s1">Copyright</span> <span class="s8">was not intended to be a restrictive property right. But it has evolved over recent decades into one part of the matrix of commercial legal protections now called &#8220;intellectual property.&#8221;</span> This is an <span class="s6">intrinsic fault which makes it difficult to maintain in a democratic society,</span> <span class="s6">since the traditional notion of property is largely irreconcilable with intangible concepts such as knowledge and creativity; a tune, an idea or an invention will not lose any of its value or usefulness when it is shared among any number of people.</span> Yet <span class="s4">in this year now, we have a massive system to regulate creativity,</span> not only a <span class="s4">regulation of publishing</span>, but <span class="s4">a regulation of copying. There&#8217;s the expansion of law, but also there&#8217;s been an expansion of control through technology.</span> <span class="s1">Copyright owners want to strictly control their creative and informational work&#8212;in all markets, on all media platforms, and even in how people can use copyrighted products.</span> But <span class="s7">overregulation risks cultural stasis.</span></p>

<p><span class="s6">Artists have always used and built upon other artists&#8217; work to create new works of art.</span> <span class="s4">Creativity and innovation always build on the past.</span> <span class="s6">It is hard to imagine indeed that the works of Shakespeare, Bach, and countless other cultural heavyweights could have come into existence without this principle of freely building on the work of predecessors.</span> <span class="s4">Though we had a culture where people could take and build upon what went before, that&#8217;s over.</span> <span class="s1">Copyright law is reaching into the nooks and crannies of the information commons.</span> <span class="s7">Artists, scholars, and writers all over the United States avoid quoting passages from books or songs for fear of being sued.</span> <span class="s4">No one can do to the Disney Corporation what Walt Disney did to the Brothers Grimm.</span> <span class="s3">For the law-abiding sorts, a wealth of creativity is never made.</span> <span class="s4">There is no such thing as public domain because now culture is owned.</span> <span class="s6">In most cultures around the world, this state of affairs is highly undesirable, even unthinkable.</span></p>

<p><span class="s1">In the old days, before the Internet, natural frictions in the physical world prevented copyright owners from exerting absolute control over their content and its subsequent uses&#8212;and the public, for its part, did not have the means to ignore copyright protection on a mass scale.</span> In <span class="s3">our &#8220;cut and paste&#8221; culture</span>, however, <span class="s3">you can find just about any image you want</span> <span class="s3">in a second</span>; <span class="s3">in another second, you can have it planted in your presentation.</span> <span class="s1">Now that digital technologies are allowing content to be ripped from its physical vessels, translated into ones and zeros, and sent around the globe with the click of a mouse, the political economy of creative content is being blown wide open.</span> <span class="s6">But contrary to what one might expect, the seemingly endless possibilities of copying and sampling using modern digital technologies have so far only aggravated the situation.</span> On <span class="s4">the internet</span>, <span class="s4">every act is a copy, which means all</span> <span class="s4">unregulated uses disappear. Presumptively, everything you do on your machine on a network is regulated use.</span> <span class="s3">Using the internet and its archives, musicians are able to string together mixes of sound never before imagined.</span> But these <span class="s3">musicians</span>, <span class="s6">who used to freely sample work from others to build new musical creations, are now treated as pirates and criminals.</span> <span class="s3">Filmmakers are able to build movies out of clips on computers around the world,</span> but <span class="s6">nowadays face almost insurmountable obstacles, as their work almost inevitably contains fragments of copyrighted pictorial or musical content, the use of which requires both consent from the copyright owner and a fee to be paid.</span></p>

<p><span class="s2">The growth of the Internet has put pressure on traditional intellectual property protections such as copyright and patent. Because the costs of copying are low and because copying is often anonymous, publishers have often responded with more aggressive enforcement of existing intellectual property rights and with calls for extensions of those rights to cover additional content, new media and new forms of access.</span> Indeed, <span class="s6">whole copyright enforcement industries have emerged, scouting the digital universe day and night for even the smallest snippet of copyrighted work used by others&#8212;and those found out, often stand to lose literally everything they have.</span> <span class="s2">Yet this response and this trend toward tighter intellectual property rights are not always appropriate, especially on the Internet.</span></p>

<p><span class="s8">Originality is a fundamental principle of copyright. It implies that the author or artist created the work through his or her own skill, labor, and judgment.</span> <span class="s2">There is a strong cultural image of creative activity as the work of a romantic individual: the artist in the garret or the inventor in the garage.</span> <span class="s6">With regard to artistic works, however, it is quite conceivable that no single person should have the right to claim exclusive ownership over</span> <span class="s8">an idea</span>. <span class="s6">This doesn&#8217;t mean we should have less respect for artists creating new works of art,</span> <span class="s6">and we&#8217;re obliged to contribute to artists&#8217; well-being and income in our society.</span> But <span class="s2">the simple truth is that much creative activity is not the work of lone creators. Rather, it is interactive and involves the contributions of many different parties. Indeed, innovation is often sequential, where each creator improves improves on the work of the previous iteration.</span> This is <span class="s2">especially</span> <span class="s3">true</span> <span class="s2">on the Internet.</span> <span class="s1">The internet</span> <span class="s2">provides a fine opportunity for individuals to publish their works, but it also includes many opportunities for interactive communication and so constitutes a good environment for sequential improvement.</span></p>

<p><span class="s6">Now where in this scheme of things are our human rights? Human rights should guarantee freedom of communication, and a free exchange of ideas and cultural expressions is what greatly helped build our modern society.</span> <span class="s7">Institutions may be used to construct and preserve free flows of culture and information, but all too often they are harnessed to the oligarchic cause, making winners into bigger winners and thus rigging the cultural market.</span> <span class="s6">When a mere handful of persons or companies can call themselves &#8220;owners&#8221; of the majority of pictures and melodies our society has brought forth,</span> <span class="s6">human cultural development will grind to a halt. This puts them in a position where they alone can dictate whether we can make use of a substantial part of our collective human cultural achievement, and on which terms and conditions.</span> <span class="s7">Winners can silence losers and late starters,</span> <span class="s4">excluding future competitors.</span> <span class="s6">The consequences are detrimental: we are being made speechless; our cultural memory is taken from us and locked away; the development and spread of our cultural identity is stunted, and our imagination is laid in chains by law.</span> <span class="s5">We live in an energizing information age, where we are beginning to realize many of yesterday&#8217;s dreams about information exchange on a global scale.</span> <span class="s2">Publishers will do best by recognizing and encouraging the complementary contributions of others. Society will do best by recognizing that subsequent authors/inventors may make important additions to original contributions.</span> <span class="s5">We can do</span> <span class="s5">best by pursuing legislation which regulates only the most extreme behavior, leaving the rest of the spectrum of behavior for marketplace solutions.</span></p>

<p><span class="s1">One of the preeminent challenges in the digital age</span> <span class="s1">is to address how the cultural bargain of copyright protection should be structured.</span> <span class="s1">We need to re-negotiate the meaning of fair use and the public domain for our digital culture.</span> <span class="s1">We need to</span> <span class="s2">provide</span> <span class="s2">a good environment for</span> <span class="s2">interactive communication</span> and <span class="s2">sequential improvement</span>. <span class="s1">We need to</span> <span class="s2">limit</span> <span class="s2">intellectual property protections to achieve a balance that prevents direct copying but that encourages value-adding imitation.</span> <span class="s1">We need to</span> <span class="s3">alter the mix of rights so that people are free to build upon our culture;</span> <span class="s3">free to add or mix as they see fit.</span> <span class="s1">We need to re-think and reinvent the legal principles and social institutions that enable the market and the information commons to coexist and work together in constructive ways.</span> <span class="s1">We need to</span> <span class="s3">make it easy for follow-on creators to compensate artists without requiring an army of lawyers to come along,</span> and <span class="s3">without</span> <span class="s6">rewarding their every single achievement, or reproduction or even interpretation thereof, with a monopoly lasting many decades, because it leaves nothing for other artists to build on.</span> </p>

<p><span class="s3">Show me why</span> <span class="s7">overregulation</span> <span class="s3">of culture is needed. Show me how it does good. And until you can show me both, keep your lawyers away.</span></p>

<h4>Bibliography</h4>

<ul>
<li class="s1">Annenberg School of Communications. <cite>Artists, Technology &amp; the Ownership of Creative Content</cite>. Lear Center Press, 2003.</li>
<li class="s2">Bessen, James and Eric Maskin. &#8220;Intellectual Property on the Internet: What’s Wrong with Conventional Wisdom?&#8221; 2004. </li>
<li class="s3">Lessig, Lawrence. <cite>Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity</cite>. Penguin Press <span class="caps">HC,</span> 2004.</li>
<li class="s4">&#45;&#45;&#45;. &#8220;Free Culture.&#8221; Keynote from <abbr title="O'Reilly Open Source Convention">OSCON</abbr>, 2002.</li>
<li class="s5">Schlachter, Eric. &#8220;The Intellectual Property Renaissance in Cyberspace: Why Copyright Law Could Be Unimportant on the Internet.&#8221; Berkeley Technology Law Journal, 1997.</li>
<li class="s6">Smiers, Joost. &#8220;Abandoning Copyright: A Blessing for Artists, Art, and Society.&#8221; 2005.</li>
<li class="s7">Vaidhyanathan, Siva. <cite>The Anarchist in the Library: How the Clash Between Freedom and Control is Hacking the Real World and Crashing the System</cite>. Basic Books, 2004.</li>
<li class="s8">&#45;&#45;&#45;. <cite>Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity</cite>. <span class="caps">NYU</span> Press, 2001.</li>
</ul>

<h4>Addendum</h4>

<p>Researching the impact of technology on intellectual property has allowed me to examine how the effect of copyright law on our freedom has changed over the centuries, and how it is changing faster than ever with the advent of new technologies and media like the internet. Many of these works, and especially Lawrence Lessig&#8217;s <cite>Free Culture</cite>, have made me realize that in its current state, intellectual property regulations are doing more harm than good in terms of promoting creativity and the free flow of ideas. This is because today&#8217;s copyright laws are still based on an outdated model of intellectual property that has not adapted to the many changes of our modern world.</p>

<p>It is clear that these laws and regulations need to be updated, but before that can happen, both citizens and legislators need to be made aware of the problems with the current system. Organizations such as <a href="http://www.libresociety.org/">The Libre Society</a> and the <a href="http://www.eff.org/">Electronic Frontier Foundation</a> are spearheading the movement to preserve what has come to be known as the &#8220;free culture,&#8221; by educating people about their rights, and providing legal defense for those who would otherwise be unable to defend themselves from the encroachment of the so-called commerical culture.</p>

<p>I believe that this is an important cause, and that if it fails, we will be destroying an irreplaceable component of our society, and that future generations will not be able experience the richness and diversity in our culture that we have experienced, and are so desperately holding on to.</p>

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  <pubDate>Tue, 20 Feb 2007 17:27:17 -0800</pubDate>
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  <title>In an ocean of noise...</title>
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<p><strong>[The following entry contains embedded style information that is not available through RSS. To view this entry as the author intended, please visit the <a href="http://typo.graphr.net/ocean-of-noise/">original page</a>.]</strong></p>

<p>First, some background: I loved the <a href="http://www.arcadefire.com/">Arcade Fire</a>&#8217;s full-length debut, <cite class="album">Funeral</cite>. Simultaneously uplifting and harrowing and everything in between, it is and remains my favorite album of the 21st century so far. Okay, so it&#8217;s only been seven years or so, but still. (The album came out in 2004.)</p>

<p>In light of that, I have been both anticipating and dreading the follow-up. The thing is, when your first effort is something as incredible as <cite class="album">Funeral</cite>, it sets expectations high. Really, really high. Like, &#8220;omg how the hell are they ever gonna <a href="http://youtube.com/watch?v=5WKa83iK7R4">top that</a>&#8221; high.</p>

<p>Well, <cite class="album">Neon Bible</cite>&#8212;which will be officially released on March 5 in Europe, and the day after in North America&#8212;leaked to the interwebs a while ago, and I finally got around to listening to it. And all I can say is&#8230; wow. It&#8217;s too early to tell if this will surpass <cite class="album">Funeral</cite> in my mind, but in any other context, it&#8217;s excellent.</p>

<p>&#8220;See the Arcade Fire live&#8221; is most definitely on my List of Things to Do Before I Die.</p>

<p>While I&#8217;m on the topic of music, <a href="http://www.hotchip.co.uk/">Hot Chip</a>&#8217;s <cite class="album">The Warning</cite> probably would&#8217;ve made my <a href="/music-of-2006/">top five of 2006</a> had I, you know, actually listened to it in 2006. Sigh. So much music, so little time. But such is life.</p>

<div class="discography">

<h4>Selected Discography</h4>

<div>

<p>From <cite class="album">Funeral</cite>:</p>


<ul>
<li><a href="http://hypem.com/track/218351">Neighborhood #1 (Tunnels)</a></li>
<li><a href="http://hypem.com/track/230696">Wake Up</a></li>
<li><a href="http://hypem.com/track/243195">Rebellion (Lies)</a></li>
</ul>



</div><div>

<p>From the upcoming <cite class="album">Neon Bible</cite>:</p>


<ul>
<li><a href="http://hypem.com/track/250592">Keep the Car Running</a></li>
<li><a href="http://hypem.com/track/241711">Intervention</a></li>
<li><a href="http://hypem.com/track/249566">Ocean of Noise</a></li>
</ul>



</div>

</div>
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  <pubDate>Sat, 17 Feb 2007 18:12:44 -0800</pubDate>
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