Sunday, April 15th, 2007

Imus-ing Rap :: Capitalism, Race, Gender, and Speech

It wasn’t 48 hours ago that Javier Reyes and I were being interviewed about hip-hop aesthetics and Imus on KALW, and the question came up as to whether the Imus thing had legs. Reyes laughed, “Are you kidding? Hip-hop is about to be on trial.”

So our friend Ethan Brown points out today’s NY Daily News headline: “Hil & Obama got help from foul musicians”. Turns out that Timbaland, that notorious foul-mouthed rapper, and his fellow trash-purveyor, Ludacris, helped raise funds for Hilary Clinton and Barack Obama.

Whoops.

Suddenly the Sunday morning armchair pundits had a new thing to talk about: whether rap made Don Imus say what he said, and whether rappers are really the ones to blame here.

Let’s be real here. Rap didn’t allow Don Imus to call the Rutgers womens basketball team “nappy headed hos”: widespread acceptance of racism and sexism allowed this rich white man to do what he did.

Media, as usual, mostly doesn’t want to deal with context. Imus’s words were another act of silencing women of color. People would like to have you believe that words can float out there in the either, free of context. But words have history, words have meaning, and words can silence entire communities.

This is why, when Coach Stringer was asked to comment on Imus’s insult, she provided a lengthy personal history. It was her way of saying: I’m a woman of color who has struggled against poverty, racism, and sexism, and I will not be silenced anymore. In all the tumult of this past week, all the voices that weighed in on this, the most important were the words of Coach Stringer and the woman of the Rutgers basketball team. But instead, the conversation was dominated by men, white and Black. Context lost again.

*********

Another piece in the Daily News, by Jim Farber, pits Byron Hurt against Busdriver on the question of the H-word, taking both their quotes way out of context. (What, Joan Morgan and Jean Grae weren’t available?)

This is not the conversation Byron–or any of us–wanted to have.

We want a conversation about race and gender and sexuality in the popular culture, one that can help transform it to make it look more like how we really are.

But what we get so often in the mainstream media is a flattening of differences and a discarding of context. Something that Busdriver says about how young Blacks use language is made equivalent to something that Byron says about how the pop culture encourages young Black male stars to flaunt their sexism.

Here’s another example of how context and difference are routinely tossed out. One idea that many floated last week was that Imus ought to be shielded from criticism because “rappers say worse”. If Imus and Snoop say the same thing, the thinking goes, why does Imus get hung?

This idea rested on a uniquely American notion (which we are busy exporting around the world): hey, we consume all this stuff, what’s the difference?

Or, put another way: so many white men buy sexist rap by Black men–Black men like Timbaland and Ludacris have been made rich off this–that white men who mouth racist and sexist comments ought to be immunized from criticism.

It’s like, we all live in a post-racist world and these are all just words floating in it. Weren’t we all mad about Katrina together? Aren’t we all fighting this War on Terror together?

But buying a rap record does not mean that you purchase innocence from America’s racial history. Imus knows this. He certainly would not have used the N-word to describe the women. But it’s OK if he uses the H-word? How you figure?

*****

Because of a paradigm shift in the hip-hop community that has taken place from the grassroots up since 2001, hip-hop adherents have begun confronting the fact that rap’s massive success has made us gender innocent and sexuality innocent. We have literally bought the idea that purchasing hip-hop has given us innocence from society’s and our communities’ histories of sexism and homophobia.

But hard work by people like Cathy Cohen, Joan Morgan, Elizabeth Mendez Berry, Gwendolyn Pough, Lisa Fager, Rosa Clemente, Kuttin Kandi, Afrika Bambaataa, Davey D, Mark Anthony Neal, Byron Hurt, Paul Porter, and thousands of others, from the academy to the newsrooms to the steps of Hot 97 has complicated this idea. Their work actually made it possible for the Imus issue to reach critical mass.

In the wake of the Imus episode, the conversation isn’t continuing toward more serious considerations of race, gender, sexuality, and power. The mainstream media has shifted its attention to Ludacris and Timbaland and the Democratic presidential candidates.

The fact that wealthy Black men like Timbaland and Ludacris might actually leverage power with campaign donations to Democratic candidates has come under fire. The question has become: What are the Democratic candidates–one a woman, the other a Black man–getting for their money? This new post-Imus story isn’t about power, gender, and race, it’s about the sanctity of the transaction.

In America, the thing we want to believe above anything else is that our money is clean. We ought not to have any guilt when we go to the cash register. (And for that matter, when we throw things away. Capitalism eventually turns most things into trash.) Here is one explanation of why CBS and NBC dropped Imus so easily–their advertisers were telling them that they didn’t feel right about transacting with a known racist.

This is the context in which Timbaland and Ludacris have been Imused. It’s not likely that Luda’s song about domestic violence and abuse “Runaway Love” will be getting much mention. It’s time to do a counter-lynching for the memory of Imus.

Every once in a while, culture does an interesting thing. It shows potential ways that society may change. The Imus episode, which is what made it qualitatively different from the Mel Gibson or Michael Richards meltdowns, revealed all kinds of ways that power might actually shift in this country. It suggested, in fact, that power might shift towards women and people of color.

So the flattening of context and difference, these false equivalencies that the media has made–all of this taking our eyes off the real targets.

Instead, what matters is that “the ‘ho’ problem”, as the NY Daily News woman writer puts it, continues. What matters is that everyone goes back to feeling OK about what we pay for and what we get for what we pay for.

posted by @ 11:00 am | 5 Comments

Sunday, April 15th, 2007

42 :: More Than A Number


Thank you, Jackie Robinson.

posted by @ 8:53 am | 0 Comments

Thursday, April 12th, 2007

Hope I Die Before I Get Old?


30 is not the new 20. 40 is not the new 30. Yall should be so lucky.

OK, forgive me one last post about this whole aging thing and then I will write about it no more. Not until my next birthday.

One of the topics that came up at the Berkeley panel, and that I raised again last week at Duke is this: when generations speak to each other, what are we supposed to say?

At the 2004 National Hip-Hop Political Convention, it was clear that even after all these years and books and screaming matches and Congressional hearings, those of us who came of age in the 80s and 90s still hadn’t figured out how to communicate with those of us who came of age in the 60s and 70s. Not barely close.

When I sat in the audience at Cal’s Pauley Ballroom last week, I got a weird flashback. Two decades before, I had been a student listening to my heroes in the same room urging us to fight for UC divestment from South Africa and an Ethnic Studies requirement. I was a twenty-something listening to then-late thirty-, forty- and fifty-somethings talking about the unfinished struggles of the 60s and 70s they were hoping to marshal the energies of young folks to continue to fight.

It was a little disconcerting to see my peers up there, in the place of my Baby Boomer heroes, and have a sudden pimp-slap of self-recognition. Ouch.

******

Davey D raised a point about the lack of media for people of color in their mid-30s to mid-40s these days. It’s a point I’ve made myself, but didn’t realize the full implications of til he broke it down.

I’ll explain it like this: you can be a fan of rock, and have a classic rock station if you came of age in the 60s or 70s, an “adult alternative” station if you came of age in the 80s, an “adult alternative contemporary” if you came of age in the 90s, and another if you’re 20 right now. There’s no similar continuity–never has been–if you’re a fan of Black music. There’s a station aimed at 20 year olds and a station aimed at 50+ year olds.

I know Davey talks from experience. He literally hit the age ceiling at the end of the 90s at Clear Channel. It’s like: time’s expired, you’re in Logan’s Run and you’ve just hit 30, baby. And just you wait, young’n, for you too will have your Logan’s Run moment before too long.

(BTW that’s why Jay-Z lied, yall, about 30 being the new 20. But now I understand where it comes from–he, just like all of us, wants to continue the conversation, and he’s got something to say that, odds are, most people wouldn’t hear if it weren’t for all the money around him and that message.)

So where would one even begin to go if you wanted to hear a Chuck D or a Yo-Yo these days? If you wanted to hear a fortysomething and a twentysomething come together and talk like adults, like grown women and men, about what’s good and what’s next?

Joan answered the question at Duke: most likely, you’d have to go to a college. Tune in a college radio station, take a hip-hop studies course, check out a panel discussion at a university.

Now, in the past, this nostalgia would have come back as kitsch. (Anyone remember “The Last Dragon”? Of course not!) These days, seems like history is forgotten until it comes back as a Wax Poetics article or a musicblog entry. You ever wonder why hip-hop heads had to “rediscover” soul jazz during the 90s and why hip-hop heads have to “rediscover” Large Professor now?

The answer is a lot deeper than you think: It’s just the way American culture works. Maybe the generation gap isn’t just a development of getting older, maybe it’s a product of the way things are set up around here.

****

So, back to Davey’s point: what if one wanted to have a real intergenerational dialogue these days? Where would you do it?

The answer is that there is nowhere to do it. We gonna entertain the kids over here, and all the adults can gather over there and talk about how mad they are at the kids these days, what the kids don’t know about what we’ve been through, what the kids don’t appreciate about what we did, how spoiled are them kids, what is this racket they’re listening to anyway.

So instead, the lack of intergenerational discussion pops up in different ways–in all these anti-intellectual conversations amongst young folks about how pompous all this hip-hop-in-the-university stuff is, in–haha–blog discussions about what old folks ought not to wear, in old folks angrily claiming ‘hip-hop is dead’. Even ridiculous ways–bloggers saying they’re proud never to have read a book about hip-hop, young folks wearing pastel polo shirts with the collars up (still a bad look, fellas), young folks who only buy cassette tapes from the 80s.

I say all this to say that if we were really to get real about changing things, we might recognize that we’ve been niched, penned, and branded by age. We’re like cows sitting in our own filth cursing out the cows on the other side of the fence for their filthiness of their filth.

Damn.

Alright. Back to life, back to reality.

posted by @ 6:58 pm | 11 Comments

Thursday, April 12th, 2007

Dave Zirin on Don Imus

As the word “Imus” quickly moves from being a surname to being a synonym for “openly and stupidly racist” (sample usage: “Coulter and O’Reilly are Imuses…”), Dave Zirin’s Edge of Sports comes with it so right, I’m reposting in full.

Take the events of the week, add the results of the Black Youth Project survey on culture and politics, and we have, as, Davey D said last week here in Berkeley, a change in the wind:

Memo to Imus: You’re Fired

By Dave Zirin

In an absolutely mind bending turn of events, Don Imus is now a man without a job. A week after calling the Rutgers women’s basketball team “nappy headed hos,” the man once hailed by Time Magazine as one of the most influential people in the country, is officially off the air. The final ax fell as CBS announced that they could no longer withstand the heat from both inside and outside their company. As CBS President and Chief Executive Officer Leslie Moonves said, “There has been much discussion of the effect language like this has on our young people, particularly young women of color trying to make their way in this society.”

“Discussion” is an awfully antiseptic word what went down. Make no mistake: CBS’s Moonves and the bigwigs at MSNBC, who Wednesday pulled the plug on Imus’’s TV show, were met with an upsurge inside their own ranks.

As Bob Herbert wrote in the New York Times, “Powerful statements were made during in-house meetings by women at NBC and MSNBC – about how black women are devalued in this country, how they are demeaned by white men and black men. White and black women spoke emotionally about the way black women are frequently trashed in the popular culture, especially in music, and about the way news outlets give far more attention to stories about white women in trouble. Phil Griffin, a senior vice president at NBC News who oversaw the Imus show for MSNBC, told me yesterday, ‘It touched a huge nerve.’’”

As the days went on, the anti-Imus tide gave expression across the country to a pent up rage people feel about the way this kind of bigotry continually goes unchallenged.

Hurricane Katrina destroyed a majority black city, withers from neglect, and not a word is said. Women face a constant barrage of sexism in our “Girls Gone Wild” culture but if you challenge it, you’’re a humorless prig. Imus calls Arabs and Muslims “ragheads” and still had the John Kerrys, Tim Russerts, and Harold Fords as regular guests. This was a classic case of the tipping point, when people just said enough is enough.

But why did this comment, in a career of ugly statements, finally break the camel’s back? I would argue the answer partly lies in how we are taught to understand sports. Remember that Rush Limbaugh felt the biggest backlash of his career when he said that the media over hyped Philadelphia Eagles football star Donovan McNabb because of their “social concern” to see a successful African American quarterback. After thousands of angry calls and emails Rush was bounced from ESPN.

Both Imus and Rush built careers on this kind of bile but when they cross-pollinated their bigotry with sports, a new level of anger exploded. We are relentlessly sold the idea that our games are safe space from this kind of political swill. We are also told that sports are a “field of dreams,” a true meritocracy where hard work always meets rewards.

But when the playing field is shown to be unlevel, it stings.

This sporting reality can wake people up and reveal the hidden inequities in our society that otherwise go unnoticed. When a Rutgers team defies the odds and makes the NCAA finals, and gets called “nappy headed hos” for their trouble, it presses a very raw nerve.

But Imus is also without a job because Rutgers Coach Vivian Stringer and her team, unlike many of Imus’s victims, refused to be silent. As captain
Essence Carson said, “We’re happy — we’re glad to finally have the opportunity to stand up for what we know is right… We can speak up for women, not just African-American women, but all women.”

Coach Stringer took it even further in her comments last night to MSNBC’s Keith Olbermann.

She said, “We’ve become so desensitized that we’ve allowed a lot of things to pass, and we’ve not been happy… Too often politicians, leaders, and religious leaders speak for us, and we sit back and don’t realize the power in numbers, and when to say enough is enough….We see all the time. A kid that steals something with a plastic cap pistol, and spends 10 years in jail, and yet you see, the white-collar workers, you know, thieves that steal millions of dollars.

“And I do think that if people stood up, politicians [wouldn’t] wait for a poll but strong enough to make a decision and stand…You know I happen to be the daughter of a coal miner. My father lost both his legs in a mine. He worked hard each and every day. He only stayed out of the mine six months until he got prosthetics. I know what it is to work hard and this has been a lifelong pursuit and passion.

“I’ve coached for 36 years…as a person of conscience, I have seen so much that I would like to see changed, with everything. I would gladly exchange winning a national championship if we, as young ladies, would stand and allow the country to somehow be empowered and that we take back our
country…”

If you want to understand why Imus is out of work, read Coach Stringer’s words again. The fact is that so many of us are sick and tired of being sick and tired. We are sick of the casual racism. We are tired of the smirking, drive-by sexism.

We are done with people who make their living by selling the idea that some people are less human than others. We are fed up with the politics of division and hate. We are the majority in this country, but are often entirely without voice. This past week, our voices were heard.

It won’t – it can’t – end with Don Imus.

posted by @ 6:53 pm | 2 Comments

Sunday, April 8th, 2007

Nutn But A Number


Islanders Give New Meaning to 40 Water

Big up to Weyland, Sake Uno, and all the Aries and Taurus April massive…

posted by @ 7:55 am | 0 Comments

Friday, April 6th, 2007

Black President, Pt. 2 :: Obama vs. Chuck D?

Eric Arnold weighs in on a new discussion in hip-hop communities as a Draft Chuck D for President starts making a little bit of buzz. Could it be Chuck D vs. Obama, the prophet of rage vs. the $25 million man?:

“Barack Obama seems the only logical choice for hip-hop generationers in 2008. Though he doesn’t rhyme or namedrop rappers, the junior senator from Illinois has much in common with the hip-hop generation: At 45, he’s (relatively) young. He’s fresh. He’s charismatic. He represents a new way of thinking. Oh, by the way, he’s also black…

In a recent blog entry, radio personality Davey D skewered all the Democratic candidates, opining that “none of these clowns are making it happen.” His gripes revolved around the lack of critical dialogue on issues like Katrina, police brutality, immigration laws, and prison overcrowding — all of which could theoretically be addressed by Obama’s legislation to reduce profiling. Furthermore, until hip-hop can offer a consistent voting bloc, politicians will overlook its concerns. Plus, with a year and a half until the election, there’s plenty of time for dialogue. Davey’s suggestion? That hip-hoppers draft Public Enemy’s Chuck D instead…

posted by @ 7:52 am | 0 Comments

Thursday, April 5th, 2007

Spring Again


Doing It At Duke: Mark Anthony Neal, your boy, Joan Morgan, Danny Hoch (l-r)

Spring again, right Biz Markie? Welcome to April, the month of my solar return and the official opening of protest season or panel season, depending on what mood your campus might be in this year. Some days I think back on days of burning tires and bandanna’d youth on Telegraph Avenue in my adopted homeplace Berkeley and I think we might be better served by more protests than panels.

Then there are days when people like Bakari Kitwana bring in other people like Joan Morgan, Davey D, Mark Anthony Neal, and Yo-Yo—yes, that Yo-Yo, now being heard on KDAY, yes, that KDAY—to your part of the world and you experience more bombs per minute than a gabba set.

The Hip-Hop Studies Working Group at Cal put together two days of events, the first being a screening of Byron Hurt’s by-now classic doc “Beyond Beats and Rhymes” and the second a Rap Sessions night curated by Bakari.

I missed the screening, although I have participated in others around the Bay and always been left amazed at how the movie is able to pry open minds and vocal chords on issues of gender and sexuality amongst crowds that would otherwise leave the elephant hanging around the room. I did catch the Rap Session and was impressed at how deep the discussion was able to get in just a 2-hour time.

With a panel as diverse as this, and an audience as sharp as this, the topics ranged widely: from Davey and Yo-Yo’s discussion of the way that management manages progressive voices in the radio and media industry (one way–by bouncing Yo-Yo to a weekend deadzone in favor of piped-in programming) to Mark’s incisive comments comparing how sexism and homophobia in the church is treated by the media as opposed to hip-hop to Joan’s discussion of how video programming and sexual relations. In other words, if videos are accurate visions of the way mean are imagining sex, then that’s some boring-ass sex folks are having.

We left later, after Joan’s massive fanbase had her sign the entire Bay Area stock of When Chickenheads Come Home to Roost, and continued the conversation down on Telegraph. No burning cars, but a lot of burning minds.

Hey, if you’re in the Bay Area, come celebrate with all us Aries and Taurus April babies all day at Weyland Southon’s birthday bash on Saturday. I may even play some records…

posted by @ 11:43 am | 1 Comment

Thursday, April 5th, 2007

Hello Hip-Hop World


Cooking! (l-r) Tony Tone, Vinnie, Rodstarz, and DJ Disco Wiz

I was told that last year’s inaugural Trinity College International Hip-Hop Festival was the best of the wave of springtime hip-hop conferences. And this year’s festival, which I’m told was much bigger than last, certainly did not disappoint. Ben Herson of Nomadic Wax, DJ Magee, and Zee Santiago invited me to bring a Total Chaos Hip-Hop Forum for the festival (btw big shout to Connie and Victoria and the World Up crew). I’m glad they asked.

I got to attend a great panel led by Marinieves Alba on the Afro-Latino Diaspora in hip-hop, with activist/DJ Loira “DJ Laylo” Limbal, Ariel Fernandez from Havana, Eli Efi from Sao Paulo, Rodstarz from Chicago’s Rebel Diaz, and filmmaker Vanessa Diaz. The conversation quickly moved beyond a “here they are, isn’t this great” to a deep discussion about the role hip-hop has played in reinvigorating educational and youth movements from Brazil to Chicago to the Bronx.

Eli Efi, in particular, spoke about how independent hip-hop “posses” transformed the entire educational system by taking it upon themselves to organize hip-hop programs in favela schools in Sao Paulo. Youths began to voice their concerns about the school system, and demanded more participation in decision-making. Parents as well suddenly began to understand their children’s culture, and many more mothers began to be involved in the schools.

The work of these posses led to the government (under cultural minister and MPB superstar Gilberto Gil’s oversight) adopting hip-hop formally into its cultural programming, a phenomenon documented by the New York Times just weeks ago. Needless to say, it was amazing to get the real straight from Eli Efi.

Our Total Chaos panel featured Toni Blackman, POPMASTER FABEL, Juba Kalamka, and Vijay Prashad (whose new book, The Darker Nations: A People’s History of the Third World, is absolutely essential).

Because the event was held on the Saturday after Karl Rove had performed a rap at the White House Correspondents’ Dinner, I started with a question about whether this was an indication if hip-hop really was dead. Although the question was part rhetorical, part comic, it was meant to immediately establish a sense of what the current stakes are in debates about hip-hop.

Toni and FABEL both responded by noting the irony that men who cared nothing for the culture would use it in a mocking way, another example of how hip-hop currently is received in the global popular culture. FABEL called Rove a “hip-hopportunist”. Vijay Prashad then noted that there was a history of blackface minstrelsy at such White House dinners, that in fact Rove’s crunkface was in line with a history going back more than a century.

Panelists discussed the global roots of hip-hop, with Fabel drawing on various examples of how the dances of African diaspora could be seen in hip-hop, and also noting how similar American Indian dances were to hip-hop. Vijay spoke about how Bob Marley was the first truly globalized hero, and was “the prophet of structural adjustment”. Hip-hop, in turn, reflects the shift in the state from a supportive one to a repressive one. This, he said, was its limitation—it had not yet done the work of imagining what a world without a repressive state might look like.

All the panelists talked about how to maintain a radical aesthetic in the face of rampant commercialization and continuing voicelessness. Juba noted that young gay rappers no longer have the expectation of speaking to each other, but in breaking big in the industry. Vijay decried the idea of art as property, noting that Jay-Z doesn’t write a check to the Black community when he receives royalties for his records. FABEL noted that the decline of public jams and block parties has seriously affected the culture—there are fewer places for competition and evolution of the culture not tied to capital.


“Make films not war!” Charlie Ahearn, still wild after all these years

This thought brought the conversation full-circle. We were blessed with the presence of a large number of pioneers in the audience (Bronx-to-Connecticut connection stand up!), including the first Latino DJ and master chef (for real!) DJ Disco Wiz, Cold Crush Brother Tony Tone, and pioneering Latino b-boy Trac II (Starchild La Rock). Charlie Ahearn was filming the conference and getting folks to do some loud, crazy stuff with a bright red bullhorn.

Trac II addressed the panel and the audience at length, speaking about how he has been dismayed with the way some have treated hip-hop history. He had some words for all of us: hip-hop was always about empowerment. Not necessarily political empowerment, but the kind that makes you move.

We all moved out for some Peruvian food (which was really close to Chinese American home cooking, except the steaks weighed like 25 pounds each), and then returned for a great showcase, with incredible sets from La Bruja, African Underground (with Ben holding down the drumkit like a master), Baba Israel and Yako, and Les Nubians.

All in all, a perfect day. If anyone could come to this event and still be cynical about whether hip-hop can do its thing on a college campus, which if you think about it is just another space to take over, well they probably don’t have a soul.

posted by @ 11:14 am | 2 Comments

Friday, March 30th, 2007

Snowbound In Laramie / Neocons Who (Think They) Like Hip-Hop


Spring in Laramie looks like winter in Alaska.

Thank you to Adrian Molina, Bethany, and the whole Laramie fam for taking care of their boy while we were all snowbound yesterday. The Shepherd Symposium was longish, I know, but great.

Unfortunately I won’t be able to make it this afternoon to the Vassar event. Skies are clear here now in Wyo but there is no physical way to be there today. We’ll resched the event as soon as we can.

See yall in Hartford at the Trinity International Hip-Hop Festival tomorrow.

Meanwhile it appears that the neocons have discovered hip-hop (or, uh, whatever that is), and they are still confused.

So I finally get out of town this morning to find that the neocons have discovered hip-hop (or, uh, whatever that is that they are trying to do). And that some of them have even begun trying to figure out how to create a neocon way of understanding hip-hop.

Signs of the end of the world or just that hip-hop really is dead? You decide.

Joseph Abrams begins by critiquing my new book Total Chaos, but he starts heading toward a way of defanging hip-hop by reducing it to just a pleasurable way of understanding “the black street world”, his words, not mine. You may remember these are the same folks that last year tried to rewrite rock history recently as a proto-conservative movement.

Might have helped if folks actually read Can’t Stop Won’t Stop, or for that matter, the book being reviewed, rather than just say they did.

In any case, reducing hip-hop to a simple “identity movement” is one way to make hip-hop safe for the Karl Roves of the world. (And you see what the results are…) Now, although many academics have made the claim, I have never claimed hip-hop began as political movement. I’ve always repeated the lesson that Kool Herc schooled me in: it simply began as a way for Black youth–African American, Afro-Latino, Afro-Caribbean–in the Bronx to have fun. No more, no less.

So, identity, yes. And yes, hip-hop is a worldview by now. That’s what Can’t Stop Won’t Stop was all about, for anyone paying attention. So the National Review is half right.

But here’s where they’re got it wrong. I have always said that it is impossible to separate aesthetics from the world it emerges in. If new-century neocons, or anyone else for that matter, would like to separate the rap and hip-hop arts that they think they like from the living, breathing context that it all issues from–the way they did with rock and roll–they will always have beef from me and the large large fam out here. Aesthetics is not a neutral truth that lives above the people.

People make art. Art represents actual lives. We can disagree about what it means, but no one should ever be able to erase those lives, just so that we can enjoy their labor conscience-free. Even if we buy the art, we don’t purchase innocence along with it.

But anyway, no use wasting any more time on time wasters. Hit us back here or in person when you see us. It’s all about extending the conversation.

posted by @ 7:54 am | 4 Comments

Monday, March 26th, 2007

How I Spent My Weekend

I was here. (Here, too.) And, thanks to you all, I didn’t look too bad.

posted by @ 4:59 pm | 2 Comments



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