Saturday, September 22, 2012

Gordon Smith, Creek Tangle A/2, 2009
Friday, September 21, 2012
Too Many Unlucky Coincidences in the Mexican Kidnapping Alibi

"It is inherently implausible that there would be the many unfortunate coincidences that the accused’s Mexican kidnapping alibi depends on: that two men would try to rob and would then kidnap the accused during the very time when his wife is attacked; and that they would then get into a car accident at a location and at a time that approximates how long it would take to drive there from the complainant’s residence immediately after the attack on her. There are so many holes in the Mexican kidnapping story that it simply defies belief, and I will touch on some of them."
Thursday, September 20, 2012
No poetry here for a while.  Here's a new poem I like, by my pal Weldon Gardner Hunter, from his collection The Stella and Pony Years (Small Ghosts, 2012, $8CDN @ PFB and elsewhere)

by Weldon Gardner Hunter

I guess the spirits messed up
this season, but I am not about
to go & call them on it.

So many creatures, totems,
and fetishes -- it's like finding
the right search term and running with it.

The Jungle Lords of Copyright,
taking pens, pencils, Starbucks
cups, Ricky's soccer team;

everything, in an attempt to
protect thenselves.  But they're
ruining North American criticism.

Lose all respect, and then you
too can balance on the edge
between the poem & a hole so deep.

The rising of scales, the Poem
in Action, not to drag it down to
the deplorable condition of "information."

The good isn't bad.  It's
strategic.  There's some good shit
in here, may it proudly proliferate.
Heartfelt thanks to everyone in YVR who voted PFB best independent bookstore in this year's Georgia Straight readers' poll.  PFB has come a long way in twelve and a half years, something I could not have accurately predicted on day #1, sitting behind a battered school desk with a paper Hilroy ledger, a cigar-box float, and a brand new shingle (handmade by my dad and I, vinyl lettering courtesy Steven Shearer) out on the sidewalk.

If you're successful in business, you're given progressively more complicated problems to solve.  The problems never go away, but they do get more interesting over time.

I am very fortunate to have been given a complex set of interlocking problems, a great group of staff, one of the most ruthless and technologically savvy competitors on the planet, and a deeply contrarian temperament.  The work isn't easy, but it is rewarding, and I wouldn't trade it for anything.

"Another illustration of radicalizing self-delusion comes when the son of a governor and corporate chief executive says that 'everything that Ann and I have, we earned the old-fashioned way, and that’s by hard work.'"
Wednesday, September 19, 2012

ACT (Aesthetically Claimed Thing): this photograph

"It was hard not to be charmed by the remarkable execution of a deep obsession."
Tuesday, September 18, 2012

"My own view is that the centerpiece of American foreign policy has to be strength. Everything I do will be calculated to increasing America’s strength. When you stand by your allies, you increase your strength. When you attack your allies, you become weaker. When you stand by your principles, you get stronger. When you have a big military that’s bigger than anyone else’s, you’re stronger. When you have a strong economy, you build American strength. For me, everything is about strength and communicating to people what is and is not acceptable."

Metropolitan (63), 2012

Metropolitan (62), 2012

Monday, September 17, 2012

"'I'm Not the Same Without You is a gloss on those anthemic tunes in which the singer tells a story about how she's going to make it through a recent breakup and bravely carry on. I say "she" because I'm thinking of songs like Gloria Gaynor's I Will Survive or These Boots Are Made for Walkin by Nancy Sinatra,' says Fagen. 'In I'm Not the Same Without You, the narrator not only survives but rapidly evolves into something a bit more than human – at least in his own mind.'"
Sunday, September 16, 2012

"The idea with Donald is always to make everything sound as hyper-real and natural as possible. On a few rare occasions, we used a synth setting on the PROPHET-5, JUNO-6 or MINIMOOG that was unapologetically synth-y, but only because it blended so well with the other natural instruments and helped to create a richer timbre. With respect to the drums on this album, we took a unique approach to recording. The drums were all played live by yours truly (credited to 'EARL COOKE, JR.') taking great care and time to select just the right vintage snare, kick, hat, etc.. for each song. Donald and I then sat and put together the ultimate hyper-real drum track using all available modern techniques. The goal was always 'hyperreal' and never synthetic, programmed or sequenced."

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