Meet my new baby nephew, Tyler Jordan Kinzy. He was born on Friday, Sept 1st at Upper Chesapeake Medical Center in Bel Air, Maryland. I went to see him on Saturday and got to hold him. Luckily he was sleeping and not displaying his waaing ability at the time.
Congratulations to Nancy and Brad, Annie’s sister and brother-in-law.
Last Saturday, Annie and I (along with Ray) emptied the living room of the furniture that — according to a reliable source — could have been on the set of That 70s Show. Seriously, the couch and matching chair were about as old as my parents, and have been in the family for as long. We hauled them to my uncle’s garage and then proceeded to pick up some newish furniture that a real estate agent had alerted us to. The coffee table looks like marble, and as such, appears to weigh 400 lbs. The entire setup is definitely an improvement. All I have to do is get a nice widescreen TV and we can start having decent parties.
The recent discovery that the Reuters news agency released a digitally manipulated photograph as an authentic image of the bombing in Beirut has drawn attention to the important topic of bias in the media. But lost in the frenzy over one particular image is an even more devastating fact: that over the last week Reuters has been caught red-handed in an astonishing variety of journalistic frauds in the photo coverage of the war in Lebanon.
Also: Malkin’s Fauxtography
Paste Magazine‘s article “100 Best Living Songwriters” (June/July 2006) places Tom Petty in the top thirty, citing his “…unerring songwriting instincts.” Yet, in the August 2006 issue, the magazine takes him to task for his shallow songwriting in a review of his latest album, Highway Companion. Music critic Geoffrey Himes even named his full-page review “The Writing is the Hardest Part.” Ouch. Himes intimates that Petty’s lyrical weakness is not a new phenomenon, but has been with him since his early hits. Granted, Petty’s inclusion on the “Best Living Songwriters” list may be the result of over thirty years of consistent material, not for one recent album. However, the very songs cited in June/July as being classics (“American Girl,” “Refugee” and “The Waiting”) are more or less looked down upon in August as lyrically “shallow” and memorable only for their classic rock sound.
I’ve been working on three sites during the past few months, so I thought I’d officially “set them loose.”
Annie basically handed me the Weichert gig after recommending me to her boss. While initially designing the layout, I showed her the newly redesigned City Gate site. She like it enough to urge me to retain most of its design elements for the Weichert site. City Gate happened to be my first authentic PHP site, but I only really used the language for includes, the majority of which was just more HTML code.
While the brunt of the City Gate work came in the style and design, the majority of the Weichert work came in the PHP programming. I needed to create a site that was dynamic and able to do what I wanted it to, but at the same time, let people upload brochures and real estate disclaimers and have those files appear automatically and on the correct pages. I thought about creating a MySQL database in which every PDF had its own row of data, with the listing agent, state and address as applicable fields.
But on second thought, such a system would require one to interface with said database after every file upload. That would be a hassle and create another layer of potential human error. I realized that PHP was capable of dynamically displaying the correct files without a database, as long as the file names were strategically named, and uniform. PHP regular expressions now sort the contents of directories on the fly and eliminate the need to touch another line of code when a new PDF is uploaded.
Stephen Thomas Erlewine has a fresh article on Sufjan Stevens which basically condemns him for being the teacher’s pet, his music for being too perfect and pretentious, and his subject research as being too “school-report”. Dare I say I sense a bit of jealously in Erlewine’s heart?
The orchestrations and compositions on SMiLE are purposeful — on Illinois, they’re clever-clever and showy, as the ornamentation of the production is there for its own sake, never there to illuminate or enhance Sufjan’s musical or lyrical motifs. Because, apart from the conceit of writing songs about a particular state, there isn’t much connection to the sound or feel of the state in question. Stevens never taps into the musical history of a state — never touching Chicago blues or jazz, or Michigan soul or rock. He simply uses the concept of songs about a state as a vehicle to deliver his baroque folk-pop …
So, Stevens – instead of creating his own sound – must now ape the style of his forebears? Does Erlewine honestly think Stevens would stand out in the indie world by basically being a cover artist? I can see it now: Stevens in the studio, about to record California. “Now, track one will be my Beach Boys song, my tribute to Weezer and The Offspring will be track two, and now I’ll go write my Glen Campbell knockoff.”
Oh, and contrary to the article, Stevens did touch Chicago blues/jazz: see track 21, “Riffs And Variations On A Single Note For Jelly Roll, Earl Hines, Louis Armstrong, Baby Dodds, And The King Of Swing, To Name A Few.”
The Smashing Pumpkins’ “Bodies” – from Mellon Collie and the Infinite Sadness – has got to be one of the more underappreciated songs by the band. The song opens to a tolerable amount of art-noise but quickly gathers speed as Iha’s guitar riffs break through.
Chamberlain’s drumming is top notch as usual, but it’s Billy Corgan’s vocal workout that really defines the song. He alternates from his trademark whine on the verses to a controlled roar on the two choruses (which take part on independent melodies): “But no bodies ever knew” … “Love is suicide”. The latter appears on a strategically placed break, in which Corgan sings over a bed of double or triple tracked (and out of phase) voices droning the words deny, decide, destroy, disobey, disguise. I sense not rage in his words, but acceptance or resolution. Then again, the uncharacteristic guitar chord on the fadeout adds a pinch of discontent.
They could have brought the vocal levels up just a tad and made this a single. Easily.
I saw David Bazan (of Pedro the Lion fame) last night at the Black Cat in DC. His solitary voice was accompanied by only his acoustic guitar, and his playing was competent, save for the handful of requests that he granted on the spur of the moment. He managed to play all five songs from his recent EP, Fewer Moving Parts, albeit spread out over the course of his 70 minute set.
He puzzlingly described the new song “Fewer Broken Pieces” as his saddest song ever. I had been listening to it for for a few days, but didn’t regard it as especially sad. Sometimes, you need someone to sing it to you live for it to set in properly. The lyrics are personal and describe the breakup of Pedro the Lion. Bazan appears to be writing from the deepest part of his heart on this one — there’s no pretense. From that perspective, it is the saddest song he’s written. His stories of infidelity, murder, suicide, and depression are sad in their own ways, but only to the extent that the listener draw parallels between the songs and his own memories. “Fewer Broken Pieces” doesn’t ask much of the listener, but it demands much from Bazan.
Opening first for Bazan was Anousheh Khalili, a young woman who has recently gained some notoriety as the voice on a couple of Deep Dish tracks, “Flashdance” and “Say Hello”. Khalili’s voice begged comparison with Neko Case at first, but it had a sly swagger not unlike that of Fiona Apple.
Following Khalili was Andy Zipf. He, like Bazan, had no band and accompanied himself on an acoustic guitar. His voice sounded at times like Cinjun Tate of Remy Zero, and at other times like Greg Gilbert of the Delays. Toward the end of his set, he did an offbeat cover of “Goodbye, Yellowbrick Road”. I could tell he was struggling a bit with the chord changes; I never really realized what a complex song it was.
Why are there about 441,000 hits on Google for the phrase “riddle me this“, but absolutely no results for the likely answer, “I riddled him that“?
Emil Stenström weighs in with why Inline CSS should not be allowed in strict doctypes:
Inline CSS goes against all the logic involved in the idea of two distinct doctypes. Why should you want to include design information inside of a document that you just explicitly stated would separate the two?
Remember that the word cascading appears in CSS. Inline styles, while not esthetically pleasing, nevertheless allow for economy of code.
If, for instance, you implement a style that appears only once on only one page, than an inline style makes sense. Or, if you find yourself implementing that style in multiple areas of your site, then by all means, place it in an external document.
The beauty of cascading style sheets is that a style can be implemented on a single tag, a single page, or multiple pages, depending upon your desired level of specificity.
