LANCIA LEFEBVRE IN NO PARTICULAR ORDER

2011-06-24T15:30:00.000-07:00

Pirate copies seep out of such archives through disorganized privatization.

Hito Steyerl, In Defense of the Poor Image
Read @ E-flux

2011-06-23T22:23:00.000-07:00

2011-06-08T14:44:00.001-07:00

2011-06-03T12:41:00.000-07:00

2011-06-03T03:03:00.000-07:00

Beautiful things

2011-06-03T02:08:00.000-07:00

9ct Gold & Silver Jade Diamond Dropper Earrings Early 20th century

Victorian French 18ct Gold Diamond Turquoise Pearl Fringe Brooch. late 19th century

Carlo Giuliano Victorian 18ct Gold Diamond Enamel Pearl Bangle Bracelet late 19th century

Vintage Sterling Silver Gilt Sapphire Ship lavalierre Pendant Circa 1920

Vintage 18ct Gold Scarab Brooch Late 19th century

Vintage Sterling Silver Mother of Pearl Figural Owl Baby Rattle
Antique Hallmarked Silver Baby Rattle with Hey Diddle Diddle Nursery Rhyme Theme and Mother of Pearl Handle 1906

19th Century Silver Austro Hungarian enamel Eagle Necklace set with Sapphires Ruby & Mabe Pearls

2011-06-03T01:45:00.000-07:00

Victorian Tussie Mussie Holder
From Wikipedia:
The language of flowers, sometimes called floriography, was a Victorian-era means of communication in which various flowers and floral arrangements were used to send coded messages, allowing individuals to express feelings which otherwise could not be spoken. This language was most commonly communicated through Tussie-Mussies, an art which has a following today.

The nuances of the language are now mostly forgotten, but red roses still imply passionate, romantic love and pink roses a lesser affection; white roses suggest virtue and chastity and yellow roses still stand for friendship or devotion. Also commonly known meanings are sunflowers, which can indicate either haughtiness or respect – they were the favorite flower of St. Julie Billiart for this reason. Gerbera (daisy) means innocence or purity. The iris, being named for the messenger of the gods in Greek mythology, still represents the sending of a message. A pansy signifies thought, a daffodil regard, and a strand of ivy fidelity.

Asparagus: Fascination
Carnation:
green- secret followers of Oscar Wilde
striped- No, refusal, "Sorry I can't be with you"
solid color
mauve- Dreams of fantasy
Hollyhock: Ambition
Honeysuckle: Devoted affection, bonds of love
Lime Blossom: Fornication
Moonflower: Dreaming of Love
Oak Leaf: Strength
Poppy:
red- Pleasure
white- Consolation, dreams, modern, peace
Thistle: Nobility

Hanakotoba: The Japanese Language of Flowers

2011-05-21T17:58:00.000-07:00

I would characterize my work as a whole as an attempt to be attentive to the poetics of daily life by focusing on those phenomena that shape everyday experience, often slightly below the threshold of notice (and, yes, value). -Germaine Koh

2011-05-21T17:50:00.000-07:00

Isabella Pauwels
BUILD IT AND THEY WILL COME..., 2003
Removed drywall and text
Installation of 7
Installation view, Catriona Jeffries Gallery, Vancouver

Paul Chan quotes

2011-05-20T23:05:00.000-07:00

"Art uses things to make its presence felt. But art is not itself a thing."

"Survival had nothing to do with measuring the rise and fall of economic
indicators, but the cunning of living in-between these inhuman quantifications,
and finding novel ways to be unmoved and unmoored by their movements, in any
direction. Progress was not chasing profit, but standing firm where you happened
to have found yourself, against the forces that bull or bear either way."

"The predatory nature of the social forces that work on us from above, and the
individual’s instinct that survival through self-interest is the only course available to
meet the demands of the day, are two aspects of the same thing that I have been trying
to describe in both concrete and abstract ways."

"But a work is more than an attraction. Art´s power has as much to do with how it keeps the world at arm´s length. By repelling the advances of those who want nothing more than to make art embraceable, relational, and understandable, art gains a semblance of autonomy, and acquires the power to evoke in the person experiencing the work – however fleetingly – those moments in one´s life when actual freedom was tasted and felt. And by insisting upon the unresolved conflicts of reality return as immanent considerations of form, art severs the chain of thinking that binds its import to an aesthetic tradition that pictures the image of wholeness and cohesiveness as the expression of holiness and reconciliation. When art refracts its inner elements into an order of irreconcilabilities, art´s essential polarity changes from something that strives to attract, to one that can´t help but repulse. This aura of repulsion enables art to levitate above its own grounding."

http://www.nationalphilistine.com/

Hammock Free School

2011-05-15T18:44:00.000-07:00

Art Now How 2

2011-05-07T17:34:00.001-07:00

Working Portfolio

2011-05-06T16:19:00.001-07:00

2011-05-04T23:16:00.000-07:00

2011-05-04T15:12:00.000-07:00

2011-05-03T00:08:00.000-07:00

2011-05-02T23:57:00.000-07:00

2011-05-02T23:50:00.000-07:00

2011-04-17T13:28:00.000-07:00

2011-04-14T21:15:00.000-07:00

Lancia is a Vancouver based, working artist affiliated with CSC Collaborate and DTDS Ventures. Informed by Surrealist Tendencies, Lancia explores participatory and covert urban renewal, development and mapping.

2011-04-07T16:29:00.000-07:00

Pylonation- new in progress work

2011-03-21T16:30:00.000-07:00

http://pylonation.blogspot.com/

Germaine Kruip

2011-02-22T15:08:00.000-08:00

Aesthetics as a Way of Survival- Still
Daytime Reliance
A Shimmering of Grey

2011-02-09T11:13:00.000-08:00

2011-02-09T10:38:00.000-08:00

2011-02-07T15:11:00.000-08:00

2011-02-07T15:10:00.000-08:00

2011-02-07T15:01:00.001-08:00

2011-02-07T14:31:00.000-08:00

2011-02-07T14:19:00.000-08:00

2011-02-03T21:40:00.001-08:00

2011-01-25T18:00:00.000-08:00

2011-01-25T17:28:00.000-08:00

2011-01-24T06:24:00.000-08:00

2011-01-16T04:35:00.000-08:00

2011-01-16T04:34:00.000-08:00

2011-01-03T11:29:00.003-08:00

'Quad to the left
Quad to the right
White car out front
Truck's got fog lights'

2011-01-03T11:24:00.000-08:00

2011-01-02T01:35:00.000-08:00

2010-12-30T13:35:00.000-08:00

"My stomach has been really upset. I've been eating a ton of those Rocky Road squares, the ones with the peanut butter. Oh god! I must've had twelve of them the other night."

----------------

"How come people always have to put their hands in the air?"

"People love to put their hands in the air."

2010-12-23T17:21:00.000-08:00

Early afternoon, Main bus, Southbound.
He's older, both sun ripened from outdoor hand muscle labour of some type. Dirt covered mitts, clean faces, grayed handlebar thick and groomed for one, wrinkles and graying beard for the other.

"She doesn't like it much when I drink in the morning."

"Yeah, I only drink in the morning when there is good company. I'm kinda strapped for cash though so I'm headed home tonight."

(bus stops, skytrain)

"THANKYOU!!!"

Handlebar bellows, he's loud by nature, not obnoxious. Steps off the bus, walks straight twenty paces, throws his bag lunch remnants on the electrical box and pisses, back to the double bus and skytrain rows.

2010-12-23T17:18:00.000-08:00

Character

On the b-line

Not Sean John, but Ean John across the back of the coat
Cutoff black mini gloves
Dirty blonde and slightly dirt filled curls
and a thermos with the pic of a little girl and hand drawn hearts.

2010-12-23T17:15:00.000-08:00

(Riding the 3 Main downtown bound)

"Hoping she's pregnant, bigger welfare checks.
Ahahahahaaarrgh, are we going to Richmond?!"

"No, this bus goes downtown. You could take the 41..."

"Hey driver! I'll give you some cash for a ride up to
41st and Main!"

(watch in hand)

Makeup by Molly.ca

2010-12-23T14:06:00.001-08:00

2010-12-23T14:05:00.000-08:00

2010-12-23T14:02:00.001-08:00

2010-12-23T13:51:00.000-08:00

2010-12-21T16:34:00.000-08:00

me:

saw your piece
at Lucky's
Engaged? ahahhaha

monique:

Hahaha not
engaged but its
about the economy of the gift.
A ring is the
gift women are
given I'm
exchange for a
lifetime of
(2/2)work and
little girls dream
about the
day they get that
ring

2010-12-14T14:03:00.000-08:00

Patrick

Monique

Mags acquired at Lucky's :)

paintings and what nots around school

Lineups

2010-12-14T13:57:00.000-08:00

#1- Dressew, day before Hallowe'en

#2- Harry Potter Release

#3- Best Buy Release (five people waiting at 3pm, photograph taken at 11pm)

2010-12-14T13:31:00.000-08:00

2010-12-06T12:15:00.000-08:00

"They all struggle for the space, George. They all want to decorate it and I'm left with the legislation of this bullshit. As if their figurations hold any weight. If I had it my way we'd have a blank city. Paint it up if you will, spin the colour wheel and paint the city blue next lets say. A month later do it again. Renew the slate."

"A white city eh? Why not Bob! Wine would stain with flare, scotch would caramelize the streets and walls would beg for text, but what about graffiti management then eh Bob?"

(puff tendrils, scotched essence)

"They'd scour the streets, coat the walls with their pathetic pens and inkpaints, but I'd flush the city with one spin of the wheel... red!"

"Now Bill, you see, there's always these conservative folks, despising non-commissioned urban decorative elements, but they eat up the advertisements, tongues lapping for more, hoping that the backlight will jump out and become that golden serpent of a ring before their pitiful selves so they can slobber all over it, bobble eyed, money spewing out of their pockets. And then you've got those street folk, the anti-consumerism blah blah capital-blah blah folk who think that investing out of their own pocket for others will somehow alter the world. But isn't that just another form of distraction, of advertising of propaganda? Ahahahaaaaargha... Let's see, I'll paint the city BLACK in March! Let's see what those white folk think of that! Ahaaahahaharaha!"

"What if we let those graffiti folk take care of it, let them paint it, cut costs you know?"

"And end up with a never-ending lattice veil of crap! You remember this morning George? Remember last night's drink in the porcelain king? Think of the city in colour chaos, of each individual's chaotically applied hand and your hangover, not on my watch George."

"Nah, I'll keep it simple and reinvent it, maybe we'll toss them street kids a few extra days to cover the walls, to mask the black, to liven it up just enough so that those square tops will beg for me to spin this wheel, beg for the city to reinvent itself and I'll give it to them."
(the wheel spins)

2010-11-29T23:45:00.000-08:00

from Megastructure-reloaded.org

Alan Boutwell became acquainted with the ideas of the megastructuralists during his studies and was particularly impressed by the thoughts and designs of Archigram. In 1965, his first designs of modular building systems were released, in which he experimented with new technologies and materials. The project of a gigantic linear city that he created together with Michael Mitchell caused a sensation. It spanned on hundred meter high pillars straight across the American continent. Its interior combined all classical functions of urban life and was connected by a complex traffic system that was differentiated by speed, transportation and distances.

Archizoom

2010-11-29T23:40:00.000-08:00

from Megastructure-reloaded.org

Archizoom can be seen as the initiators of Anti-Design; their members radically questioned the traditional status-function and fetish-nature of design, interior design and architecture production. They achieved international recognition with their participation in the exhibition Superarchitettura in Pistoia (1966) and Modena (1967) in collaboration with the group Superstudio. In 1969 their No-Stop City caused a furore.
Andrea Branzi wrote about the project: The real revolution in radical architecture is the revolution of kitsch: mass cultural consumption, pop art, an industrial-commercial language. There is the idea of radicalizing the industrial component of modern architecture to the extreme. (1)

2010-11-29T22:23:00.000-08:00

Werner Sobek
(excerpts from Dwell magazine article)
"Why use more energy or materials when you can use less? This is a self understanding. It's important as that the building does not fall down and that it is built on time.
...
"Modern advances in materials technology and manufacturing processes have opened up possibilities for entirely new kinds of buildings where, for example a textile roof soaks up energy during the day and releases it at night; a glass house embedded with liquified crystals, grows opaque on demand or a facade 'breathes' without the need for windows.
"You must understand the materials, and that has to be interdisciplinary.
"Ephemeral Architecture can go today or it can stand for 1000yrs. But if it goes, it can go with honor, even the day after the opening ceremony."

2010-11-29T22:08:00.000-08:00

from RACAR magazine, Natalie Blanc:
'Par , il n'est question ici ni du domaine specialise de l'art, ni d'une philosophie du beau ou d'une theorie de gout, mais plutot d'un mode de connaissance active de son milieu qui n'est pas reserve a l'art ou aux mouvements culturels. Ce mode de connaissance active s'inscrit dans la lignees des reflexions d'un John Dewey (1934) ou, plus recement, d'un Arnold Berteaut (1992), pour lequel l'experience esthetique est une facon d'inscrire l'environment a l'interieur de soi et non plus d'en faire l'objet d'une contemplation passice et desengagee... L'experience esthetique est un mode d'apprentissage et un mode de connaissance qui met a l'epreuve, dans un meme et unique mouvement, le corps et l'esprit.'

rough translation:
'By "aesthetic engagement" it's not a question of the specialised domain of art, or of a philosophy of beauty or a matter of taste, but more so of an active mode of knowing of your area which is not reserved for art or cultural movements. This active mode of thinking can be found in the reflections of John Dewey (1934) or, more recently, of Arnold Berteaut (1992), for which aesthetic experience is a way to inscribe the environment within oneself and no longer a way to objectify passive and disengaged contemplation... Aesthetic experience is an apprenticeship and a mode of knowing which test in one unique movement, body and spirit.'

On a Piece of Public Art

2010-11-29T20:27:00.000-08:00

I walk toward the library/ gladiator ring, head down like everyone else to avoid a raindrop in the face. It gleams from the left, harsh and bright; gaudy.
'The Words Don't Fit the Picture.' Yep, I agree. Another public art initiative that consists of light. More and more light. Where's the interactive component? Where's the public part, besides occupying public space? Besides shouting at us(like the brash advertising signs it references), that something is wrong? It glares down and I shy away, wishing public art initiatives were less about preaching and critical, negative impositions. Monkey bars, a bench and a tree would have served a better purpose to excited bodies, tired legs and concrete eyesores. But then there's no academic concept there, no tie to the city and the library. I say people are the tie, happiness and quality of public space the concept.

Ron Terada, Concept Image, 2009
----------------------------
Public Release:

THE WORDS DON’T FIT THE PICTURE is a text-based work made in response to the context,
building and public surrounds of Vancouver’s Central Library. The work takes the form of a
large freestanding sign that sits in front of the library, just off the southern entrance of the
building by heavy pedestrian traffic. Using a typography that is at once familiar and
accessible, the artwork is a reference to Vancouver’s neon past, when the famous BOW-MAC
sign and legendary Woodward’s W reigned over the city’s skyline.

“The sign takes its cues from an era of signage when signs were seen as
celebratory, grand and iconic – in effect, as landmarks in their own right, a
kind of symbolic architecture… Taken within the context of a public library, the
work touches upon – in a very poetic way – the use of words and language as
boundless and imaginative, as a catalyst for a multiplicity of meanings.”
Ron Terada
-----------------------------

2010-11-28T22:26:00.000-08:00

2010-11-28T22:05:00.000-08:00

2010-11-28T20:52:00.000-08:00

2010-11-28T20:28:00.000-08:00

"Pub-E is a public art initiative through C.S.C. Designs.
The program encourages alternative contemporary practices which are planned for urban public terrains.
In affiliation with D.T.D.S., Pub-E encourages urban renewal through creative reconfiguration of the stalemate that is the city and the people.
By providing a framework and the means through which creative urban proposals can be shared and realized, Pub-E is essential in challenging the patterns which structure and control our urban public environments."

2010-11-28T20:26:00.000-08:00

2010-11-18T22:07:00.000-08:00

Subject: Photography's Destinations
Date: 27 November 2007 03:29:10
From: ARTHUR OU
(To Discussion Forum initiated by Christopher Bedford)

That photographs are semiotic monads perpetually linked to the temporal moment of their exposure is an inherent characteristic that differentiates photography from other depictive mediums such as painting and drawing. This axiom not only applies to non-art photographs of the vernacular, quotidian types but also to the ones with full artistic intentions- photographs produced and intended to be art. Because of this coupling to time, photographs, although indexically anchored to their illuminated referent, become like time itself, always in constant flux, anxiously inserted back into the flow from which they initially came. Unlike painting, drawing, and sculpture, photographs can never reach an ultimate finality (perhaps this is even more true with digital processes). therefore, they remain propositions that suggest an idea or what something looks like at a given, chosen moment. In other words, they are propositions of the potentiality of the subject; they point towards the possibility of meaning.
...
If photographs are propositions, then they are constantly in flux, necessitating a viewer that can also adapt and change, to be able to arrive at destinations that are heretofore not yet determined.

2010-11-18T21:31:00.000-08:00

Camilla Bishti
From the series 'A Diagram of: Part 2.'

'A Heavy Pull Away From Progress'

'We Have the Power to Destroy Us, 1'

'We Have the Power to Destroy Us, 2'

2010-11-15T18:31:00.000-08:00

"After food I explored other themes: sex, money and fame, ritual and death- all things I wanted to know more about. I realized that performance artists were addressing these topics, so I talked to them, sometimes intermittently, sometimes intensely, for the next ten years.
After each artist chose one of the four topics (sex, food, money and fame, ritual and death), I asked him or her essentially the same question: How did you feel about (food, sex, money, fame, ritual, or death) as a child? It has always been my personal belief that the themes artists employ are born in childhood and that an artists' work explores, transforms, perpetuates, or makes the information from that time understandable and manageable via symbolic acts- art.
..."

from Performance Artists Talking in the 80s
Compiled by Linda M. Montano

2010-11-14T19:41:00.000-08:00

"Artist run centers (and the people involved) originally operated, at least in spirit, in disregard of the monetary system. There is a vast category of activities that exist for reasons other than making money- science, philosophy, and even theology- and it seems this category, by being socially devalued, is becoming unrecognised and even ridiculed as "unrealistic." Artist run centers should be rigorous, focused initiatives in the face of an increasingly flaccid materialism and reconstituted thinking disguised behind the cleverness of contemporary art practice. Our work as producers of art is even more challenging now, for reasons all too familiar. It is important that contemporary artists consider their position and activities within our market system (a term which, it has been pointed out, is used to avoid saying capitalism.)"

'At Or', from Food For Thought, 2004
Janis Bowley

2010-11-09T23:21:00.000-08:00

"I'm interested in the artist as a threat to the state without abandoning aesthetics..."

"State as status quo? As static?"

"Definitely and threat as alternative or counterbalance or something of that accord... How do you feel about 'The Conservatism is Apparent'? I'm not positive the title is working for me."

"Why not? That's what it's all about."

"I don't know, it just seems a little... like post-modernism, past maybe, lingo for something that was, not is?.."

"But it's all about Conservatism being everywhere, which it is."

"Yeah, it is... well let's just think about it."

2010-11-09T23:15:00.000-08:00

workings

2010-11-04T14:28:00.000-07:00

Sometimes Making Something Leads to Nothing...
Not All Concepts Actualize...

Francis Alys

2010-11-04T14:02:00.001-07:00

Francis Alys
Gun Camera from SOMETIMES DOING SOMETHING POETIC CAN BECOME POLITICAL AND SOMETIMES DOING SOMETHING POLITICAL CAN BECOME POETIC , 2005

Clunie Reid

2010-11-04T13:40:00.000-07:00

COBRA

2010-11-04T12:56:00.000-07:00

The Consolidated Omnibus Budget Reconciliation Act (COBRA), U.S.:
http://www.dol.gov/ebsa/newsroom/fscobra.html
Throughout a career, workers will face multiple life events, job changes or even job losses. A law enacted in 1986 helps workers and their families keep their group health coverage during times of voluntary or involuntary job loss, reduction in the hours worked, transition between jobs and in certain other cases.

COBRA (or CoBrA) was a European avant-garde movement active from 1949 to 1952.
http://en.wikipedia.org/wiki/COBRA_%28avant-garde_movement%29
The name was coined in 1948 by Christian Dotremont from the initials of the members' home cities: Copenhagen (Co), Brussels (Br), Amsterdam (A).
COBRA was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret on the 8th November 1948 in the Café Notre-Dame, Paris[1], with the signing of a manifesto, 'La Cause Était Entendue’ (The Case was Heard), drawn up by Dotremont. Formed with a unifying doctrine of complete freedom of colour and form, as well as antipathy towards surrealism, the artists also shared an interest in Marxism as well as modernism.
Coming together as an amalgamation of the Dutch group Reflex, the Danish group Høst and the Belgian Revolutionary Surrealist Group...

http://users.cybercity.dk/~dsl71660/cobra.htm

The periodical Cobra

http://users.cybercity.dk/~dsl71660/cobra_cobra.htm
International periodical for the collaboration of spontanious artists.
The periodical was published by turns in different countries among others Denmark, Holland, Belgium and Germany .
Beyond Cobra both the smaller magazine Le Petit Cobra and the flysheet Le tout petit Cobra was published four times each in Belgium.
10 issues of Cobra was made ready to be published but the double issue 8-9 was never printed and Cobra number 2 was not published until 1961.

The periodical Reflex

Dutch art magazine much the same as the danich Helhesten. Organ for the dutch collaboration Nederlandse Experimentele Group, and the spontanic abstract art.

The periodical was only published twice - once in 1948 and once in 1949.

2010-11-04T12:43:00.000-07:00

"The SI was the fusion of several extremely small avant-garde artistic tendencies: the Lettrist International, the International Movement for an Imaginist Bauhaus (an off-shoot of COBRA), and the London Psychogeographical Association in 1957. After an intense period of theoretical analysis, publication and the expulsion of most of its few members, leading to the Second Situationist International, the Situationist Antinational and the Situationist Bauhaus, Debord dissolved the SI in 1972."

2010-11-02T23:37:00.001-07:00

Control. Structure. Construct.

2010-11-02T23:29:00.000-07:00

2010-11-02T23:07:00.000-07:00

Futurist, Transhumanist, Painter, Lithographer, New Urbanist, Photographer... Some people are a little bit of something...
Congress of New Urbanism, founded 1993.
From the Charter for New Urbanism:

We advocate the restructuring of public policy and development practices to support the following principles: neighborhoods should be diverse in use and population; communities should be designed for the pedestrian and transit as well as the car; cities and towns should be shaped by physically defined and universally accessible public spaces and community institutions; urban places should be framed by architecture and landscape design that celebrate local history, climate, ecology, and building practice.[4]

New Pedestrianism:is a more idealistic variation of New Urbanism in urban planning theory, founded in 1999 by Michael E. Arth, an American artist, urban/home/landscape designer, futurist, and author. NP addresses the problems associated with New Urbanism and is an attempt to solve various social, health, energy, economic, aesthetic, and environmental problems, with special focus on reducing the role of the automobile. A neighborhood or new town utilizing NP is called a Pedestrian Village. Pedestrian Villages can range from being nearly car-free to having automobile access behind nearly every house and business, but pedestrian lanes are always in front. [1] [2][3]

2010-10-28T20:13:00.000-07:00

2010-10-27T13:45:00.000-07:00

2010-10-24T23:07:00.000-07:00

Black Mastiff, Molten Lava, Cowboy and the Prizefighter at the Media Club. Caribou.

2010-10-19T22:20:00.000-07:00

Photography and Doing: Enhanced Vocal Operations
Doing is monumentally effective, briefly
(with Doing as work; as performance and through artistic practice).
It expands through documentation.
The mechanisms of Photography document effortlessly, creating a demand for the archive.
The archive records consistency and provides coherent organization.
Permutations of thought flow are not hampered by the installation of the archive.
They are streamlined for a more effective exchange of information.
These operations culminate in the ability to return to Doing.

2010-10-07T19:35:00.000-07:00

2010-10-06T01:12:00.000-07:00

2010-10-05T23:46:00.000-07:00

2010-10-05T22:34:00.000-07:00

2010-10-05T22:22:00.000-07:00

2010-10-05T22:12:00.000-07:00

old stuff.

2010-10-05T21:58:00.001-07:00

2010-09-24T11:43:00.000-07:00

2010-09-23T14:26:00.000-07:00

2010-09-23T14:11:00.000-07:00

Shuffle

Desert Session- Take Me to Your Leader
Fordirelifesake- She Loves Me Not
Baroness- Track 56
Neko Case- Blacklisted
Zao- In Times Gone Past
Battles- Snare Hanger
Gonjasufi- Ancestors
Baroness- O'er Hell and Hide
Neko Case- I Still Remember (Live at Maida Valley)
Dessert Sessions- Up in Hell
Sixteen Horsepower- Train Serenade
Minus the Bear- I Lost All My Money at the Cockfights(Demo)
The Most Serene Republic- Catharsis Boo
A Wilhelm Scream- Retiring
Hugh Masekela- Tonight

2010-09-15T13:43:00.000-07:00

2010-09-15T13:37:00.000-07:00

2010-09-15T13:21:00.000-07:00

2010-09-15T13:20:00.001-07:00

2010-09-15T13:17:00.000-07:00

2010-09-15T13:09:00.000-07:00

2010-09-14T23:21:00.000-07:00

2010-09-08T23:29:00.001-07:00

2010-09-08T15:10:00.000-07:00

2010-09-07T14:23:00.000-07:00

11 years ago...