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Saturday, August 4, 2012
Where In The World Is JAZ COLEMAN?
Recently, Jaz Coleman has gone missing into thin air. He is best known as the singer of the legendary band Killing Joke. Before I get into the circumstances surrounding his disappearance, it serves us well to get to know the man better. So let us delve a bit...
Jaz was born Jeremy Coleman in Cheltenham UK, to an English father and mother with East Indian descent. Both parents were teachers and he was raised in academic environment with attention to reverence of great thinkers of the past such as Leonardo Da Vinci. He spent at least some of his childhood in Egypt, and his interest in culture, mysticism, and the occult would find him returning years later to the lands of burning sand in Cairo to study at an Arabic conservatoire. In fact, he was reportedly the first Western student to do this. This was not his first foray into classical music training. From about the age of 6 he studied and performed piano and violin. Jaz also sang in a few cathedral choirs and his voice won him a competition or two.
His life has always been a balance in extremes- for all the academia and classical music, he grew up with a rough and tumble atmosphere around the 'hood and at school, getting a true taste of fights with bullying blokes. He essentially dropped out of school at a young age of 14, and indulged his punk side more and more. A few years peeled by. Fairly close to the year he was at the Cairo conservatoire, he found himself in the unemployment line in London and ran into a friend. They began talking, the subject came up in regards to their aspirations. Listening closely, Jaz's friend told him he should meet someone and was taken to the apartment of 'Big Paul' Ferguson. Ferguson and Coleman became friends and collaborated in the days to come. Both were part of the Matt Stagger band for a time, they then quit. In 1978 they realized it would be awfully tricky to find just the RIGHT people to fill out their envisioned group, as they were looking not only for very specific traits in regards to music but in the character of the players as well. In short, just any old rocker would not do. So they conducted a ritual, a sort of prayer ceremony. They also ran an ad in the paper. Their musical goal, said one way, was to "define the exquisite beauty of the atomic age in terms of style, sound and form".
Weeks later enter guitarist Kevin 'Geordie' Walker and bassist Martin 'Youth' Glover. The ritual had been answered! Killing Joke was formed. They also created their own label, Malicious Damage, and worked with graphic artist Mike Coles (whom they would work with for years to come). Their first release, reputed to be funded by a then-girlfriend, was the futuristic dub sounding 'Turn To Red' EP released October 1979. A prolific sonic stream followed, with lots of touring and an average of an album a year as output. A few years in, Jaz Coleman had his first 'disappearance' by off and running to Iceland. Geordie and Youth later joined him. It was rumored that all band members were quite immersed in occult study by this point, and the Jaz thought the apocalypse was going to happen at the time, and Iceland was the place to be to survive it all. Jaz later said most people never bothered to ask him the real reason- he was bored of the rock and roll industry and wanted to go back to his classical and orchestral roots and just take a real breather. He wanted to perhaps even go to an era in his mind even well before classical music, an era of caves and primitive sounds. Jaz had always maintained that the more you go within yourself and hear the sounds only coming from YOU.. the more you can truly create something of worth. Furthermore, the more you block out outside influences as if they were pollution, the better.
Yet as stated before, Jaz's life has always been the synergetic balance of opposite poles, of yin and yang. One side must never be allowed to fully 'win'. So after a while Jaz and co. returned to their tribal post punk post and began anew as another incarnation of Killing Joke- this time bassist Youth was replaced by a certain Paul Raven. This would be around 1984. Killing Joke would continue where they left off, with a steady and intense catalog..all the way to this moment. They would influence countless other bands in their approach and sound. For example. just about any well known alternative band in the 90's with a dark edge would likely owe something to Killing Joke, including: Metallica,T00L, Nine Inch Nails, Ministry, Faith No More, Soundgarden, Pearl Jam, Nirvana, KoRn.Rammstein, Prong, The Cult, Marilyn Manson, Jane's Addiction, and more. A famous incident involved Killing Joke preparing to sue Nirvana for stealing their riffage of their song 'Eighties' (which was heard as uncannily similar to the Nirvana song 'Come As You Are'.) When Kurt Cobain shot himself, Killing Joke did not want to be turds and decided to drop the issue. Years later the hatchet would be further buried when Nirvana drummer Dave Grohl drummed on the 'Joke's 2003 self titled album, for FREE (he was such a fervent fan!)
Killing Joke would have several line up changes through the years, with the only constant members being Jaz and Geordie. However, in recent years, the line up now consists of the original founding members...coming full circle. They have withstood band and label fights, personal dramas, all sorts of storms- and are now stronger than ever. Jaz has joked that the band has outlasted all the member's marriages (he has married twice and has three daughters). Indeed, the band is like a second family, the fans almost extended members of a family or one tribe unified through the music and spirit that Jaz feels protective of.
Killing Joke has done things as extraordinary as having onstage fire dancers, or recording in the King's Chamber in the Great Pyramid in Egypt (don't ask HOW they got permission!) An upcoming band documentary (with equal attention to zany occult and outside life as to the music) is slated to be released soon, called 'The Death and Resurrection Show'.
Always one to keep busy outside of the group from the early years, Jaz continued his classical music studies at Leipzig DDR in Germany in 1987. A few years after he would give some interesting lectures about the nature of existence and the occult at the Courtauld Institute, London. This would be released under the Killing Joke banner as a spoken word album. He has worked with many musicians outside of KJ, from Anne Dudley of The Art of Noise to Sarah Brightman, to name only a few. From the classical side, Jaz composed a substantial amount of symphonic music. He has worked with (either conducting or through commissioned compositions): The New Zealand Symphony Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, The Orchestra of the Royal Opera House (in Convent Garden), Auckland Philharmonia, Czech Philharmonic, Prague Symphony Orchestra, Prague Chamber Orchestra and the New Zealand String Quartet. His brother Piers is a professor of theoretical physics at Rutgers University in New Jersey. Both have worked together on a concert called 'Music of the Quantum,' which explores the relationship between music, mysticism, and physics. Neoclassical renditions of groups such as the Doors, Rolling Stones and Led Zeppelin were created by Jaz (in fact, speaking of Led Zeppelin, Jimmy Page is a fan of Killing Joke). One symphonic piece Jaz wrote was at No.1 in the American crossover charts for an astounding 103 weeks!! Movie soundtracks have been graced by Jaz's hand, including 'Mulan', 'Showgirls', 'Weird Science', 'Cinderella', and the Czech art film 'Year of the Devil' (where Jaz has also played the part of the Devil Himself!) This soundtrack in particular supposedly had gone FIFTEEN TIMES PLATINUM! Mr. Coleman has studied not just classical but various other musical genres including many types of folk music of the world. In 1998, around the time of the Rugby World Cup and America's Cup, Jaz replaced the English version of the New Zealand national anthem with Maori (traditional aboriginal in NZ). Sung by Maori singer/poet/activist Hinewehi Mohi, a great debate and controversy ensued in the months to follow..resulting in New Zealand parliamentary laws being changed! The two teamed up again along with composer and professor of Maori studies Hirini Melbourne to create the album 'Oceania'. Modernized Maori music did not exist until the release of the record, the first international release of Maori music!
There are over 50 diverse recordings with Jaz's involvement concerned!
Jaz does seems quite the brilliant renaissance man..it is said his IQ is over 190! He is an ordained priest and was a member of at one time of four internationally recognized mystical orders (he has since resigned from two with the cryptic statement ‘It is better to have a big heart than all the knowledge in the world.’)
He supports environmental sustainability and has invested in the creation of two eco-villages in the South Pacific and in Chile. Jaz has traveled and lived all over the world- either during band tours or other exploits. He holds 4 passports, has multiple residences and has spent much time in New Zealand, Switzerland, Hungary, The Czech Republic, Tahiti, and beyond. New Zealand is the closest place to a steady home for Jaz now. There is a mystery island that Jaz owns and sometimes lives on. Then there's York Street Studios based out of Auckland, which Jaz co-owns. He also has designed a temple which he intends to build on NZ soil. By many counts of prophecy Dec 21st 2012 is supposed to be the 'end of the world'. Thought Jaz doesn't rightly take this literally, he intends to have an end of the world party on that day, probably on his special island in New Zealand.
The crazy thing is, for all I've said so far, I'm sure I've only scratched the surface. For all the past interesting history, let's focus on where he is now, and what happened before he vanished recently. Allegedly he wrote the following on a Facebook page to all fans before vanishing:
_______________________________________________________________________________________________
Dear Gatherers,
It gives me great pleasure to announce the cancellation of the upcoming gigs with The Cult and The Mission.
Frankly, playing at a gig with The Cult never appealed to me in the first place. The only reason we allowed ourselves to be talked into it was to blow both bands off the stage and to steal their respective audiences.
As the concert has been downgraded to a venue that we have recently headlined (and sold out) it doesn't make sense. In addition to this Gatherers would only get to listen to a one hour set.
Then there would be a problem with the dressing room and witnessing The Cult charge the fans $200 per head for a Meet & Greet.
Lastly, all their songs suck! They clearly have no integrity (they refer to their hometown as L.A.)...
On a more positive note KJ will be recording in Argentina just after Christmas and Brixton Academy is booked for Spring.
I do believe the band will play a private gig at Metropolis Studios (London) which is of course open to all Gatherers (you are the first to know!).
I hope you are all as relieved as I am!
Black Jester
PS I don't want your money
PPS Life without KJ is unthinkable!"
_________________________________________________________________________________________________
Some say a fan wrote it, not Jaz. It's hard to say or prove. Either way the gist is he was upset and pulled out of an upcoming tour with the Mission and The Cult and did not consent with his band and well, vanished. The band shortly thereafter released this:
_________________________________________________________________________________________________
A statement was posted on Facebook, reputedly by our singer, maligning both The Cult and The Mission and pulling us out of the shows.
He is now AWOL and has not contacted any of his band mates.
We are deeply embarrassed by this and offer our sincere apologies to all involved.
We are all concerned about our missing singer's welfare.
Killing Joke made a collective decision to play with The Cult and The Mission in September.
It was agreed by all of the band that we would do these shows. Indeed, we thought that they were something to look forward to, even though they were downsized.
We would still like to honor our commitment to this tour, the other bands, and all the Gatherers and people who have already bought tickets and made travel arrangements.
If this proves not possible, Killing Joke will make alternative arrangements to compensate for the trouble caused.
Meanwhile we are doing everything we can to make this tour happen and locate our missing singer.
KILLING JOKE
______________________________________________________________________________________________________
So what conclusions do we bring? Here are some possibilities of where Jaz is right now:
*He has been known to be a fierce idealist, and perhaps he was insulted by some of the things he mentioned in his note and knew his band would not necessarily back him up, so he just said fuck it and decided to lay low. If this is the case, he probably will not return until well AFTER the scheduled tour, as if he came sometime before the tour he would be met with much resistance and hard edging towards participating in the tour after all. People may be pissed off at him if he shows up after the tour but it'll be over and done and no questions made about him being in it. Maybe he's chillin' at his secret island or some place like that just kicking back.
*Another possibility.....Jaz has finally gone off his rocker, plain and simple. The insanity has caught up to him and he is overridden by it. He could have joined a random Gypsy caravan or circus troupe by now.
*He could have gone to off himself. The stuff in the letter could just be smokescreen so people don't look for him as aggressively and 'stop him'. Jaz has had a history of depression despite his great achievements- and he's made odd hints that he had suicidal thoughts from time to time (then again don't we all?)
*He mentions the private gig at Metropolis Studios. According the the band website, this is going to be Sept 8th, a few days before the 5 day tour that's supposed to happen with the Cult and the Mission. This gig will be very V.I.P. ...you'll be all cozy and close to the band and get 'free' beer and film crews will tape the gig and there'll be a meet n' greet afterward. The price? 195 quid. Kinda pricey!!! It seems very hypocritical of Jaz to accuse the Cult of charging $200 for their own meet and greet in the same note! Unless he has realized the connection and now refuses to participate even at the exclusive KJ gig. Ok, so this here point is not another possibility of 'where he is'..it's just something I'd thought I'd mention. It could prove partially he's not thinking straight, which could lead to any of the other points here...
*The aliens took him!! He's delved into some pretty fringe stuff, you know.
*Demons took him!! See point above.
*One of his ex-wives or girlfriends is trying to kill him and he had to 'vanish' awhile (hah)
*Some government took him! He's known to be a conspiracy theorist and almost all the content of the latest KJ album deals with this sort of stuff. Some suit and tie person coulda 'put the words in his mouth' for the note, a possibility aside from a fan doing so.
*He coulda just wanted to go live in teepee or something, but thought it'd be better (??) to leave some note with random shite in it rather than disappearing with no words spoken. If he also said he was going to live in the wild that might make people hunt for him more...see 'smokescreen' idea earlier..
*It's all an elaborate hoax. The band is 'in' on it. Perhaps even the Cult and the Mission are in on it!! Perhaps it'll boost attention, or it's all just giggles and shits!
*Note he signs his piece 'Black Joker'. Lots has been said about Jaz and Killing Joke. Very little has been said about the imagery of the holy fool/trickster/joker/jester that the band and particularly Jaz himself uses. People may just think it's just an image that looks cool. It was rumored Heath Ledger used Jaz's style of garb and stage makeup as inspiration when playing the Joker in the Dark Knight movie. Anyhow, I think since Jaz had read up on occult and folklore and such, the image is very important to him. In a standard card deck representative of tarot and other symbolic card systems, the red joker is a magician, the black joker the fool. The Fool symbolizes death and rebirth, intuition and seeing through illusion, communication and social gathering, delving inner depths (essentially emotional alchemy), initiation and search of experience, holy madness and crazy wisdom, both the beginning and the end, neither and otherwise, betwixt and between, the highest trump card yet the and lowest, recklessness yet wisdom. Sound familiar, like Jaz and KJ? So where am I going with all this? The Fool classically appears just as that, a simple fool..but he really knows something deeper and secret in life, he makes fools of us by us believing HIM to be the fool. So if he does weird shit like this (or when he fucked off to Iceland) it could be part of a greater plan we cannot see!
Anyhow I hope he's OK and we can indeed learn something from this Black Joker!
A final thought: perhaps all Killing Joke/ Jaz fans can conduct a ritual in our collective minds to bring about the return of Jaz, much like the ritual he did with Big Paul to find the other band members when KJ first formed!
Sunday, July 22, 2012
The Beat List
No, this is not a list of people I want to give the beats to (though I should work on that soon.....)
Here's a list of people directly (or very loosely) tied in with the beat(nik) generation of the 60's.
Jack Kerouac
Allan Ginsberg
William S. Burroughs
Kenneth Rexroth
Michael McClure
Philip Whalen
Gary Snyder
William Everson
Robinson Jeffers
Robert Duncan
Lawrence Ferlinghetti
Gregory Corso
Leroi Jones/Amiri Baraka
Charles Olson
Robert Creeley
Peter D. Martin
John Wieners
David Meltzer
Shig Murao
Kenneth Patchem
Philip Lamantia
Diane DiPrima
Slim Brundage
Margaret Johnson (M. Brundage)
Joan Kerouac
Joyce Johnson
Hettie Jones
Carolyn Cassady
Neal Cassady
Elise Cowan
Hettie Cohen
Jay DeFeo
Jackson Pollock
Franz Kline
Willem De Kooning
Larry Rivers
Dave Tough
D.A. Levy
Tuli Kupferberg
Richard Henry Dana
Henry George
Edward Markham
Charlotte Perkins Gilman
Jack London
Frank Norris
William Saroyan
Ambrose Bierce
John Steinbeck
Irving Stone
Emma Goldman
Mary Anderson
Henry Miller
Here's a list of people directly (or very loosely) tied in with the beat(nik) generation of the 60's.
Jack Kerouac
Allan Ginsberg
William S. Burroughs
Kenneth Rexroth
Michael McClure
Philip Whalen
Gary Snyder
William Everson
Robinson Jeffers
Robert Duncan
Lawrence Ferlinghetti
Gregory Corso
Leroi Jones/Amiri Baraka
Charles Olson
Robert Creeley
Peter D. Martin
John Wieners
David Meltzer
Shig Murao
Kenneth Patchem
Philip Lamantia
Diane DiPrima
Slim Brundage
Margaret Johnson (M. Brundage)
Joan Kerouac
Joyce Johnson
Hettie Jones
Carolyn Cassady
Neal Cassady
Elise Cowan
Hettie Cohen
Jay DeFeo
Jackson Pollock
Franz Kline
Willem De Kooning
Larry RiversDave Tough
D.A. Levy
Tuli Kupferberg
Richard Henry Dana
Henry George
Edward Markham
Charlotte Perkins Gilman
Jack London
Frank Norris
William Saroyan
Ambrose Bierce
John Steinbeck
Irving Stone
Emma Goldman
Mary Anderson
Henry Miller
Les Paul Vs. a Strat
It's like Coke vs. Pepsi in the guitar world. Blinding arrays of musicians, famous or otherwise, play either the Gibson Les Paul or the Fender Stratocaster. Many other guitars are simply variations or copies of these two. I would not give a a single point for originality for playing either one (especially since there are guitars out there that are lesser known but as good or better). That being said, I'd sure as hell give NEGATIVE originality points to all the copycat guitars, and there is a real reason why these two guitars are so popular. They play well, they work, their features have stood the test of time. I must say I started out a fervent Stratocaster type person, but now I grudgingly admit the Les Paul is probably slightly better punch for punch. Here's why:
FENDER STRAT:
*Body is fairly lightweight and has a good shape, sleek styling
*Neck is usually bolt-on
*Pickups are typically 3 single coils with a 5 way selector switch (5 possible sound variations)
*A master volume and tone ctrl thrown in..and you can tap into versatile array of sounds, from scorchin' blues to mellow jazz
*Usually has a whammy or tremolo bar for crazy dives and vibrato
*If set up right and a high enough end model, shredding is a breeze and playability is top notch
*Individual bridge saddles are adjustable so you can fine tune intonation and action quite well
*Special models offer noiseless single coil pickups, humbuckers, even ltd degree guitar modeling and alternate tunings at the flick of a switch (specifically the VG model for that last point).
GIBSON LES PAUL:
*Body is clunkier, less ergonomic than a Stat. However, this helps add to the beefy sound and killer sustain.
*Neck is usually not bolted on, but a set neck that is virtually seamless with body. This helps the sustain as well.
*Pickups traditionally are humbuckers, and will not have hum or buzz as much as the Stat's single coils will (unless the Strat is equipped with special noiseless single coils etc.) Humbuckers have a much more meaty sound. Strats are known for a sharp treble or 'twang' sound but it should be known that similar sounds CAN be had with a Les Paul. The sounds won't be exact, but then again the Strat could not replicate the Les Paul sounds so it really boils down to what your preference is. I believe the overall sound of the Les Paul is more balanced though. Alternate pick up options are available as well to have single coils and split coil sounds etc.
*Instead of just one master volume and one tone control, the Les Paul has two of each SPLIT for a Rhythm and a Lead channel. This is one of the greatest assets in a Les Paul. You can go from a mellow quiet Rhythm channel to a blasting 10 volume Lead channel at the flick of a switch. The sound of both channels can be combined at once when the switch is in center position and neither up nor down.
*Bridge is usually Tune-O-Matic style. It is adjustable for intonation and action just like Fender bridge saddles (though through SLIGHTLY different means). It could be just me, but I think bridges in this style hold most of the tension between the two parts, making the strings very low tension in the playing area and a breeze to manipulate. Whammy bridges are available for those who like that sort of thing.
*Despite the clunkier look, shredding on a Les Paul is no problem. The action is usually great, the neck shape is usually thicker with more of a cushion to rest your hand on, and playing for hours usually presents no ergonomic problems for most people.
*Gibson has its special futuristic model Les Pauls just as Fender would have for its Strats. For example, the 'Robot' Les Paul which has tuners that tune themselves and an option of using 7 different tunings, 6 which are editable.
*Cosmetically, the Les Paul usually looks great with a well rounded shape closer to a traditional guitar. Add in pearly fingerboard inlays, flamed wood tops, and other such features.
The conclusion is if you have a more basic Strat and a more basic Les Paul, Les Paul will probably have the upper hand, based on better sustain and resonance, heavier crunch (if needed), the availability of crisp tones that can sound just as great as the 'twangy' Fender tones, better bridges, TWO sound channels with independent controls on one instrument, and more fancy looks overall. The only glaring problem I've found is a Les Paul's body tends to dig in the ribs quite a bit, whereas Strats are more comfortable in that respect, and the Les Paul bodies are heavier. Also, if you just NEEDED that EXACT Fender twang sound, you'd have no choice but really go with a Strat.The question of whether a Les Paul or Strat is better becomes tricky since there are so many variations on even one of the guitars alone. If you take a top notch creme de la creme Strat versus a basic type Les Paul, the features may be such that the Strat is deemed better (ie a VG Strat is probably better and with more features overall than a basic Les Paul Junior..and it is reflected in the price!) I guess the final question raised is, why not have BOTH?
FENDER STRAT:
*Body is fairly lightweight and has a good shape, sleek styling
*Neck is usually bolt-on
*Pickups are typically 3 single coils with a 5 way selector switch (5 possible sound variations)
*A master volume and tone ctrl thrown in..and you can tap into versatile array of sounds, from scorchin' blues to mellow jazz
*Usually has a whammy or tremolo bar for crazy dives and vibrato
*If set up right and a high enough end model, shredding is a breeze and playability is top notch
*Individual bridge saddles are adjustable so you can fine tune intonation and action quite well
*Special models offer noiseless single coil pickups, humbuckers, even ltd degree guitar modeling and alternate tunings at the flick of a switch (specifically the VG model for that last point).
GIBSON LES PAUL:
*Body is clunkier, less ergonomic than a Stat. However, this helps add to the beefy sound and killer sustain.
*Neck is usually not bolted on, but a set neck that is virtually seamless with body. This helps the sustain as well.
*Pickups traditionally are humbuckers, and will not have hum or buzz as much as the Stat's single coils will (unless the Strat is equipped with special noiseless single coils etc.) Humbuckers have a much more meaty sound. Strats are known for a sharp treble or 'twang' sound but it should be known that similar sounds CAN be had with a Les Paul. The sounds won't be exact, but then again the Strat could not replicate the Les Paul sounds so it really boils down to what your preference is. I believe the overall sound of the Les Paul is more balanced though. Alternate pick up options are available as well to have single coils and split coil sounds etc.
*Instead of just one master volume and one tone control, the Les Paul has two of each SPLIT for a Rhythm and a Lead channel. This is one of the greatest assets in a Les Paul. You can go from a mellow quiet Rhythm channel to a blasting 10 volume Lead channel at the flick of a switch. The sound of both channels can be combined at once when the switch is in center position and neither up nor down.
*Bridge is usually Tune-O-Matic style. It is adjustable for intonation and action just like Fender bridge saddles (though through SLIGHTLY different means). It could be just me, but I think bridges in this style hold most of the tension between the two parts, making the strings very low tension in the playing area and a breeze to manipulate. Whammy bridges are available for those who like that sort of thing.
*Despite the clunkier look, shredding on a Les Paul is no problem. The action is usually great, the neck shape is usually thicker with more of a cushion to rest your hand on, and playing for hours usually presents no ergonomic problems for most people.
*Gibson has its special futuristic model Les Pauls just as Fender would have for its Strats. For example, the 'Robot' Les Paul which has tuners that tune themselves and an option of using 7 different tunings, 6 which are editable.
*Cosmetically, the Les Paul usually looks great with a well rounded shape closer to a traditional guitar. Add in pearly fingerboard inlays, flamed wood tops, and other such features.
The conclusion is if you have a more basic Strat and a more basic Les Paul, Les Paul will probably have the upper hand, based on better sustain and resonance, heavier crunch (if needed), the availability of crisp tones that can sound just as great as the 'twangy' Fender tones, better bridges, TWO sound channels with independent controls on one instrument, and more fancy looks overall. The only glaring problem I've found is a Les Paul's body tends to dig in the ribs quite a bit, whereas Strats are more comfortable in that respect, and the Les Paul bodies are heavier. Also, if you just NEEDED that EXACT Fender twang sound, you'd have no choice but really go with a Strat.The question of whether a Les Paul or Strat is better becomes tricky since there are so many variations on even one of the guitars alone. If you take a top notch creme de la creme Strat versus a basic type Les Paul, the features may be such that the Strat is deemed better (ie a VG Strat is probably better and with more features overall than a basic Les Paul Junior..and it is reflected in the price!) I guess the final question raised is, why not have BOTH?
Thursday, July 19, 2012
Happy Anniversary
Well, it's been a whole year of this blog, something I started just as a more colorful way to get thoughts down and remember cool random shite. This silly thing ended up getting more than 20,000 page views, from just about every country in the world, even though I initially was doing it without thinking of anyone besides me seeing it. It seems corny that I'm even doing this particular post, but oh well! Here are the top ten popular posts up to this point:
1. THE WORLD IS YOURS
2.Pictures of Women and Kids With Guns
3.Aerosmith's Nine Lives Cover Art
4.Infrared Photography
5.Fox Fur Color Changes
6.Korean Totem Poles
7.Le Corbusier
8.Undercurrent
9.From The Vaults: Et In Arcadia Ego
10.Mole Rat Vs. Mall Rat
The only other retrospective thing I've done was the idea of 'retro month' / From The Vaults
back in January. Basically all the posts from the year just past (in this case 2011) are looked over and certain special ones are picked, one for each day of the month. Also, instead of double posting them, they are actually lifted / transplanted / reincarnated from their original spots with only a brief mention in the title as a trace of when they were first posted! Maybe it's all cornball stuff but I hope at least some of you have been 'enlightened' by some of these posts..cheers!
PS. I shall now reveal the inspiration for the name 'fox actors'. This has very little to do with American TV networks and the actors featured on them, except maybe in word play or pun alone.
It has a lot more to do with the Japanese folkloric kitsune, and this is a hint of the greater conspiracy the blog is part of!
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