We would find any location with a working electrical outlet and set up late-night, poorly organized, anything-goes shows\u2014parking garages, Laundromats, the UT art building. We were really inspired by that famous show with J Church on the Lamar Pedestrian Bridge. Most of the recordings were made in really limited-edition mix-tapes for friends and such, so most of that stuff is out of print. I have a huge amount of unmarked CD-Rs from these kids, super scuffed-up and all. One of them came with a few shards of broken glass.<\/p><\/blockquote>\n
<\/p>\n
via malcolm elijah’s flickr<\/a>.<\/p><\/blockquote>\n
BEN JONES INTERVIEW<\/a><\/p>\n
Paper Rad isn’t a sexy story either. I’d like to be able to talk about it like a young New Yorker might talk about dance parties or graphitti or doing drugs, but when you ask me about Paper Rad I am going to have to tell you about how it was and is just a desperate vital exercise in finding meaning in life.<\/p><\/blockquote>\n
<\/p><\/blockquote>\n
CO-MIX BLAWG<\/a> by JASON OVERBY and BLAISE LARMEE (hilariously<\/a> URL’d COMETS COMETS)<\/p>\n
Performance is perhaps the most overlooked element in comics criticism today. It is the boogie man among indie creators who seek “unmediated expression” and it is indistinguishable from nonperformance in super-mainstream comics. In fact it is difficult to say there exists a nonperformative space in comics at all, since the entire reality of comics exists only in the mind of the reader and the creator.<\/p><\/blockquote>\n
AND<\/p>\n
Comics is a reductive medium. Visual forms are presented in the service of an idea and are simplified so that they may convey information clearly and concisely. The cartoon is a type of signifier that can be used to play mathematical games.<\/p><\/blockquote>\n
BRILLIANT<\/p>\n
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