Before getting into the guts of this though, there’s an idea that I want to float that’s been bouncing around in my head for awhile and that plays into this. For its 30+ year history, the personal computer has been tied to work. It was originally designed as a tool to be used in the office and it is still mainly seen as a tool to be used to do work. Whether that work is job related, school related, or even hobby related, computers are still primarily seen as a tool to be used for work. The idea that we can use computers to play music, to watch movies/TV, or to play video games; has only existed for the past handful of years and even then, people tend to view the ability to do work as a crucial component of what a computer is about.

Several years ago Alan Kay made the observation that the real revolution in printing was not undertaken by Gutenberg and his peers, but by the generations that came afterwards. Generations who took the printing press for granted and were not tied to the old ideas of what it meant to create a document. We’re starting to see the birth of this new view of computers now, but we are still beholden to the old ideas of what a computer is and what it is supposed to do.

I mention all of this because it appears to me that Apple gets this. And commenting on Apple’s products with out this understanding is missing the point of what Apple appears to be doing. While they have made some allowances to the old mindset of what a computer should be, they seem to have focused their strategy on the computer as a tool for entertainment. The best example of this is in the central role that the iTunes Store has taken in their offerings. Even beyond that though, compare the central role that MS Office has in the Microsoft list of offerings to the role that iWork has in the Apple set of offerings. Wednesday aside, one could be forgiven if they had forgotten that Apple even had an office suite. And the thing is, considering most of Apple’s success has come since this shift in strategy was taken, an argument can be easily made that Apple has hit on an idea that resonates with consumers.

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The biggest issue I have with Wednesday’s announcement was that it confused the message. Apple has set themselves up as the company that builds computers that aren’t about work. It then tied one of the most anticipated product launches of its existence, with an announcement of a new version of iWork. This was a huge mistake. The key reason that tablets have never caught on is because they suck as work machines. By announcing a new version of iWork at the same time as the iPad, Apple has just reminded everyone that tablets suck at doing work. This was a huge blunder on Apple’s part. There should have been no mention at all of work during that announcement. They should have focused exclusively on content providers, 3rd party development, and overall experience. (the chair was a nice touch though)

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A lot of comparisons have been made between the iPad and the iPhone. From a technical point of view this makes sense, but outside of that technical view, I’m not so sure. I’d actually be more inclined to compare it to the iPod, then the iPhone.

If you think back to when the iPod first came out, the most surprising thing about it was that it wasn’t that special. In the beginning it had two things of note about it. It was made by Apple, who had no history in this kind of market. And it was one of the most expensive players on the market. That was it.

This isn’t a situation that is that much different then the iPad. On paper there is no reason to own an iPad. It doesn’t do anything, beyond some bells and whistles, that can’t already be accomplished with either a laptop or a mobile computer, both of which are products that Apple makes.

When you look at the success of the iPod there are two major factors that come up.

1) The iPod had an interface that is intuitive and easy to use, when many mp3 players could be somewhat kludgy and cumbersome to use. This was the companies initial selling point. You could pick up an iPod, and with a few clicks and twists of the dial, you were listening to what you wanted to listen to.

2) Then came the iTunes music store, and Apple changed the way the average person bought music. They weren’t the first to use this model, but they refined it and they had the clout to bring the major content owners to the table when they didn’t want to.

Now the iPad has something that the iPod didn’t. It has the hype that goes along with having that Apple logo. Early adopters won’t be an issue, but the prolonged growth that the iPad will need to escape the AppleTV gravity well will require Apple providing something unique in the product that helps to define it in the minds of consumers. As I said, currently there is no reason to buy an iPad. Apple needs to create that need.

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In someways I see the iPad as the current embodiment of Apple’s move from seeing computers as tools for work, to seeing them as tools for entertainment. As I see it, it is the ultimate casual computer. The computer you reach for when you want to surf the web, read casual emails, watch videos, or casually game. Where I tend to view laptops or desktops living in an office of sorts (whether that is a physical office, or a dinning room table/kitchen counter that doubles as an office when you want to pretend you’re not the kind of person who has an office). The iPad I see more as living on a coffee table or night stand or where ever the hell you left it the last time you used it. It’ll be interesting to see if it actually plays out that way or not.

First up was Nerdapalooza. To say this fest was amazing feels like a horrible understatement. A revelation? Yeah, that sounds about right. If you are interested at all in geeky/nerdy music, consider it a moral imperative to hit this fest. The longer you wait, the harder you’ll kick yourself that you waited so long. I’m already jonesing hard for next year.

Right about the time that I was finally clearing my head from NP, it was time to start getting my shit together for Floydfest. Floydfest is a modern representation of a scene that I was fully immersed in at the end of the 90s. I wondered off for a number of years, but I’ve been racking my brain trying to figure out how to get back into this scene for the last year or two. Floydfest wasn’t my ticket back, but it was a welcome reminder of why I loved this scene so deeply. A beautiful reminder of how much raw magic can exist in music that comes from the heart. I wasn’t in the best place when this fest started, but after the first set, I felt like I was home.

Unfortunately, after getting rained on several times during the fest, I came home with a cold. By the time I kicked that, MD was in the middle of August, my arch nemesis. August and I do not get a long during the best of times. For those who’ve never experienced a mid atlantic August before, it is oppressively hot and muggy, full of days where breathing unfiltered air is literally hazardous to your health. This summer luckily has been pretty mild, but I’ve still been fighting a horrible mood for most of the month. Its that time of year when I’m just not happy with much of anything.

I came home from NP with a renewed sense of urgency to listen to geeky/nerdy music. I heard so much great shit that weekend that I wanted to just soak it all up and get caught up on all the crap I’ve missed. Floydfest kind of derailed me when I came home with over a dozen CDs (one of the best things about volunteering at the merch tent? Getting comped CDs when the bands do well). I’m trying to get back in the groove though, and here are a couple of the things that I’ve been picking through. A lot of this stuff is old news to folks who are up to speed, but I need to get back into writing so I’ll start here.

First up, while there was a ton of great sets at NP, one of the ones that just came out of left field and grabbed me was the Scrub Club showcase. Its kind of odd, because it wasn’t one of the sets that grabbed me right then and there, but it was one of the sets that I’ve found myself thinking about the most since. So, when I finally got back on track, they were one of the first places I hit. I’m still making my way through their catalog (all of which is free by the way), but there’s some pretty good shit here. Considering the cost, I recommend checking them out. Especially check out Doc Awkward’s Next Gen EP which is just insanely good. Awk was probably the biggest breakout star of NP, and this EP shows exactly why.

Speaking of Scrub Club, they’re running a beauty pageant style competition right now to find the next Scrub Club member. The first challenge involved each artist writing a brand new track that show cased who they were and what they’re about. The tracks can be found here. Each artist has their own thread and there’s some damn good talent there. Also of interest to new MCs, each track is critiqued by the judges. I’m not an MC myself, but I imagine those threads could be a treasure trove of good advice. I need to give the tracks a few more listens before I officially pick my favorite (not to mention check out other tracks from them), but at the moment I’m going to go with MC Diabeats, since she’s local. I do feel compelled to say that 3rr0r got fucking robbed! He wasn’t the best, but in my mind, he wasn’t the guy that should’ve been cut. I’ll keep my mouth shut on who I thought should have been cut though. To each their own, and its Scrub Club’s ball, so I’ll let them play the game as they want.

One of those cool little moments at NP came the last night, after the festival ended when I got a chance to just hang out and shoot the shit with a bunch of different folks (according to some notes I scribbled, the crowd included MC_Loki, Starf, 3rr0r, killsaly, and a couple of other folks). At one point, Loki was passing around a set of headphones and letting people check out a track that he was working on with MC Diabeats. The mix was rough and the vocals were a little off, but I remember digging the track. Well, it seems the track has been finished up and Loki threw it out on the Scrub Club boards. You can find the track here. The idea is a concept EP focusing on Vampire: The Masquerade. The whole thing is supposed to drop at some point in Sept. Given the opening single, I’m more then a little curious about what’s to come.

OK, this post is getting fucking long. I’ll wrap this up then with one last link. Its the most obvious one, but there’s a reason I’m putting it up. Go check out the new RhymeTorrents site. This sub board has all of the articles that were on the main page, which means it has links to all the albums and EPs that the site has announced. The reason that I’m mentioning this is because while I was reading this thread, which I need to fucking study later, I came across a comment from Super Dragon X. He was talking about how he’d wondered away from the boards for awhile and when he came back he was shocked at what he found. His gist was that the difference between the music being put out now, compared to what was put out just two or three years ago, is just fucking nuts. Everyone’s stepped up their game, and the scene is drawing in some new talent that is just flat out amazing. If you picked up one of the first two or three RT comps and went ‘eh’ and wondered off, give this scene another shot. There’s still room to grow and evolve, but where before a handful of good artists drowned in a sea of shit that didn’t even rate as mediocre, the new community is one where quality work is much much easier to find and pick up on.

OK, that’s it. Hopefully I can get back to writing more shit.

So, Friday is the start of Nerdapalooza 2009. If you aren’t up on this fest, give the link a read and if there’s any chance you can make it over to Orlando by Saturday, I recommend it.

So after hearing about all the fun that Z had last year, I’ve decided to make the trip south myself to get in on the action. My original plans had me hanging out with Z for the weekend, but sadly life has gotten in the way and Z had to bail. Now that my plans to follow Z around like a lost puppy and leach on his nerd fame have been scrubbed I figured my next best option was to organize a little gathering.

Actually, I threw the idea out on Twitter earlier today and got a couple of nibbles and some serious encouragement from @freakapotimus, so I figured what the hell, lets see if we can pull this one off.

So here’s the situation.

The meet will occur on Saturday from 11:00 AM - 1:00 PM in or near the pool side bar. If it is raining, then we’ll do it in or near the Coral Key Lounge (the bar inside). This will allow those who wish to swim the chance to do that, and the rest (i.e. me) to at least, hopefully, get our drink on. The time will hopefully give those who want to hit all the music a chance to meet before the show starts, while still giving the late risers a chance to take part before things get going.

Of course, while it might be fun to watch all of you try to find each other during the allotted time with no help, let’s make it easy for you. This is what you’re looking for… me.

I’m not an easy guy to miss. 6′2″, about 300 lb., short brown hair, glasses, and answer to the name Matt. I’ve had a couple of people look at me and automatically assume that I used to play linebacker in high school (I didn’t, but I kind of have that linebacker gone to pot thing going on). I’ll be wearing either blue jeans or cargo shorts. I’ll also be wearing a t-shirt that says “geek” on the front (see shirt here). I promise to be at the above spot by 11 and promise to stick around until at least 1. If its sunny, I’ll be at the pool, in the general area of where ever the liquor is. If it’s raining, then I’ll be inside, in the general area of where ever the liquor is.

If you think you’d be interested in joining in on this little meet and greet, leave a comment below letting me know that you’re up for it and may be an idea of what you look like so I can keep an eye open for you. You may also want to follow me on twitter. I’ll make sure I post any updates to that feed, including while I’m at the fest. While I’ll be posting though, unless you can DM me, I’m probably not going to see anything you send to me on Twitter. I have a normal phone, so I’m just getting texts.

OK, I think that’s it. If you have any questions, let me know. My plane doesn’t leave until Friday night, so I’ll check back at this site until at least 5 PM EST on Friday. If the hotel has free wi-fi, then I’ll see about checking on things in my room.

If you’re familiar with Joe Prichard at all, it is probably as the front man, and primary songwriter, of the Morgantown, WV outfit The Recipe. Through out the mid to late 90s, The Recipe were the musical equivalent of that ball from Katamari Damacy, scooping up new fans every where they played. The band’s sound was a mix of traditional Appalachian mountain music and Joe’s unrepentant love of the Beatles and 60s brit pop. While usually lumped in with the jamband scene, the group eschewed long jams in favor of songs that were instantly in your head, easy to sing along with, and, most importantly, damn fun to dance around to. It was this mix which was at the center of the Recipe phenomenon.

Unfortunately, while the 90s were very good to the band, this decade was less so. Shortly after the decade started the band lost female vocalist Kristen Wolverton, whose larger then life personality was a big part of the Recipe identity. They quickly rebounded from this though by picking up Julie Edlow to fill Kristen’s slot and began the process of rebuilding their momentum. Before they could really get themselves back on track though, the band stumbled with a long series of line-up changes, owing in large part to their relentless touring schedule. The band limped along for a couple more years, eventually cutting back on touring, before finally calling it quits in ‘07 with Joe as the sole original member left in the group. The band still occasionally plays now and then and still puts on their Recipe Family Cookout festival at Nelson Ledges in OH, but no longer tours.

Just Play the Damn Song is Joe’s first album since officially dissolving The Recipe, and it’s an interesting continuation of his career as a song writer. While The Recipe’s sound was a mix of Appalachia and England, it tended to skew more towards Appalachia, especially later on in its life. With his first solo album, Joe seems to be pushing the mix in the other direction. There is little of the fast breaks and flat picking that one might expect from a song writer who grew up in WV. Instead there’s more of a roots rock feel that is informed by 60s pop and a definite Beatles influence. Since the album is a Joe Prichard solo affair, instead of the work of a fixed band, the arrangements are allowed to shift to what the song needs, though they tend to focus on guitars, bass, and drums, with a little keys and percussion here and there as accents. Smartly Joe’s kept one of the best things about the Recipe sound though, its focus on the rhythm. While the Appalachia:England mix has changed, Joe is still writing great songs that aren’t just easy to dance to, but almost compel you to move.

While the album changes the formula a bit, Joe isn’t making a total break from his past. The album features a handful of tracks that debuted as Recipe songs, a couple of which were even recorded by The Recipe, but the new takes, while echoing their original versions and being the closest Joe comes to mimicking the Recipe sound, also seem to have something a bit different about them.

The result of all of this is a very strong first effort that puts Joe’s song writing up front. Given Joe’s history, it probably would have been easy for him to put together an album that included some great pickers and really celebrated the Appalachian sound. Instead, Joe is standing alone on this album for better or worse. If you like this album, you will want to pay attention to Joe’s work. If not, then may be this isn’t for you, as crazy as I may think you are.

The underlying sense I get from this album is that of a song writer, faced with having to stand on his own in the wake of his band’s break up, returning to his roots and rediscovering why it is he’s doing this. I’m not sure how much of this is me having gotten to know Joe years ago, but I just get the feeling that he’s having a lot of fun with this album. Listening to some of these songs, I can almost picture that grin of his.

The Recipe were never a band that tried to be anything that they weren’t. They played the music they liked, free of pretension. For me, that was always the most obvious expression of their Appalachian roots. They were part of a tradition that saw music as a part of life. A reason for people to come together and enjoy themselves. They were not a band that was concerned with being rock stars, just paying the rent and the bills. Joe’s mixed up the formula with his first solo album, but that central drive, not of stardom, but of just playing music people will enjoy, is still obvious.

I would especially recommend this album to fans of the Wizard Rock group The Remus Lupins. The sound is a little fuller, with a more roots rock flavor to it, but there are more then a few similarities between the two groups, owing in large part to both band’s obvious debt to the Beatles. For non WRockers, I’d recommend this to anyone with a fondness for late 60s, very early 70s, roots rock music. The Band or The Byrds, might be good touch stones, but with a more meaty sound.

While they aren’t the best representations of the fleshed out versions of the songs you’ll hear on the album, here are two video clips of Joe doing two songs from the album live.

Down With Hollywood

Get Back Down

The initial idea for this mix was to do two mixes, each about 45 minutes in length (the length of one side of a 90 minute tape). The first would be labeled Saturday Night and have some fun tracks to move around to. The second would be labeled Sunday morning, and would be kind of a modern riff on the programming that they used to have on Sunday’s on the DC NPR station WAMU. Before the station slipped into copy cat NPR land, Sunday’s were dedicated to mountain music. A mix of country fried gospel, old school Country and Western, and a whole bunch of string band music thrown in for good measure. It was a great way to start off a nice relaxed Sunday. And the perfect music to sooth that little hang over that served to remind you of the depravity of the night before. Alas, I could just never get Sunday to come together like I wanted, and I’m still casually working on that one. So, you only get Saturday Night, and while there’s a little religion in this mix, you’re pretty much on your own for saving your soul.

Saturday Night (a love note to the rhythm section)- a mix from free-geek.
(note: The link to the file is at the bottom of that page, under the ad, if the download doesn’t work for you, try again later. If someone knows of a better free service, please let me know)

Hello Bonjour - Michael Franti & Spearhead - Yell Fire!
Franti’s an artist who typically takes repeated listens before I can really get into his tracks. And even then, there’s some tracks I love and others that strike me as just OK. Backed by none other then Sly & Robbie, one of the most famous and respected rhythm sections in reggae, I knew this track was going to be fun. And it delivers in spades. I dare you to stand still while listening to this track. And since it’s at the beginning of the mix, you can easily hit rewind over and over again.

Chop ‘Em Down - Matisyahu - Live at Stubb’s
When Matisyahu first popped up he was a bit of a novelty. A Hasidic Jew singing reggae? Surely this was some kind of joke. This live version of Chop ‘Em Down shows why no one thinks he’s a joke anymore and if you still think he’s a novelty, you’ve obviously not heard him. Where Franti brought the politics that so commonly peppers reggae tunes, Matisyahu brings the religion that is just as important.

33 RPM - John Brown’s Body - Spirits All Around Us
After the politics of Franti, and the religion of Matisyahu, it seemed only fitting to close out the reggae portion of this mix (or Act 1 as I like to think of it), by turning inward with this JBB track about the healing power of throwing on the headphones and loosing yourself in your favorite music. Plus, the bass hook in this track is just mesmerizing. If the rest of the song was crap, that bass line would keep me coming back. The fact that the rest of the track is equally as strong just makes it that much better.

No Clothes On - All Mighty Senators - Raw Power Live
Opening up the second act of this little play, you need a track that really makes a mark. I decided to go with the Baltimore, MD institution known as the All Mighty Senators. Fronted by Baltimore’s own super hero Landis Expandis, AMS have been gigging since the mid to late 80s. No Clothes On is an older track that gives you a taste of what a Senators show can be, but don’t be fooled, this is a band that must be seen to be believed.

Hey Good Lookin - The Bomb Squad - Sophistafunk
After the Senators I was tempted to pull out one the Bomb Squads scorching high energy funk tracks. Instead though, I decided to throw in a little curve ball action by going with this more low key number. The old bump and sway is still there though and this is a great track off the band’s first album, back when they were still fronted by the great Jen Durkin.

Stop The Bus - Grace Potter and the Nocturnals - This Is Somewhere
Of course, going with the low key Bomb Squad track also gave me a nice set up to move the mix into Act 3, the bluesy act. Here we have the wonderful Grace Potter and the Nocturnals with a track off their second album. I’ve got to say that there are some tracks on this album that don’t really grab me, but that’s in part because the tracks that do grab me do it just so damn well that “good” just seems like an insult. Stop The Bus is a great example of this, with a great bass line that locks the track down and gives it the slink that it needs to underline Grace’s lyrics.

Drop Down Mama - The North Mississippi Allstars - Shake Hands With Shorty
This was probably the hardest track to place on the entire mix. I knew I wanted a NMA track on the album, but which one!? NMA is one of those bands that look so good on paper, you’re sure they aren’t going to have anything where it counts. A power-trio lineup that includes two of Jim Dickinson’s sons, and that used to include Duwayne Burnside, son of famed blues man, RL Burnside, on second guitar. The fact that they play so well that you forget all of that, is just short of amazing. Drop Down Mama is an electric jook joint number that gets your toe tapping about 3 seconds after it got your ass shaking. Another track that I dare you stand still to. And seriously, if you ever get the chance to see these guys live. For the love of god, do it! You’ll thank me later.

I Need More Love - Robert Randolph & The Family Band - Unclassified
If Drop Down Mama is the jook joint on a Saturday night, Randolph is church on Sunday morning. That is if Sly Stone was the preacher. Slide guitarist Randolph originally came to his instrument via the sacred steel musical tradition that’s associated with the House of God church. I’m not even going to pretend I’m familiar with that tradition, but there is a definite ecstatic joyful noise to the man’s music. As mentioned earlier, the most obvious touch stone for the Randolph is Sly Stone and the Family Stone (nope, I don’t think the name thing is just a coincidence). I Need More Love is a pretty solid introduction to the man’s music; funky, fun, positive and sure to put a smile on your face almost as wide as Randolph’s.

That’s What Love Will Make You Do - Little Milton - Stax 50th Anniversary Celebration
Since I decided to impose upon myself the old 45 minute time limit that has defined so many mix tapes, I ran into one of the hardest decisions there is. What is going to be the last song you pick for inclusion in the mix? While this isn’t the last song per say, it was the last one I picked. It needed to fit into the over all vibe of the tape, and had to be the right length. To long, and I’ll miss the time restraint. To short, and you end up leaving a ton of dead air on the tape. Luckily, when I picked through my iTunes catalog I noticed a collection I’d downloaded off eMusic of old tracks from the venerable Stax Records. And sure enough, Little Milton doing the classic That’s What Love Will Make You Do, filled the void perfectly. It has enough swing to sit along side Robert Randolph and hold its own, but it also has enough blues to remind us that we’re still in the bluesy third act of this little mix. Beyond that, its a great take on a great song that was released on a great label. What the hell more do you want then that?

One Step Closer To You - Michael Franti & Spearhead - Yell Fire!
I know it is a sin of mix tapes to include two tracks from one artist. And I know that two tracks from the same album makes it even worse. That said, I thought there was a nice symmetry to ending as we began. And after the third act, I thought this track might offer a nice counter point. Sometimes after being blown away by a hot band at a club, something nice and chill just hits you perfectly. For me, and how I was envisioning this little mix, One Step Closer hits the mark, both in vibe and message.

So that’s it folks. 10 tracks of fun. I hope you enjoyed it and came away with some new tips on groups/albums that you want to check out. As I said above, if you dig this and would like to hear more, leave a comment below. I have been accused of having widely eclectic tastes in music, so who knows what the next mix will end up like.

Specifically, I’m wondering if what we’re seeing these days is standard cultural apropriation. This is a pretty common occurrence, with one culture appropriating elements of another culture, mutating them into something that is their own, and then, usually, passing them on to another culture. While at its worst, cultural appropriation can sometimes leave some folks with a bad taste in their mouth (I imagine there are still folks who froth at the mere mention of World Music), it can generally be a fairly healthy and good thing for all involved. As long as those in the group who are being appropriated from don’t get to hung up on how the group that is doing the appropriating mutate the pieces of culture that they grab.

Probably one of the most famous examples of how this can be done well is the early history of rock and roll. Originally involving the “white mainstream” (that isn’t really the term I want, but I can’t think of anything better) appropriating the blues and r&b of black jook joints to create early rock and roll; with folks like Elvis, Jerry Lee Lewis, Bill Haley, and a host of others. The Brits then latched onto both those same roots and those early rock and roll groups. They took those sounds and mutated them into something that was uniquely their own; with folks like the Beatles, the Stones, the Yardbirds, and others. From that the Americans took the ball back, launching the garage rock rebellion which quickly evolved into the early psych scene. The Brits were feeding off those same sounds as well, and came back with a psych scene all of their own. Leading to the American and Brit pop music scenes just feeding off each other for years and creating some wonderful music. And lest you think those early jook joint players were left completely out of in the cold, the Blues was not only able to use this new feeding frenzy to get some recognition, but also did a little appropriating of their own. And Jazz, of course, walked out of the deal with Fusion, a blatant appropriation of rock and funk.

In the mid 90s, the geek world took possibly its greatest creation, the internet, and injected it into western society. (Obviously, it wasn’t just western society, but that seems to be the scope of this discussion). From there the mainstream, underground, and geek worlds have been constantly mutating and evolving this creation to the point that no one really even knows what the hell it is anymore. One of the most profound effects it has had on all cultures though, is its ability to lower barriers of entry until they are all but nonexistent. Pick the most obscure fringe culture you can think of, and they are now only a (im)properly worded google search away from being found. For many people this is an incredibly intoxicating idea to contemplate. At least until the masses of unwashed show up on your doorstep and start appropriating and mutating things that have genuine meaning for you.

Long seen as social pariahs who were largely ignored by western society. Geeks have little experience in the giving side of cultural appropriation. In the past, if we have been acknowledged by other elements of our society, it has typically been as comedic stereotypes with little depth. Over the past fifteen years those this situation has begun to shift. We are still largely the primary tool builders and early adopters on the internet. Given that the internet is quickly becoming the primary backbone of communication in western society, it seems only natural that we would suddenly find ourselves in a much more integral role in the shaping of that society. In short, long ignored, we have now found ourselves the center of attention, and as such are ripe for cultural appropriation.

Most of us typically view various cultures as discreet entities that evolve internally. In fact this is not how cultures exist at all. Most cultures will have a center, which is the most dense and uniform and around which the rest of the culture revolves. But it also has fringes, and through these fringes new ideas and concepts are introduced to the culture. It is these new ideas which cause the culture to evolve and grow. Out on the far fringe of any culture there is a grey area, where it becomes difficult to separate one culture from another. It is this far fringe where evolution first begins.

Basically, it goes down like this. Someone existing out in this grey area comes across an idea or concept that’s floating around one culture. They take this idea and share it with someone who is a little closer to the center of another culture. This person then shares it with someone who’s a little close to the center of that same culture. So on and so forth, the eventual outcome is that this new idea or concept works its way into the center and causes the culture to either evolve or breakdown, depending on whether or not it can handle this new idea or concept. (most of the time, they do just fine) The thing is that by the time this idea or concept has made its way to the center, it has evolved and mutated into something that, while possibly similar in some respects to its original, is unique to this culture. Kind of like a weird ass game of telephone.

This is what we are dealing with here, in my opinion. After being largely ignored, thanks to our creation of the internet, our ideas and concepts are working their ways towards the centers of other cultures. As they do so, they are mutating and changing. For instance, one person may dig the “new media” angle of the whole thing, but have certain hang ups about D&D or Magic The Gathering. And so, their definition of geek evolves into this thing where that isn’t part of the equation and it is even OK to look down on ‘those types’ of people. Others may view being a geek as being able to pronounce words like ‘meme’ properly, and so they create a definition where it is OK to ridicule those folks who do not. All of this is part of the process. An outside example of what I’m talking about would be what happened to the punk underground after Nirvana broke and the definition of what it meant to be a punk suddenly began the rapidly mutate.

So, the question becomes, how do we go forward from here. History shows us that cultures/movements which become hung up on how other cultures appropriate their ideas, quickly become stagnant and whither. On the other hand, cultures/movements which either ignore it or go tit for tat and start doing some appropriation of their own, typically can thrive in this environment and find their cultural stock increases exponentially over time. Japan for instance, was in some ways totally stagnant during its years of cultural isolation, but after it began appropriating the crap out of the American culture in the post-WWII era, it turned itself into a cultural juggernaut.

Bottom line, it was our invention of the internet which created this mess. We can either piss and moan about whether this person is or is not a geek. Or debate endlessly about what a “real” geek is. Or, we can do what we do best and give with one hand, while appropriating everything in sight with the other.

Of course, there’s another angle to all of this. As more and more of our ideas are soaked up by other cultures, especially the mainstream, it gives our younger brothers and sisters more leverage with which to navigate the trials which typically befall us as we grow up. So ask yourself, is spending your time dictating how your more of a geek then Shaq (psst, he doesn’t know who the fuck you are) more important then cutting down on the number of times the next generation gets shoved into a locker?

And just for the record, this message is being beamed to you straight from a location with in the grey zone. Centers are boring.

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A year or two ago a friend of mine was comparing her younger days in the late 70s and early 80s traveling up and down the east coast going to sci-fi cons to some of our friend’s experiences at about the same time, traveling around following the Grateful Dead. She noted several similarities, but did allow for one major difference. As she put it, they “had better music.”

Now, at the end of not only my first Potter conference, but my first con of any sort, I’m not sure that the new generation of fandom will end up suffering from the same fate.

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Random thought that keeps popping up in my head after seeing the Wizard Rockumentary;

“Wizard Rock kids are the brats of fandom. They are undoubtedly the future of fandom, but they aren’t willing to just sit around and talk about it. They also want to sing and dance. They aren’t just happy with being who they are, they want to celebrate it.”

The average age of any event at Portus dropped 5 - 10 years (may be more) when the event was WRock.

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Young fans have no history of festivals, but they do know cons.

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And now, the idea that prompted this garble of thought:

What if we jettisoned the festival model and instead used cons as the driving model? A weekend. A hotel. A crap load of music. Workshops and classes on recording, distributing, doing shows, booking tours, song writing, using software tools, all kinds of other stuff. Not just let people dance and sing, but show them the tools and then teach them how to use those tools, so that they can take part instead of just watching.

Big events for the “stars”, but also smaller events for up and coming artists. Open mic sessions.

Let folks rent out conference rooms for shows. The FL kids, as an example, could pool money to rent one room for their performances. Boss Fight or Nerdy South could rent another room to showcase their artists.

Maybe even expand outside of just music. A theater running vids and fan movies. Fan fic workshops.

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It is a thought, you have to give me that.

Credit for my ah ha moment needs to go to The Blibbering Humdingers, Fred Lives, and House of Black, who were responsible for this scene that I found when I showed up at the Post-Portus Dance Party

Blibbering Humdingers

Fred Lives and House of Black

The weekend was… interesting. Apparently at some point I pissed off Eris again and she decided that this week would be her revenge. I came down with a cold on Tuesday which resulted in me missing the Mickey Hart Band show on Wednesday night. The cold, combined with my terminal case of shyness in real life, left me in a weird state for most of the weekend. All of this seemed to come to a head Friday night when I spent most of the night with my hearing out of whack because of the pressure build up.

Things began to turn around on Saturday. At the last minute I made the decision to go see the Wizard Rockumentary, instead of seeing Oliver Boyd, The Blibbering Humdingers, and Owl Post. I’m still bummed at missing those sets, but the movie was in many ways a revelation. I picked up the DVD after the screening and watched it again last night. I’m sure I will at least be watching it on the flight back tomorrow. I’ll try to get a review together at some point, but right now it is a bundle of half formed ideas.

Which kind of sums up where my head is at about this whole experience. A jumble of half formed ideas which may or may not ever fully gestate. I’m not sure if I’ll be coming to one of these symposiums again or not. I think, given why I came here, something like WRockstock would probably serve me better. I am glad I came though. It wasn’t what I had expected, though in many ways my expectations were unfair and unrealistic. It was real though.

Whether or not a real review of this weekend ever surfaces, video of many of the performances will be popping up over the next several weeks. So far I have almost 4 gigs of videos and the dance party still to go. I’ll throw up a note as they begin to pop up. I think I’m going to look into actually learning how use iMovie before posting these.

The reason that I bring this up is that in one of his books, Fulghum talks about advice for taking a trip. His first bit of advice is to spend the first night close to home. This way you can ease into the trip and if you realize that you forgot something important, it isn’t to much of a hassle to go back for it.

This weekend was the first night on my little WRock trip. For this first excursion into the Wizarding world, my hosts were the Monsters of WRock; Justin Finch-Fletchley, The Whomping Willows, Draco and the Malfoys, and The Remus Lupins. The situation was ripe for comparisons to my first WRock show back in August, since that show also featured the Lupins and the Willows, and the show occurred at the same venue.

While the show in August was a really fun show which opened my eyes to the possibilities inherent in the WRock scene. The show last Saturday extended these lessons and served as a reminder that, even with the series over, this scene doesn’t seem to be slowing down in the least. While the energy at the Aug show took awhile to ramp up, not really gelling until near the end of the night, Saturday’s show started off strong and built from there.

The night began with a set from JFF. Prior to the show the only thing I’d heard from Justin was his EP in this year’s Wizard Rock EP of the Month Club. The CD had gotten a couple of listens, but hadn’t really clicked with me. The tracks were fun, but not amazing. While I would love to say that Justin live was a revelation, it wasn’t. It was a lot of fun though. His songs have a strong sense of beat that leaves me with a slight after taste of early rock and roll, back when it hadn’t fully shed its rhythm and blues roots. His set began with just him on acoustic guitar. While he was later joined by Brain from the Malfoys (bass) and Matt from the Willows (drums), the full band set up wasn’t really a requirement, more a fun flourish that freed him to push things into a few other areas. The first couple of acoustic numbers showed that he was more then capable of handling his set with no help at all. It also pushed him into the circle of artists that I’m curious to see where they go from here.

After JFF, we were treated by the first of our two returning sets, The Whomping Willows. Recently Matt seems to have started playing more electric shows. I’m not sure if this is just a passing fancy or if it marks a change in his live sound. His albums have always featured generous use of electric guitars and full band arrangements, but his solo touring has necessitated an acoustic approach.

This hasn’t necessarily been a bad thing on his part, but it does limit him somewhat. His style of strumming folk pop comes across best when he is given an audience that is familiar with his work and willing to sing along. Minus this crucial piece, the shows run the risk of dragging. Matt’s banter from the stage and dry wit are strong tools to win the crowd over, but he is basically working with out a net with just him and his acoustic.

The electric though suited him really well. Accompanied by JFF on bass and a drum machine that has been christened Whompy Jr, Matt was free to deliver his songs with a dynamic that is near impossible to pull off with just an acoustic guitar. It leant an air of energy to his slower moodier songs. And pushed crowd favorites over the edge. I Found A Loop Hole was allowed to really achieve the rock and roll glory that has always been simmering underneath and songs like Draco and Harry and Wizard Rock Heartthrob were given an added bounce that had the entire room moving and dancing along, not to mention singing at the tops of their lungs.

This was my first chance to see Matt playing electric, and I really hope someone is feeding him some early Billy Bragg records so he realizes that there isn’t really a need to go back to the acoustic. Not that there wasn’t a certain sense of charm to the old shows, just that the new style provides him with a much better setting in which to display his talents.

Following Whompy’s set could have been a pretty arduous task for a lot of groups. Luckily, this tour had the Malfoy’s on hand. Making their first appearance in VA, the group decided to open the set up to requests from the audience, except for a couple of new tracks to promote their new CD. This was also my first time seeing the Malfoys in person, but judging by the YouTube videos I’ve seen of the group, we got a pretty typical high energy show that was focused squarely on making sure everyone had as much fun as possible. Of the small group of WRock bands that I’ve seen so far, the Malfoys definitely seem to best represent the idea that at its core, WRock is first and foremost about having fun. While the budding social consciousness of the scene is a wonderful turn of events, the scene would be well served to make sure they hit a Malfoys show now and then and remind themselves of this lesson.

With three bands down, it was left to the Remus Lupins to wring out any last drops of energy that the crowd had in them and the group definitely did not disappoint. Kicking their set off with Snape, Alex and the boys kept things at a fast boil through out their set as they wound their way through a set that was heavy on crowd favorites, while still giving room for new tracks from the new album. It is interesting to see just how quickly new songs work their way into being crowd favorites with the Lupins. Songs like Alone on Valentines Day and The Weasleys, off an album that might be a year old, were greeted by the crowd with the same energy and excitement as older songs like the Ballad of Neville and Luna or Snape.

The only divergence from the groups formula of high energy dance numbers was the obligatory rendition of Remember Cedric. A perfect chance for the crowd to catch their breath and cool down a little bit, Alex still managed to mix things up. Before playing the song he instructed the crowd to sit in a circle in the middle of the room. In the center of the circle Alex played solo with just his acoustic guitar and no amplification. As he played, he coaxed the audience into singing along, not just with the chorus, but the verses as well. The effect was magical. This only marked the second time I have seen the song performed live, but I challenge anyone to point to a more amazing rendition. The raised voices of the crowd perfectly capturing not just the mournful qualities of the song, but the defiant cry to continue to fight in the face of tragedy.

After such a wonderful performance, the rest of the set could have easily become anti-climatic. Alex quickly got the focus of the audience back though by picking up where he had left off before Cedric, including bringing the room right back to a fit of energy and moving bodies. Finally capping the evening off with a typically boisterous rendition of Looking For Trouble, this one featuring Grace, from Snidget, on backing vocals.

And then the night was over. Autographs were signed. Pictures were taken. Merch was sold. As I headed out to post-show burritos, thanks to an invite from Grace, I was left with a slightly bittersweet feeling. This party was over, but I was only days away from my trip out to Texas where the party would undoubtedly continue. If this was the first night of my trip, where would things go from here?

The day before this show I decided to use up some birthday gift cards and purchased a video camera. The results aren’t great, but I don’t think they’re that bad for my first time. At this moment, I’ve loaded up six videos to my YouTube page, which you can find here. I’ll try to get some more loaded in the coming days, but that should give you a little taste.

One video that I should single out, given the above review, is Remember Cedric. It really was that magical.

First up, this Saturday is the DC (actually Vienna, VA) stop on what I am referring to as the Monsters of WRock tour (if you get the joke, you get the prize, a nice new hearing aide!), featuring Draco and the Malfoys, The Remus Lupins, The Whomping Willows, and Justin Finch-Fletchley. Interestingly enough, the show is at the same place that Church and I saw the Lupins and the Willows last year. Exactly how so much unadulterated WRock is going to fit in such a tiny room, is going to be half the fun of going.

Saturday is only a warm up though, the following Wednesday, the real fun starts. First, I head out to the Birchmere to catch The Mickey Hart Band. For those who don’t know who Mickey Hart is, which I’m assuming is all of you, he was one of the drummers for the Grateful Dead. I’ve seen him half a dozen times, in various groups, and he has never failed to deliver an amazingly fun show. Not to mention, a night hanging out with random deadheads is always recommended.

The day after loosening up with Mickey, I hop on a plane and head out to Dallas to attend Portus for four days of WRock. Groups include, The Mudbloods, The Moaning Myrtles, Owl Post, Oliver Boyd and the Rememberalls, Fred Lives, Ministry of Magic, The House of Black, The Remus Lupins (again), The Whomping Willows (also, again), and probably some folks I’m missing. The kids over at the ‘pedia have put together a handy schedule of WRock related events, which you can see here. Of course, an event this size inevitably leads to conflicts. I’m already looking at missing the second Myrtles set to catch the live AlleyCast recording. It also looks like I’m going to have to miss my chance to see the Wizard Rockumentary so that I can see Owl Post. Luckily, the girls should have DVDs to sell, so I’ll be able to catch it later.

I return from Portus on Monday. Tuesday will be reentry day, followed by a couple days of work. Then the following Sunday, the festivities are book-ended by another Mickey set, this time up in Baltimore.

I’ve got a new laptop that will be making the trek to Portus with me, and I’m really tempted to pick up a video camera for the festivities. Expect something from me. Though, if you don’t hear anything from me before the end of August, don’t worry. I’m either still recovering or have gone on tour.