Glory, How Stupid

wow yes

2010-10-03T09:00:00.000-07:00

okay

world record at UCB
http://sevenseconddelay.blogspot.com/
and
a show at swarthmore college.

also...I'm to be found at

www.letsget.biz FROM NOW ON
http://devinkkenny.muxtape.com
www.myspace.com/devinkk
and on FACEBOOK

woo!

drum and bass plus punk rock

2010-05-03T09:49:00.001-07:00

So I'm playing tonight at Bruar Falls.
I have a very general idea.
Birthday Party,
Nick Cave,
Drumnbass,
Gyptian
cds in baggies.

TONIGHT
it's free.
And
I'm joined by
Bermuda Bonnie, Christina B, and Toys

grilled cow before 8

UPDATES

2010-04-24T09:00:00.000-07:00

I forgot to mention I would be playing a show at Barnard, it happens,
the show was insane anyway... yikes
I've been focusing mostly on an audio collective I initiated called
FRIENDS WITH BENEFITS
as well as occasional drops on VISION DROPPINGS, but the real pride and joy is a collaborative effort with Chris Bowman called Scrambled Threads
but do not worry, an INSANE dance/ rap/ new roxy thing is coming up. I'm organizing a show with Juke legends DJ Spinn and Rashad, as well as BMore kings (Mad Decent/Brick Bandits) DJ Tameil and DSQUARE, and my friends Jess and Bidi have initiated an ill new label called WILD ISLE. Look out for that! Oh and Chainz Problematic no question.
Spring and summer will warrant quite a few more updates (mostly performance based)
...oh yeah and I have some pieces in the Brucennial curated by Vito Schnabel and the internet via the Bruce High Quality Foundation! You should check it out if you're in NYC, otherwise...netflix?

GOODBYE BLUE MONDAY FWIDAE NAIGHHHHT AIGHT?!

2010-02-18T17:58:00.000-08:00

YES!
1087 Broadway

also

www.letsget.biz if you thought i died, or stopped caring.

yes!

2009-12-30T16:13:00.000-08:00

http://www.alanafitzgerald.net

alana's new site (in process but still rawsome)

and mine!

http://still.carbonmade.com

I laughed 'til I cried

2009-12-28T11:27:00.001-08:00

Also! Whoa! New stuff at

http://devinkkenny.muxtape.com

and from the homie

http://chainz.muxtape.com

15

2009-12-16T10:07:00.000-08:00

SHIFTER15:Will

Editors:
Sreshta Rit Premnath, Abhishek Hazra

Contributors:

Avi Alpert
Diana Artus
Lindsay Benedict
Daniel Blochwitz
Brandstifter
Steven Brower
Jon Cotner & Andy Fitch
Mark Cunningham
Chris Curreri
Thom Donovan
Nathan Haenlein
Nina Höchtl
John Houck
Devin Kenny
Richard Kostelanetz & Nick Eve
Matt McAlpin
Jean-Marc Superville Sovak
Julie Tolentino Wood

Indeed, the truth was not hit by him who shot at it with the word of the “will to existence”: that will does not exist… Only where there is life is there also will: not will to life – thus I teach you – but will to power.’

Friedrich Nietzche, “Thus Spake Zarathustra”

When Will shot Joan he did not mean to. He wanted to shoot the apple balanced on her head. The cactus wine may have put the gun in his hand. The spirit may have provided the reckless confidence. And in the spirit of its will he pointed his gun and squeezed the trigger. It may have been at the moment he squeezed the trigger, or perhaps a split second before, that the world had already begun to rip. Space and time had torn the future into an infinite set of possibilities. The set could be divided into two subsets: He would miss Joan / He would not. But the will of the spirit produced a second pair of possibilities that would not matter in the least – He would hit the apple/ He would not.

If Will was not himself when he constituted this new reality, one without Joan, then who was responsible? Who’s will acted upon reality? His finger’s? The gun’s? The wine’s? Yet, we must not confuse will with intention – maybe this assumption of a causality itself is a mistake. What is known is that it happened.

If will is a potentiality – a vector that opens possibility and cleaves reality – does it precede choice? Are personal wills constituted by hegemonic ideologies (producing pre-inscribed realities), or rather is an individual’s will that space of agency which allows for an opening and aggregates with other individual wills to produce the transformation of the social?

There is a story about a revolutionary who was tortured to reveal the location of a comrade. He lied and gave his interrogators the wrong coordinates. But, when his interrogators arrived there, they found his friend.

Is reality willed into existence?

This magazine is note-worthy! Check it out! Buy the book or free download Buy the book or free download

2009-12-12T14:26:00.000-08:00

I met a conundrum when I passed a gorgeous blind woman in Union Square

2009-12-09T16:47:00.001-08:00

I don't know who wrote this, but it's from:

http://www.mynippon.com/Shop/romance-shop-3.htm

Dating and relationships with either a disabled and visually impaired can be a life-changing experience. Just because a person is disabled (or specifically, visually impaired), does not mean that she or he is incapable of romance. We recently heard from Matt who is visually blind but has found a beautiful relationship with a woman who loves him for who he is and does not care what he does not have. Here is Matt's story in his own words.

I am visually impaired and I read Braille. About five years ago, I was in the park reading a Braille magazine. A lady came up and sat down next to me and started attempting to communicate with me. She touched my Braille and was quite fascinated by it. She had a very poor understanding of the challenges that visually impaired people face in their every day lives but she was inquisitive and a good listener. Since English was not her native language, we did have some challenges but being visually impaired I know what it means to have an impairment. So I was very patient with her and made sure that I used simple words when speaking to her.
This scenario took place every day for about a week, until one day, I was speaking with an American lady with a child. My "park friend" came by like clockwork and the American lady was able to communicate with her using facial expressions and gestures. We learned that the this lady was a chemist who was exploring properties from certain botanical plants which were grown in the park's greenhouse. Because she was so happy to find an interpreter of sorts, she let it be known quite clearly that she wanted to date me very much. Since I am so attracted to women who have an accent (after all I am attracted to people by their voice), I immediately consented to a date.

At that time, I was only able to find unhealthy relationships for myself because that was all I believed I deserved because of my impairment. It doesn't matter who you are, you send the signals which you truly believe about yourself. And everyone else is quite good at picking up on those signals.

On the day of the date, she came to pick me up and drove me to her apartment in downtown Los Angeles. She cooked a delicious fusion meal which I truly enjoyed. After the meal, we listened to classical music and she played a few songs for me on her piano. When she came to drop me at my house, we kissed passionately for several minutes.

It has been truly a remarkable relationship and I no longer feel that the fact that I am visually impaired means that I am not capable of exploring all other human emotions. She has truly ignited the passions inside me, and therefore, I am finally ready to follow my true passion and attraction. We are getting married early next year."

...on a cold day in hell.

2009-12-07T20:49:00.000-08:00

fuck LA fuck NY fuck me go fuck yourself

frozen pizza, nice phone conversations,brown sugar pop tarts, and job applications, a rough start but a good day!
also, made updates on
VISION DROPPINGS and
the new FRIENDS WITH BENEFITS STYLO

I dropped my bagel... in a puddle (jk)

2009-12-06T12:12:00.000-08:00

BROOKLYN COMICS and GRAPHICS FEST
was dope
I saw friends
and artists I respect
and my ex-boss which was very awkward and made me saaaaaaaaaaaaaaaaaaaaaad
here are some names:

Mark Newgarden
Chris Uphues
Ben Katchor
Lisa Hanawalt
Will Simpson
Mark Denardo
Maximiliano Ferro
Nick Wallin

I also found a sweet bike frame and my homie grabbed it in the rain and slush

good lookin' out

having two blogs is causing a terrifying split in my psyche

someone save me

http://visiondroppings.tumblr.com

can anyone give me advice on how to make this blog read like melancholy tweets?

NICK and NATE DOYLE

2009-11-27T11:15:00.001-08:00

NICK'S SETTING NEXT TO ME! HE IS DRINKING COFFEE!
NATE DOYLE!!!!!!!
I just made a comment on your bwog, good work, happy buy nothing day

Nick just asked me if it counts as a new form of stalking to write blog posts in a style as though you know them, but you don't.

um...

here's some news:

I'm doing my lazier/bloggier/funner/less grammatical posts on a new thingamahbobber
HTTP://VISIONDROPPINGS.TUMBLR.COM

also, keep an eye out for www.friendswithbenefits.com
and call

347 535 0497

show update!

2009-10-25T20:02:00.000-07:00

FREE!
210 prospect park west
brooklyn
prosp pk/15th st on F and G trains
7-10PM

Devin KKenny, Joe Marolla (of Death First!) and Chris Bowman
improvised electronics, cello, and vocal stylings!

and the first DIY video flyer, I for one have ever seen! Directed by me! Cinematography by Chris Bowman!

October 26th Show Flyer from Christopher Bowman on Vimeo.

unemployment monster

2009-10-08T11:25:00.000-07:00

Glen Ligon is in the White House and Olafur Eliasson has collab'd to make a skateboard.

wow

2009-10-05T15:31:00.000-07:00

Wow. This is some real sh*t. Rock versus rifle.

I’m not gonna spell it out too much, but basically, Franco is a top battle MC in the underground, from the West Coast and continued to rip even after dude tried to slug him and shit. That’s madness. I stood up and clapped when I saw this. I STOOD UP AND CLAPPED. Capitol Hill looked like a clown after that.

oh and to those who are doomed to never style, let this be your new teacher
http://www.youtube.com/watch?v=NB0-i6cdpcg

welll

2009-09-04T12:30:00.000-07:00

there's a kinda show going down tonight at coco66
free $$$

I'm so brazen I'm gonna show up unblazin' with a next to no plan and phase into leavin' viewers with a suntan

It's been a few minutes

2009-08-20T12:44:00.001-07:00

but an update!
I'm in a show again...
this time at Starr Space!
It'll be mofire.

http://www.wwwd.me

THE BEST RAPPER ALIVE ( W W W D ? )
"ONE NIGHT ONLY"
Host:
Lil' Wayne
Type:
Music/Arts - Opening
Network:
Global
Start Time:
Friday, August 21, 2009 at 6:00pm
End Time:
Saturday, August 22, 2009 at 2:00am
Location:
Bushwick Starr
Street:
207 Starr Street
City/Town:
Brooklyn, NY

Email:
whatwouldwaynedo@gmail.com
Description
Opening 6-8 PM, Listening Party 8 PM- 2 AM
Video screening begins @ 7.

Mira Aldridge, Theodore Boyer, James Brittingham, Micaela Carolan, DADDY, Perry England, Maximiliano Ferro, Simone Frazier, Emerson Greenesmith, Amelia Hall, Joe Kay, Scott Keightley, Devin Kenny, Lucy Kim, Brian Kuzma, Lisa Larson-Walker, Caitlin Martusewicz, Leeza Meksin, Brendan Missett, Caroline Mouris, Carlos Charlie Perez, Stuart Perry, Tyler Putnam, Jacob Rhodes, D. Taylor Shields, Justin Smith, Andrew Steinmetz, Studio Von Birken, Jennifer Sullivan, Rob Trostle, Ben Wadler, Joshua Caleb Weibley, Brian Zegeer + Tameka Norris

Performance by Devin Kkenny

DJs: C. Ryan Spence, Daniel Oh, Arnold Wu, Marko Stam, and a Youtube set by Audrey and Pete.

Curated by Audrey Berman and Pete Deevakul

'I'm the best rapper alive/homeboy got a mind that a map couldn't find'
-'We Takin Over (remix), Drought 3 mixtape

Lil' Wayne is the self-proclaimed "Best Rapper Alive" and American pop cultural obsession. In the spirit of this pronouncement, THE BEST RAPPER ALIVE is an exhibition of artwork about or inspired by the music and persona of Lil' Wayne (birthname Dwayne Michael Carter, Jr.)

For one night only, twenty something twenty-something artists will put together a multi-media exhibition with the heart and soul of a late night Bushwick rager. Wayne's lyrics are multi-faceted, impossible to fully comprehend on the first, second or even 50th listen. Similarly, the exhibition will unite the aural, visual, and sizzurp/lean/drank to cultivate a heterogeneous experience with minimal distinctions between media.

Showtime

2009-03-06T11:26:00.000-08:00

So these two cool fellows curated me and some other notable newcomers into a show, so there you go!

from zazzle

2009-02-19T10:43:00.000-08:00

Just let that one marinate.

R.I.P. Ethos

2009-02-07T16:07:00.000-08:00

1975-2009

I met this guy when I was a teenager skating and doing street art stuff in Chicago. He was an amazing guy, and always on grind-mode. It's really a shame to hear him pass on to another place, especially when he was building so much. But I wish peace upon him and all those that ever knew or loved him.
Peace to
Ethos and all those in the Saigon Market Collective

http://saigonmarket.org/

EXILE: FUNKY WORM CHOP on MPC!!!

2009-02-04T10:07:00.001-08:00

Exile - Funky Worm Chop from FWMJ on Vimeo.

this made me laugh out loud, I've been renewed by art for the first time in a long time

2009-02-02T15:15:00.000-08:00

Joe Budden is ridiculous

2008-12-22T10:03:00.000-08:00

Charles Hamilton actually gets props from me
1) for ranking MCs based on content not on commercial success/longevity
2) for standing up to mediocre rappers who try to detract from people with patronizing insults ("he wasn't there...he's about to turn 21)
3)for being able to rap well

this video is just a bunch of dudes arguing art and rap in a studio, kind of a waste of time, but it's for me anyway

http://www.youtube.com/watch?v=dF5u_B1dmyI&eurl=http://www.nahright.com/news/&feature=player_embedded

ANNUAL REPORTS

2008-11-29T09:23:00.000-08:00

Annual Doh+
Devin KKenny
with a live recording session
and a DJ session
on 91.1 FM or 90.1FM
WFMU in Jersey City (stand up!)
3AM-6AM
(and this other band Sakura Madams does a live recording session too)

Also it'll be online on
WFMU. ORG
search
KEILI HAMILTON IS BEASTIN' THE AIRWAVES

we had so much fun you don't even know

After The End of History

2008-10-01T09:13:00.000-07:00

An event presented by the Myrtle Institute for Social Research.
This, our inaugural forum, is a venue for discussion engaging the space between discourse and celebration and its various overlaps. BYOB and be prepared to dance.

For more information:
http://www.wesjones.com/eoh.htm
http://www.critical-art.net/books/ecd/ecd8.pdf
http://gregorysholette.com/writings/writingpdfs/12%20notes%20on%20collectivism%20%20copy.pdf
http://roundtable.kein.org/files/roundtable/claire%20bishop-antagonism&relational%20aesthetics.pdf

The Bond that will

2008-09-28T16:13:00.001-07:00

and this strange almost art piece

2008-09-07T18:03:00.000-07:00

O'Reilly is made to look foolish and impartial by rappers and entrepeneurs of immorality. Nice.

2008-09-07T17:55:00.000-07:00

this ain't no cross-post

2008-08-03T18:07:00.000-07:00

this is:

by the way...check out this new blog from my friend : Baldspot Waddle.

SINA KHANI SINA TURNER

2008-07-22T20:13:00.000-07:00

this guy

is amazing, and I shared a set with him and BJ SNOWDEN in a well-known anarchist experimental hardcore et cetera venue called the OCCII.

Oh, and I'm playing a show at Cakeshop August 8th. More interesting ways of promotion later.

Lil Wayne shouts me out

2008-06-18T19:50:00.000-07:00

http://www.youtube.com/watch?v=C-P7sFnzMeE

Peace to him.

more craziness

2008-06-02T15:05:00.001-07:00

CAMU TAO has passed away. Another innovator I unfortunately slept on is now in another place. Peace.

A new magazine/gallery focused on NYC and Chicago bombing and street art that's awesome...called THE UPSET is here:
http://upsetmag.blogspot.com/

Tim Barber has launched a new independent publishing company by the name of TV BOOKS! Fresh stuff from many a lass and lad.
http://www.tvbookshop.com

something many people could care less about, but it's important

2008-05-23T04:58:00.000-07:00

Prodigy of Mobb Deep is studying.
http://www.vibe.com/news/online_exclusives/2008/05/celeb_blog_prodigy_4/

Rest In Peace

2008-05-14T10:08:00.000-07:00

Robert Rauschenberg has passed away. I very much appreciate his art and the impact it has had on the world of art and beyond.

here's a repost memoriam

His 'combines,' which incorporated objects such as tires, newspaper clippings and stuffed animals, established new directions and prominence for American art.

By Christopher Knight, Times Art Critic

Robert Rauschenberg, the protean artist from small-town Texas whose imaginative commitment to hybrid forms of painting and sculpture changed the course of American and European art between 1950 and the early 1970s, died Monday night, according to New York's PaceWildenstein Gallery, which represents his work. He was 82.

According to the gallery, Rauschenberg died of heart failure at his home in Captiva, Fla., after a brief illness.

Rauschenberg was widely regarded as a principal bridge between Abstract Expressionism in the 1950s and Pop art in the 1960s, but he did not subscribe to any narrow doctrine. His work also influenced the emergence of Neo-Dada, Minimal, Conceptual, Post-minimal, Process and performance art. His deep and abiding interest in printmaking facilitated a major revival in the medium, and his achievements in lithography were instrumental in the creation of a contemporary market for prints. In Europe, the humble, everyday objects of the Arte Povera ("poor art") movement expanded on his use of cast-off materials retrieved from the trash bin and the attic.

Rauschenberg's art was instrumental in reintroducing representational imagery into common usage. Until then, avant-garde art on both sides of the Atlantic was most closely identified with pure abstraction, which the general public regarded with skepticism. Rauschenberg mixed traditional forms of modern painting and sculpture with photographs, found objects, studio printmaking techniques and mass-produced pictures gathered in postcards, postage stamps and newspapers. In one of the most often repeated, yet frequently misquoted statements in postwar American art, he asserted: "Painting relates to both art and life. . . . (I try to act in that gap between the two)."

Together with painter Jasper Johns, with whom he was romantically linked, Rauschenberg was the most important American artist to emerge into prominence in the 1950s. When he was awarded the grand prize for painting at the 1964 Venice Biennale in Italy -- only the third American to receive the distinguished honor, after James Whistler and Mark Tobey -- the surprise selection ignited a firestorm of controversy in Europe but secured his international reputation. Rauschenberg had been using commercially made silk screens to reproduce photographic images on his canvases, a technique that he picked up from Andy Warhol, and the imagery mingled with energetic brushwork in brilliant colors. The day after the Venice Biennale announcement, he had all the silk screens in his New York studio destroyed, to forestall any temptation to repeat himself.

Rauschenberg's voracious appetite for experimentation characterized his working method, which employed new techniques and unusual materials. In 1954, a decade before his Venice triumph, he began to make a new kind of art that combined traditional elements of painting and sculpture, together with collage and printing. He dubbed these works "combine paintings." Two of the most famous are "Bed" (1955) and "Monogram" (1955-1959). For "Bed," he scribbled pencil marks and smeared paint on a well-worn pillow, sheets and a quilt, which hang on the wall like a traditional painting. "Monogram" is a floor piece featuring a stuffed Angora goat with a used automobile tire around its middle; the goat is mounted atop a low platform covered with painted and collaged images.

Rauschenberg's combines were inspired by the work of the German Dada artist Kurt Schwitters (1887-1949), who affixed ticket stubs, dishes, old bicycle wheels, wood scraps and other refuse to canvas and paper. Both artists made a highly refined effort to reclaim beauty through the formal rearrangement of society's everyday waste. "I often had a house rule," Rauschenberg explained about his working method in the shabby downtown Manhattan neighborhood where he lived. "If I walked completely around the block and didn't find enough [trash] to work with, I could take one other block and walk around it in any direction -- but that was it. The works [I made] had to be at least as interesting as anything going on outside the window." With that house rule, Rauschenberg assumed the role of an American flâneur, eyeing chance juxtapositions on the street and incorporating them into his art.

The materials for "Bed" didn't even require a walk outside the studio. The sleeping stuff was piled over in a corner, since Rauschenberg's studio was located in an old industrial building not zoned for residential use.

The influential critic Clement Greenberg, who championed the Abstract Expressionists, wrote a 1955 essay extolling the rise of those artists and the decline of the School of Paris. Europe had been the home of the avant-garde, but Greenberg unfavorably compared postwar developments in Paris to the distinctive work he described as "American-type painting." Conforming to Greenberg's idea, Johns began to use the American flag and the map of the United States as subjects, while Rauschenberg made his canvas for "Bed" from a pieced quilt -- a unique bit of traditional Americana.

The rumpled combine, with its gestural smears and dribbles of oil paint, also made wry fun of the sometimes-grandiose claims for the Abstract Expressionist paintings of the generation that preceded him. Rauschenberg was friendly with many of those artists, including Willem de Kooning, Franz Kline and Barnett Newman, and he admired the fusion of liberating gesture, precise control and conceptual complexity embodied in their paintings. But he was equally ready to be sardonic and amusing.

The intimate precinct of a bed is inevitably associated with dreams, sexual activity and the private inner life of its inhabitant -- all subjects that figured prominently in the mythologies of Abstract Expressionist art. The much-romanticized notion of the social alienation of the Modern artist was even reflected in Rauschenberg's choice of a single rather than a double bed as a painting support. His "Bed" is a bed for one.

While conforming to one aspect of Greenberg's thought, combines such as "Bed" and "Monogram" also contradicted the critic's central idea, which held that a good painting is one that articulates its unique characteristics as a flat, illusion-free surface that is covered with colored marks and hangs on a wall. "Bed" took Greenberg at his literal word, but the result didn't look anything like an ordinary abstract painting.

The goat for "Monogram" was found in the commercial window display of a neighborhood store that sold used typewriters. The animal stands atop a collaged painting that lies flat on the floor. Like Rauschenberg rummaging on the streets of the city, the goat is grazing in a field of ordinary debris, prepared to consume just about anything. The artist later recalled that, as a child in rural Texas, he suffered emotional scars when his father killed his pet goat for food.

The candidly titled "Monogram" is also an unconventional declaration of identity. Western art has used goats as a symbol for priapic sexual energy ever since the Dionysian satyrs of ancient Greece -- half man and half goat, always merrily drinking and dancing. The outrageous interlace formed by the goat and the tire astride a landscape of cast-off debris dates from the conformist social atmosphere of the Eisenhower years, when an anti-Communist "Red Scare" was accompanied by an anti-homosexual "Pink Scare." Critic Robert Hughes described the unforgettable "Monogram" as "one of the few great icons of male homosexual love in modern culture" -- the complement to Meret Oppenheim's famous Surrealist sculpture of a phallic spoon in a fur teacup.

Rauschenberg made 162 combines between 1954 and 1964, and they remain the most highly regarded and influential body of work by the unusually prolific artist. (During his career he produced about 6,000 unique paintings and sculptures, along with a sizable number of prints and multiples.) The largest collection of combines -- 11 works -- is housed in Los Angeles at the Museum of Contemporary Art. Chief curator Paul Schimmel organized an exhibition of 70 combines in 2005, which traveled to New York's Metropolitan Museum of Art and to museums in Paris and Stockholm.

The month before the show opened, the Met acquired its first important work by the artist, the 1959 combine "Winter Pool." Rauschenberg's 1959 "Canyon," which employs a stuffed eagle carrying an empty cardboard box to suggest an American version of the Ganymede myth, is the most important combine not in a public collection; long on loan to Washington's National Gallery of Art, it is currently on loan to the Los Angeles County Museum of Art.

Milton Ernest Rauschenberg was born on Oct. 22, 1925, in the Texas oil-refining town of Port Arthur, on the Gulf Coast near the Louisiana border. His mother, Dora Carolina Matson, and father, Ernest Rauschenberg, who worked at the local power and light company, were of Dutch, Swedish, German and Cherokee descent. Raised in the fundamentalist Church of Christ, which forbade dancing, drinking and card playing, he was encouraged by his deeply religious mother to become a preacher. Instead, after public school he enrolled at the University of Texas at Austin to study pharmacology. But he soon dropped out, unaware that dyslexia was contributing to his difficulties as a student.

With World War II raging in Europe and the Pacific, he was drafted into the United States Navy in the spring of 1944. Given his pacifist commitments, Rauschenberg was assigned as a neuropsychiatric technician in a San Diego hospital, while stationed at nearby Camp Pendleton. "This is where I learned how little difference there is between sanity and madness," Rauschenberg later recalled, "and realized that a combination of both is what everybody needs."

A fateful visit to the Huntington Library, Art Collections and Botanical Gardens in San Marino would change the so-far rather aimless direction of his life. At the Huntington, Rauschenberg saw Thomas Gainsborough's celebrated 1770 painting of young Jonathan Buttal, famously known as "The Blue Boy." He knew the illustrious painting from calendar reproductions and playing cards, but like many people from rural and small-town America, he was thunderstruck by an otherwise obvious fact: Pictures are painted by people.

"That just never occurred to me before," he said, recalling the epiphany, even though he had been drawing avidly since the age of 10. Rauschenberg decided on the spot to become an artist.

After the war ended and he was discharged from the Navy, Rauschenberg settled in Los Angeles, where he worked briefly as an illustrator for a Westwood newspaper and as a packing clerk in a bathing suit factory. In 1947, Rauschenberg used the GI Bill to enroll at the Kansas City Art Institute. With his identity in flux and creativity his chosen direction, he decided to pick a new name. After carefully considering which one might be the most ordinary in the English language, he dropped Milton in favor of Bob (subsequently Robert).

Further convinced that real artists studied in Europe, he left Missouri for Paris the following year and enrolled in the Academie Julian. There he was shocked by the lethargy of the old-fashioned program, whose faculty and students produced works that differed markedly from those of Picasso, Matisse and the Surrealist artists that he saw in Parisian galleries. But it wasn't a total loss. He did meet fellow student Susan Weil, whom he would later marry, and together they spent productive time in the city's museums and galleries.

After reading an article in Time magazine, the two art students decided to return to the United States and enroll in the adventurous program at Black Mountain College near Asheville, N.C., where Rauschenberg continued to study off and on through 1952. German emigre Josef Albers, formerly an instructor at the Bauhaus, ran the avant-garde school when Rauschenberg arrived, and he taught the basic Bauhaus principles of Werklehre -- or working with the inherent properties of materials. Although their relationship was often tense, and sometimes even combative -- Albers loathed the younger artist's work -- Rauschenberg later identified Albers as his most important teacher.

He also learned from Weil, who showed him how to make "drawings" on blueprint paper by exposing it to light, and from the young composer John Cage and choreographer Merce Cunningham, who courted elements of chance and random accident as central ingredients of their music and dance. Rauschenberg later designed sets and costumes for performances by Cage and Cunningham, as well as for choreographer Paul Taylor, and he collaborated with the Judson Dance Theater, the Trisha Brown Dance Company and other theatrical groups. On occasion he also performed.

Among the more outlandish and memorable performances was "Pelican," which Rauschenberg devised when his name was erroneously listed as a choreographer (rather than a technician) for the Judson Dance Theater at the 1963 Pop Festival, held at a Washington, D.C., skating rink. Taking advantage of the unplanned opportunity and the unusual location, he choreographed a work performed on roller skates and with a large, 10-foot-diameter circle of parachute silk strapped to his back. (Carolyn Brown and Per Olof Ultvedt completed the trio of dancers.) Pelicans are graceful swimmers and fliers but ungainly when earthbound; Rauschenberg's "skating dance" created a similar metaphor for human beings, transformed through art.

Rauschenberg's first solo exhibition was held in May 1951 at Betty Parsons Gallery, where Newman, Jackson Pollock, Mark Rothko and Clyfford Still also showed. It was not well received, but it did include works that anticipated critical features of what later became the combines. He showed "grass paintings," made with bundles of soil and seedlings held onto the surface with chicken wire and in need of regular watering, as well as white paintings that reflected light and the shadows of passing viewers. The surface as a changing, impartial collector of transient images would become a key to his mature work.

Married and with a son on the way, Rauschenberg was supporting his small family (and his studies at the Art Students League) by doing window displays for designer Gene Moore at Bonwit Teller and Tiffany & Co. But strains in the marriage were starting to show. Divorce came in the fall of 1952. Rauschenberg left with fellow artist Cy Twombly for Rome, Casablanca, Tangier and Spain. Resettling in New York eight months later, the pair moved into an industrial loft on Fulton Street.

A concurrent exhibition with Twombly at the Stable Gallery, where Rauschenberg also worked as a janitor, was greeted with half a dozen reviews, mostly negative. Undeterred, he went into creative overdrive and began experimenting with materials. He asked his friend De Kooning, now one of the most esteemed artists in New York, to give him a drawing for a project he had in mind. He wanted to see whether a work of art could be created by subtracting lines rather than adding them. "Erased de Kooning Drawing" required nearly a month of careful labor to remove every trace of pencil, crayon and ink from the sheet, which Rauschenberg then carefully matted and placed in a 25-by-22-inch gold-leafed frame.

He also enlisted the aid of Cage to make "Automobile Tire Print" in 1953. Coincidentally, it recalled the original 1951 manuscript for "On the Road," which Beat Generation writer Jack Kerouac typed on a continuous 120-foot-long scroll. Laying down 20 sheets of paper on the pavement outside his studio on Fulton Street, Rauschenberg kept applying black ink to the rear tire of his friend's Model A Ford, which Cage drove slowly across the 22-foot length of taped-together sheets. The environmentally scaled mono-print recalls a Japanese scroll, while also revealing the process by which it was made. "Erased de Kooning Drawing" had been an homage to an established aesthetic achievement, as well as a poetic act of artistic patricide; likewise, the tire track made a deft industrial parody of his friend Barnett Newman's metaphysical "zip" paintings, in which a stripe of color delineated the space within a canvas.

Rauschenberg was also creating nominally monochrome paintings at the time -- canvases dominated by red, black or gold and incorporating bits of paper collage and swaths of fabric. These directions came together in "Untitled" (circa 1954), which he considered his first true combine and a work that is now in MOCA's collection. "Untitled" moved the collage into three dimensions. The boxy sculpture, taller than a standing person, is covered inside and out with photographs, newspaper clippings, a found painting and small drawings by Twombly and painter Jack Tworkov.

The leg of a table, which makes the construction like a piece of common furniture, holds up part of the work. A mirror on the bottom reflects a large black and white photograph of a dapper man dressed in a white suit, suggesting Narcissus at the pool; a pair of empty shoes further alludes to a disembodied person. A stuffed Plymouth Rock hen adds an all-American element. "Untitled" mixed references to personal experiences with functional elements that invited viewers' participation.

Following his international triumph in Venice, Rauschenberg pushed the experimental edges of his work. He founded E.A.T. -- Experiments in Art and Technology -- to collaborate with scientists and engineers from Bell Laboratories and elsewhere, just as he collaborated with master printers at Gemini G.E.L. to produce 1968's "Booster," at 6 feet the largest lithograph printed to date. For the 1971 "Art and Technology" exhibition at LACMA, he made "Mud Muse," a glass and aluminum vat filled with liquefied clay that, responding to a sound-activated compressed-air system, bubbled like the La Brea tar pits outside the museum. In the early 1970s, at his permanent residence and studio on Captiva Island, Fla., he began making large wall-reliefs from dismantled cardboard boxes and ethereal constructions of layered, printed silks. The gauzy fabrics, titled the "Hoarfrost Series," proved to be the final body of Rauschenberg's work to receive general acclaim.

Although political issues were almost never an obvious subject for his art, Rauschenberg expressed concern over the devastating uses of military technology arising from the Vietnam War. He preferred rockets to the moon over rocket-propelled missiles. Scientific energies should instead produce "the joy of art," as a Time magazine cover story about him described his artistic pursuit. He launched ROCI -- the Rauschenberg Overseas Culture Interchange -- in 1985, spending five years traveling the world to collaborate with artists and non-artists alike. The ROCI agenda was well received by more than 2 million participants in China, the Soviet Union and elsewhere, although few projects resulted in significant art.

In 2004, an illness left him partially paralyzed, severely impairing his ability to use his right arm and hand. Rauschenberg also struggled with the debilitating effects of alcohol, which almost certainly had an effect on his art in the last decades of his life. He enjoyed numerous museum retrospectives during the last 30 years, the most recent an enormous show of more than 300 works that traveled the United States and Europe in 1997 and 1998. His art is in the collection of virtually every important museum that surveys contemporary culture.

Rauschenberg is survived by his son, Christopher; a sister, Janet Begneaud; and his companion and frequent collaborator, artist Darryl Pottorf.

NY Photo Festival

2008-05-01T04:00:00.000-07:00

Check it out! I have work in this show along with other "emerging photographers"! Look through and see who else pops out at you ! OG? BT? JH? B? Lightwriting in and out of the house!

2008-04-21T05:44:00.000-07:00

by the by...exclusives:

here

"sick o' you copy cats, wit' ya copied raps"

2008-04-02T06:46:00.000-07:00

nyeahm nyeahm

it's easy to have fun when it's not your job

2008-04-01T05:02:00.000-07:00

Improvisation with me and santo
clause. And so DK was DOA.

Preach!

2008-03-23T09:07:00.001-07:00

I felt a tear drop at relish and mustard sandwiches.

2008-03-19T05:45:00.000-07:00

So yes, this is a huge swing into the mainstream. But I think it's incredibly important. Pretty much every issue has been addressed and in the places where they cannot be simply wrapped-up, it's announced as such. He also exploded the techniques used by Reagan, Bush Sr., and Bush Jr. to distract from real issues towards garnering support and dividing voting blocs. This speech seems like it actually has something for the human part of every American. I could imagine even a conservative corporation owner getting a small pang, and begin thinking about the struggles their ancestors made for them to be where they are. Anyway, it's a good investment of 37 minutes.

To Tao Lin

2008-03-15T04:21:00.000-07:00

Fuck you.
I can say that because I'm not you.
But I can't really mean that because we share something.
I do mean it, as in there is sincerity in these words,
but I can't mean it, as in average it out.
I don't eat animals.
I eat products of animals.
I eat parts of what were once animals, but now are food.
And when I stop
for a minute,
for an hour,
for weeks,
the world keeps spinning,
and human flesh is still sold on the black market.
When the oil of animal flesh coagulates
it makes a round shape.
When that same oil of humans coag's
it makes a diamond.
Be glad you're not so gaudy as a rapper,
or that would've been a great segue-way.

The computers you use to make your e-books,
and what is used to make blogs some read
and what is used to make music some hear
and what is used to get bicycle directions in this town
and what is used to watch porn some build careers around
is killing the earth as well.
Youngsters are harvesting the danger/dead Macintosh parts
for bits of food and coin for cloth.
Like youngsters rummage through garbage dumps of cities
looking for thrown-away ziploc bags to use as condoms.
And yes I said Ziploc.
Because that's a part of my culture,
the culture that you are a part of
that is killing the earth.
And if you can continue to think
that crossing your arms,
crossing your Ts,
and blotting your eyes,
or at least doing so in your art
is going to stop the giant hand you sit in
from scratching off its corrosive dead skin cells
onto the surface of the earth,
you're crazy.
You've got some nerve.
Who do you think you are?
Fuck you.
I can say that because I'm not you.
But I can't really mean that because we share something.

"When two or three assemble with a snare,kick, hi-hat, or cymbal"

2008-03-12T04:45:00.000-07:00

It kicks off with Aceyalone, and then a young Busdriver and many other brilliants.

Thinkin' of Sweden

2008-03-09T03:37:00.000-07:00

also, I've begun posting on this multi-city, multinational culture blog that's questionable and has the name of
TASTE & POWER

geeks make things

2008-02-22T05:46:00.001-08:00

This is not a photography blog

2008-02-19T13:50:00.000-08:00

http://www.franckjuery.com/
Some really rotten MFs stole 2 of my Neuburger Coupe Danube Schokos (chocolate custards from the grocery store on sale for 17 euro cents with a little beautiful radially-symmetrical layer of whipped cream on top).
They left the Vanilla one though. Still like insult to injury. I'm thinking about getting a polaroid camera because I saw this dude named the polaroid kid's photos on fecalface. Point and shoot seems like it could be nice. I'm sure I'd still think about what I was shooting before I shot, but that extra step of exposure and focusing...
Anyway, I found out about the above from plrds.com . The photo made me say damn.

I want this photo to be mine.

Also...I'm serious about what I said. But I don't hate the player, I hate the game that creates them. That fresh racer is styled like the Amsterdam cop cars. The police have been really decent, nice even. And helpful. It's...so weird.

lekker lecture tastee talk devin kkenny bases walks on

2008-02-16T14:51:00.000-08:00

the new new (Little ants, rough cut)

New New Yorkers

2008-02-15T19:09:00.000-08:00

fiending for a good painting show

go to this...it features my beloved compatriots

loved by:
Brooklyn
Washington,DC
Fashion Blogs
Me
and
Brendan Fowler

2008-02-15T04:01:00.000-08:00

Bombing 4 Peace by Joe Kay and Devin Kenny 2007

The Joy of Self-Sufficiency , Devin Kenny 2008

Some snatches of my surroundings and dumbfoundings

2008-02-13T11:58:00.001-08:00

R.I.P.

2008-02-12T17:41:00.000-08:00

Tony Silver, director of Style Wars. THE- I repeat THE original comprehensive essay documentary on Graffiti and Hiphop culture in late 1970s early 1980s NYC. If you haven't seen this film and you have ever listened to hiphop music, I don't know... you've done yourself a disservice. Buy it. Rent it. Just see it.

Tony Silver did a very good thing for hiphop.

All you see is...Crime in the city.

Streaming of KKITES!

2008-02-09T05:59:00.000-08:00

KKITES In The End Summer streamfate by devinkk

1. Coffeeshop freestyle
2. Interrobang
3. Canon
4. Hardwurk feat. Joe Marolla
5. Discourse on the Disco (Dirty Pete Remix)
6. Double-up C-More remix by Shifty Shaan
7. Soup prod. by Annual Doh
8. Fast Canon prod. by Annual Doh
9. Crank Dat Verbal Soy
10.Blue Cheer prod. by Shifty Shaan
11. Interzonefunk feat. Knotshell (prod. by Knotshell of Michael Jordan)
12. Dump Honored prod. by Edelar
13. Waiting (Juke Mix)
14. No More Beats
15. Jamdekjukebet
16. Gorbachev Doesn't Go At All by Knotshell of Michael Jordan
17. Funeral Xylophone by These Are Powers
18. Basement session feat. Brenmar Someday of These Are Powers

www.myspace.com/annualdoh
www.myspace.com/thesearepowers
www.myspace.com/devinkk
www.myspace.com/michaeljordanbulls

my love-hate

2008-02-05T16:10:00.001-08:00

http://www.madlab.org/kits/theremin.html

goed

2008-01-28T04:30:00.000-08:00

The opening at the Service Garage went really well. There were like 2 or 3 articles about it in the local papers.
Amsterdam's 1st International Fashion Week is now over. I visited streetlab (www.streetlab.nl) and met the new designers for Cross Colours. They seemed nice enough (they purchased the license and are revamping it). They gave me a whole outfit. I don't know how to feel. I smiled for the cameras on multiple occasions that night though.

there was a great party at the squat I live in (takar) and I was the self-appointed MC of the evening. those that staid till the wee hours saw a ragged performance involving me, a dutch members only events committee jacket, a shopping cart wrapped entirely with red/white striped caution tape, a light box that has only two bulbs, and the result of filling children's sand pails with concrete and release agent. I had a mix of headnodders, frenziers , and kids that i later danced to jungle/breakcore with.

peace to everyone who's sent emails or other messages...i really appreciate it.

until then keep my rhymes near your skin like it's fashion

Devin

rule number 1

2008-01-21T07:27:00.000-08:00

don't take publicity away from yourself by redirecting elsewhere with no further context.

It's Amsterdam Fashion Week (a really seminal moment for this city)
and this was from the first party/showing of the week at Het Sieraad...a spot where though I arrived an hour and a half after the event started, and the line was wrapped around the building in pouring rain, I got in after only 20 minutes.
Dam style

in case you didn't know

2008-01-17T08:56:00.000-08:00

2008-01-17T08:43:00.001-08:00

A project by VAV students from the Gerrit Rietveld Academie
-YOU ARE INVITED-
----------------------------------------

24 promising, talented students of the VAV-department of the Gerrit Rietveld Academie reflect on the topic of gentrification. Urban gentrification is a phenomenon in which low-cost, physically deteriorated neighborhoods undergo physical renovation and an increase in property values. Mostly the avant-garde of cultural bohemians and hipsters start off such a development, but after having done their work as “shock troops” of gentrification, they are often displaced themselves and forced to move on to the next area.What does it mean to exhibit in an abandoned industrial site with a group of young artists? Where do they position themselves on the scale in between white-cube-aesthetics and openings on which drinking beer seems to be more important than the exhibited artworks? The participants use the venue as a laboratory and place for communication and discourse about the role of visual arts in the process of urban renewal.Their question is: How can they benefit from these mechanisms themselves?

Pre-Presentation: 16.01.2008 20:00h
--------------------------------------------------------
Opening and lectures: 24.01.2008
--------------------------------------------------------
14:00h DUTCH FUNDING LANDSCAPES
by Sandra Derks

16:00h ARTIST-RUN-SPACES
panel discussion by Frank Ammerlaan, Gijs Frieling and Bernd Trasberger

18:00h BERLIJN KUNSTHOOFDSTAD?
By Jurriaan Benschop

20:00h OPENING EXHIBITION

open: 25.01 – 03.02 Wednesday – Sunday 13:00h – 18:00h

2008-01-17T06:24:00.000-08:00

I'm afraid I'm going to be broke.
This is an exquisite corpse-type project I'm somewhat fond of : http://stilllife.jp/faxmachine/

also...there's this:

This just in

2008-01-10T09:08:00.000-08:00

I'm living in a very nice squat near school for the next two weeks thanks to maielin,charlotte, and silvia. roonak, justin, and lot have been super-kind as well and I appreciate it. Also Mirjia!
Today I bought a 20 Euro bike lock and plan on getting a bike from a junkie. I moved from the mezzo-crazy hostel I stayed in for about a week. Things are going pretty well, I'm pretty relaxed in generaal. Also, I'm going to be in an art show pretty soon the space is in the Service Garage and will be focused around Gentrification. Peace to all.

KKITES mixtape still available!
for 7,00 or 7.00 in which ever currency you use.

We got that PMA

2008-01-08T03:44:00.000-08:00

"Hello Kenny,

I'm sorry to tell you that we want a roommate who speaks dutch. When you have a busy life and you come home tired, you don't want to have to talk a foreign language in your own kitchen.
Good luck in finding a room!

Kind regards
Irene"

I've been toying with this one for a while, but not playfully

2007-12-29T12:02:00.000-08:00

from Purple Fashion magazine

Thomas Hirschhorn is one of my favorite artists, for aesthetic, political, even philosophical reasons. He refused to participe in a show I curated in 2006 at the Grand Palais in Paris, rejecting the concept of an art & fashion show. I was upset and we didn't speak for a while.

Then I received a letter, with the reproductions of the collages I wanted to exhibit, in which he clearly explains why art and fashion should not be mixed, and why he gights what he calls "the defeat of art in the face of fashion." I found his radical point of view separating art and fashion beautiful. And strangely enough, I thought it had to be said in these pages, by a major artist, because Purple Fashion was largely established on the historical validity of their connection (from Ingmar Bergman to Matthew Barney for example). But the confusion between art and fashion was never encouraged here. Olivier Zahm

1. ART AND FASHION "You were angry with me because I refused to participate in your exhibition, and you wrote, "No fun with you," or something like that. I completely understand your disappointment and anger, but I don't understand "No fun." Because I like to have fun. I like to work. I have fun when I'm working. I like everything about my work. I laugh when I work. I'm never bored. It is, of course, wonderful to be able to make art- to be able to express oneself, to invent forms, to affirm things that come from yourself."

2. COLLAGES "You wanted to show a series of collages. I'm happy that you like them; I do too. I like them and I like making collages- which I call Works on Paper. To make a collage is an interpretation, a real interpretation. It's an interpretation that creates something new a new world."

3. RESISTANCE "For me, in art nothing is inachievable, nothing is impossible nothing is forbidden, limited or excluded. Art is Resistance. All art is resistance. Art resists against common sense, angainst what is possible, against what is salable, against what is permitted, and against thinking in limits. Art as art fights against the dictatorship of commerce. Art as art fights against the dicatatorship of taste, the dictatorship of the ideology of weakness and correctness; art fights also the idea of defeat."

4. ART/FASHION "It's because art is resistant that it doesn't fit with fashion. Never. It's not worth it. It's useless. It's unneccessary. It's a waste of time. Because fashion is not resistant. Fashion doesn't resist. It doesn't want to resist. It's absolutely the opopsite of art. Even if the Forms do resemble each other, or are very close, never is the Form of fashion resistant. Because fashion wants the power, it wants to impose itself, it wants to seduce, and wants to be bought, even when it's expensive. It wants to be purchased, therefore, it is not resistant."

5. FRANCE/FASHION "Concerning fashion I should talk about the country in which I live and work: France. For me, the melange, is really a French concept. There are many things I like in France, which makes this place great to work as an artist. There's energy, there's chaos, there's reality, confrontation, and I like those things- but there is also a defeatist mentality and an easiness that I can't stand. The defeatist attitude and the easiness go together in France with the combination of art and fashion..."

6. NO GLAMOUR "I think that in France, when artists become established, they become trapped by what I call glamour. Even though I understand the temptation, the weakness, for the sexy side of "glamour," I think it's a trap that's easy to avoid. Because glamour never comes by itself. It's opportunistic and only follows success. When we were young artists, we worked without success. We weren't very glamourous. Why should I suddnely become glamourous?"

SHOW TONIGHT WITH ANNUAL DOH TONITE

2007-12-02T09:29:00.000-08:00

www.myspace.com/annualdoh
www.myspace.com/devinkk

snort

2007-12-01T15:50:00.000-08:00

Ilia Ovechkin

"I must be
entirely
too fuckin' fresh
El,
a don digital
passin' it to the left" El-P during the Company Flow days

ulla von brandenburg

2007-11-18T11:46:00.000-08:00

so...yes

2007-11-16T09:46:00.000-08:00

many of my favorite elements of music have been usurped by the mainstream...they're getting smarter. This is a case in point, and an enjoyable one at that.
Usher feat. Ludacris prod. by Rich Harrison "Dat Girl"

terror in my backyard

2007-11-13T12:23:00.000-08:00

full article here

Police shot a young man because they thought he was armed. The "gun" turned out to be a hairbrush. He was shot at least fifteen times after he had surrendered and put his hands in the air.

100+ words on Very Young Millionaire

2007-10-15T13:19:00.000-07:00

I'm featured as well as a number of other photographers and artsists from many walks of life.

check it

--Devin Kenny

I had a pet tornado

2007-10-14T10:44:00.000-07:00

it didn't look as nice as this, I had it in 1994.
New photographs to view at
my flickr.

Have a good day +
mixtape long player
on the way

kkites

a plague on thy house and other fuck your crewisms

2007-10-03T12:54:00.000-07:00

no more:

forests
naked teenagers sitting on beds
half-assed costumes
snorting cocaine off of penises
gangs
weekly updates
lazy color correction
snarkiness
improper usage of the concept called irony
window seats

my status is ghost gam

2007-09-22T13:14:00.001-07:00

more tracks coming up for the kkites mixtape!

check out one of my collaborators from Stockholm : Dirty Pete!
and yes!

anchors away!
and check the myspace for a new exclusive track " Discourse on the disco fl." scribble edit.

as always

peace to

annual doh

Why don't you cut it up and write 'fuck' or 'anarchy' on it?

2007-09-19T10:48:00.001-07:00

Richard Kern "You killed me first"

He spits writtens but expects a freestyle in return

2007-09-18T09:53:00.000-07:00

http://www.cnn.com/2007/US/09/18/student.tasered.ap/

rock versus rifle

I get high as a kite all alone in the night. KKITES mixtape Coming soon.

2007-09-17T09:18:00.001-07:00

http://www.wikihow.com/Make-a-Kite-Out-of-a-Plastic-Bag

Good news

2007-09-12T10:50:00.000-07:00

The wildly-experimental test-run of my
Ellsworth R. Kelly
minimalist punk jewelry will soon be coming to a close.
If you know what I'm talking about and want to be closer in the know, I will still
be fabricating items and selling them to friends at a nominal price. And for those I owe, you will get yours. If you are not in the know, ignore this message as best you can, for when the time is at hand, you may wish you had. (It stays fresh like vacuum-sealed whale flesh).

this cloud is becoming an envelope

2007-09-02T14:32:00.000-07:00

All new reasons to

click away:

This Big Monster Records, a folk, pop punk, posicore, and now
electronic miscellany label based in South Florida and ran by my good friend and printmaker extraordinaire Tommy Coleman (linkage coming soon) in addition to the always interesting when it's there, warmth-producing in the summer without Nair, world wide weblog/digital lair of another pal:
Joe Kay.

And be on the lookout for more punk and soul.

kkites

reeeeeeeeeeeeeeeeeeeeeeeeeemiiiiiiiiiiiiiiiiiiiiiiiiiiiix!

whet

2007-08-29T21:15:00.001-07:00

there you go!
www.myspace.com/annualdoh
"Soup" featuring Devin KKenny
www.myspace.com/devinkk
"Add it up" produced by Beef Knuckles

new tracks , available on upcoming mixtape

in other news, casual scouring has left me empty-handed in finding digital versions of Keith Haring's Crack is Wack music video, I guess I'll have to check it out from the library, convert from video and upload it somewhere. Peace to civic duty.

http://query.nytimes.com/gst/fullpage.html?res=9A0DE4D7133AF93AA2575AC0A960948260&sec=&spon=&partner=
permalink&exprod=permalink

"in the end summer" mixtape coming soon!

2007-08-23T14:44:00.000-07:00

featuring
Devin KKenny
Annual Doh
Beef Knucks
Joe Marolla of Throes
DJ Drama

and many more!
Hear my music at www.myspace.com/devinkk

At the very least it's a hands-on community

2007-08-16T23:42:00.001-07:00

Name:
THE GREAT INTERNET SLEEPOVER
Tagline:
hyperspace is the place
Host:
Bennett Williamson
Type:
Party - Slumber Party
Time and Place
Start Time:
Friday, August 24, 2007 at 8:00pm
End Time:
Saturday, August 25, 2007 at 8:00am
Location:
online OR Eyebeam space
Street:
540 W. 21st Street
City/Town:
New York, NY

Contact Info
Phone:
917.450.4530
Email:
Bennett.Williamson@gmail.com

http://www.thegreatinter.net/sleepover

The antepenultimate intro

2007-08-15T15:51:00.000-07:00

This is the first posting of my weblog. Check back periodically for surprises, and information about various capricious projects that don't thematically fit into the party line of Rock Versus Rifle.

Did Britain still Oi! chants from Brazilian football players?