Michael R. Barrick's blog

OK. So yesterday I bought an area rug and runner at Ikea. I went there for other things but the rugs were not ugly like every other rug at Ikea and were on sale for obscenely cheap (like Bianca Amor's Discount Warehouse cheap), probably because they were actually nice and therefore unappealing to the people that buy yin-yank coffee tables and glassware with tiny bubbles by the hard working indigenous people of wherever.

My "Brexit boots" arrived today. I'm calling them "Brexit boots" because I bought them from The Gothic Shoe Company in England when the Pound bottomed out right after the Brexit vote and as such saved a bundle. These are my second pair from these guys and I can't recommend them highly enough. *happy dance*

If you have and older Mac that has a 64-bit processor but the 32-bit 1,1 or 2,1 EFI firmware (eg. a 2009 Mac Mini Core 2 Duo) and you want to install a recent 64-bit version of Linux on it, the 32-bit EFI firmware will leave you stuck at a prompt like this:

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1.

2.

3.

Select CD-ROM Boot Type :
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with an unresponsive keyboard and no way to proceed.

Opening reception for "Two Exhibitions from The Collection: Becoming Animal/Becoming Landscape & Joan Balzar" and the official launch of Glenn Lewis' "Classical Toy Boat" - June 23, 2016.

On May 25 I was on Bad Vibes on CFRO (you can listen to it here.) Marc Godfrey and I were picking from a list of music that I brought with me depending on how the conversation went. I came armed with almost three hours of music for a one hour interview, with everything picked for a reason. This is the fourth in a series of posts where I run through those choices, including the ones that we didn't get to, and talk about why I picked them. 

In this post I'll cover the rest of the the Cure songs played and not played. But before I get started, I have one question. Is anyone reading these. Seriously. Comment here, like, +1 or comment on one of the automatic reposts, anything, because I really don't know what the fuck I am doing any of this (or anything at all) for. 

On May 25 I was on Bad Vibes on CFRO (you can listen to it here.) Marc Godfrey and I were picking from a list of music that I brought with me depending on how the conversation went. I came armed with almost three hours of music for a one hour interview, with everything picked for a reason. This is the third in a series of posts where I run through those choices, including the ones that we didn't get to, and talk about why I picked them. 

On May 25 I was on Bad Vibes on CFRO (you can listen to it here.) Marc Godfrey and I were picking from a list of music that I brought with me depending on how the conversation went. I came armed with almost three hours of music for a one hour interview, with everything picked for a reason. This is the second in a series of posts where I run through those choices, including the ones that we didn't get to, and talk about why I picked them. 

In case you don't already know, the title of this post is a reference to the 1936 article by Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. Call this an unfinished thought, a rant, a ramble, what have you. It's on my mind when I am making images and when I am intentionally not making images. 

Last week I was on Bad Vibes on CFRO. This is the set-list from that show. My bit starts with The Vampire Club by Voltaire, and you can listen to it here. From that point on Marc Godfrey and I were picking from a list of music that I brought with me depending on how the conversation went. I came armed with almost three hours of music for a one hour interview, with everything picked for a reason. What I want to do for the next little while is run through those choices, including the ones that we didn't get to, and talk about why I picked them.