Friday, December 21, 2012

Lotta great noise came out this year. Hear some here, recommended by me.

Sunday, October 28, 2012

Saturday, October 13, 2012

Saturday, October 06, 2012

"So this is like when rappers drop a track in advance of a mixtape, only totally backwards"

This one appears in Seven New Poems; I'm especially proud of it.


Wear connotes value in terms of
abuse. Convictions crumble mid-
sentence, chords left ajar, bitter
chrome. Crash pad tossed for
a Talmud. The split of old gloves.

Triple Threat: Melody’s Echo Chamber, Michael Zapruder, Elizabeth Veldon.

Also, got promoted this week, finally.
This is like a resource that is the natural right of, you know, people in all places and times and realities. And when you hear it, you have no idea how you've managed to live your life without it.

Sunday, September 30, 2012

"Seven New Poems" = the title says it.

Seven New Poems, everyone. Everyone, Seven New Poems.

An eBook for Amazon Kindle by yours truly. Dedicated to the late Debbie Kruper Moore. Crazy cheap at $1.35 a pop. Available just in time for World Animal Day; available in an array of eye-catching colors.


Friday, July 06, 2012

"New God Flow"

5ingles is toast. Long live Triple Threat.

Triple Threat #1: Phil Julian, Meat Mist, Meek Mill feat. Rick Ross.

Sunday, April 29, 2012

Sunday, April 15, 2012

Tuesday, January 31, 2012

Do you have a Kindle? Do you have an iPod, iPad, or other device which can host a Kindle app? Have you ever read an alumni magazine? Do you have $1.59?

Then buy Class Notes.

Saturday, January 07, 2012

This was supposed to run as a Village Voice music listing, but didn't due to a clerical error:

Celebrity DJs make the A-List for a reason, and the deceptively named Deadmau5 has earned his place there. The DJ born Joel Thomas Zimmerman may have committed his share of quasi-mortal sins – dating a Playmate without irony, assailing the etymology of his chosen profession in print, perverting the Disney logo fifty ways from Sunday – but there’s something quintessentially and universally euphoric about his brand of acid-trance that transcends race, economic status, and level of chemical dependency. Sure, Zimmerman’s fizz-tone beat-bounce prizes broad electronic strokes over ambient diffusion or convulsing-outside-a-rave nightmare, but in a compositional sense he excels at unspooling a good yarn, even if that yarn doesn’t go much deeper than the storyboard for a 30-second Mitsubishi advert.