Stay tuned and I’ll let you know when the next one’s coming along.

So yeah, it couldn’t have been that bad, right?

There are a lot of different kinds of music on the list, but it’s all affecting. Louis Armstrong’s ‘What a Wonderful World’ joins the entire Rage Against the Machine catalog, and USMC favorite ‘Bodies’ by Drowning Pool sits on equal footing with Nena’s ’99 Luftballons’.

The songs declared forbidden by the bigwigs at Clear Channel, deemed unfit for consumption, define an emotional range that completely saturated everything after the attacks. It was chaotic and sloppy and raw, and seemed to fill every place you could fit an interpretation. A story from The New York Times published September 19th says the list’s “intended aim is to ensure national mental health, though First Amendment supporters may point to it as the first shadowy blacklist in what President Bush says will be a war against terrorism.”

I arrived in New York City, pulling a U-Haul onto Lorillard Place in the Bronx, four weeks before September 11. Afterwards, I spent the next three months in a big, new place wandering in a strange trance. Our landlord, who was in the Coast Guard, was never around, and the house quickly turned into a haven for our confused weirdo friends to pad about like mental patients as we all tried to get our heads back together.

I’d like to think that if we had Spotify, and the ability to have access to a playlist containing the most-affecting songs from the last century of American popular music, it might have been a bit easier to snap out of it. Instead we listened to a lot of Can and G.G. Allin, which may have worked just as well.

At any rate, here’s that Spotify playlist. Enjoy the songs of sorrow and elation.

Clear Channel’s 9/11 ‘Lyrically Questionable” songs by Nick Parish

We thought about just sending our logo and specs off to a printer, but what about making our own awesome shirts? And checking on colors and things? My awesome girlfriend gifted me time in a screenprinting workshop last year, so I already knew a thing or two about making your own shirts. So how about hire a studio and try to do it ourselves? Turns out that was much easier (and more fun) than we thought. We got in touch with Peter from Polluted Eyeball and arranged to visit him in his studio, in a loft building of artists’ studios, in Bushwick. We set up an evening session, so after work on Friday we could roll up and do some printing.

There’s a populist connoisseurship in T-shirts. Fine fit, fabric and a nice design can make a cheap item into a lifelong favorite. So we wanted to do these right. We stopped off on the way at Uniqlo to pick up around 70 of their Dry Pack Men’s T’s. I think they’re among the best going.

Once Peter had taken us through the process (and burned an extra screen for a white ink layer to sit below the fluorescent pink) we got to work, a three-person team, fitting the blank shirts on the platens², then rotating them to the white and pink screens, through each ink phase, then under a heater, then off to be rolled and taped and sorted by size.

By the time we’d gotten our process right and picked up steam, we were out of blanks and had a whole load of handmade T-shirts to give away. Take a look at the photos below, and if you’re going to be in Austin, track down either me or Noelle for a shirt. Thanks again to Peter at Polluted Eyeball for all his expert guidance.

1. I’m on a panel called ‘Client Knows Best’ with some brainiacs from Droga5, McCann, Co:Collective and Verizon, it’s here, on Saturday at 5pm. Come if you’re around, it should be a fun chat. Noelle, meanwhile, will be raising heckfire in boots.
2. this was a new term for me, from Wikipedia: ‘In textile screen printing, a platen is a flat board onto which the operator slides the garment. It is generally made of either a plywood laminate or aluminum with a rubber laminate. Often the platen will be pretreated with a spray adhesive. This allows the garment to effectively become a rigid immobile substrate, especially important when printing multiple colors or utilizing an on-press infrared dryer. The screen is brought parallel and close to the garment (often within 1/32″) and the squeegee pressure then brings the screen into contact with the garment so that the ink transfer may occur. There are many special platen types, such as those for printing sleeves or pockets, vacuum platens, platens with clamps to hold bulky materials such as jackets, and even curved platens for printing on hats.’

What was your social media eureka moment?
I think everyone has a path of social media eureka moments which revolve around making real connections with other people. Everyone feels the magic when they meet someone in real life that they’ve come to know over the internet, and compares their concept of that person and their actions online with the living breathing talking version. That can be online dating or buying a dresser on Craigslist. Same goes with arguments; the first time you get into a blood-boiling argument on the Internet you pass a sort of barrier. To me, those are the most interesting bits, coming to understand the powerful connections we can create with people who share our interests and goals.

What do you use on a daily basis and how?
Whew, big question…currently running applications include: Mail, Chrome, Firefox, DevonThink, Pomodoro, Dropbox, Spaces, ManyCam, Skype, iChat, Word, TextEdit, Tweetdeck. Frequently accessed webservices/social bits/communities include Facebook (begrudgingly) & Twitter and Google’s suite of stuff, without which I’d be truly lost. Metafilter and Reddit are my favorite community sites. Google Reader tells me ‘from your 300 subscriptions, over the last 30 days you read 9,359 items, clicked 33 items, starred 10 items, shared 0 items, and emailed 61 items.’ I’ve developed an arcane and possibly foolish system to basically archive anything I touch on Twitter to a bookmarking site, and I spend a lot of time watching Contagious’ output and cataloging all that stuff for further analysis.

What is hot and what is just hype?
I think this question is becoming less and less relevant, but I can’t quite explain why. I’ll try, though. In the last year or so we’ve seen enterprising groups take things that are in the hype cycle’s trough and make fun new things out of them. I hope the cycles created by our anemic attention span and relentless economic machine continue to pump up and churn through emerging technologies—it leaves more room for the inquisitive tinkerers to come through and say ‘oh, what’s this, how does this work.’ It’s like the kid who always had the most fun, newest toys—you knew a few days later their attention would be elsewhere, but that fun toy probably still had some life in it for something. I’m currently obsessed with the Kinect, Minecraft, quadcopters and autonomous flight sequences, Mechanical Turk and whatever a rotating cadre of members of the present-day Invisible College of technology is doing.

What do you see as being the next big thing at next year’s conference?
Definitely jetpacks. Seriously though—with the speed at which companies seem to be earning venture capital money, I would look for topic ideas from this article on SXSW 2001: “Is there still an Internet economy?”, “Internet Industry Trends 2001: Is Anyone Making Money?”, How to Survive Takeovers, Acquisitions, Layoffs, Mergers and Other Supposed Career Setbacks”. Etc. Mad-Libs the blanks where appropriate, change “million” to “billion”, there you go.

What is the one takeaway you hope everyone gets from your panel?
I hope people leave the panel understanding the difficult lines games makers have to walk, between manipulating game mechanics to maximize profit and making genuinely fun games people want to play.

1. I actually moderated a pair of panels, on social gaming on Monday and storytelling on Thursday. They’re archived here (after 16m of David Eastman) and here if you’re interested.

With a flyer boasting quotes from both J.G. Ballard and Colonel Kilgore of Apocalypse Now, by the time my chum Luis and I arrived at NYU a few weeks back for a special lecture we knew we’d be in for an interesting discussion.

Steve Goodman, aka Kode9, dubstep producer and owner/chief curator of the massively great Hyperdub record label, was talking about his new book Sonic Warfare: Sound, Affect, and the Ecology of Fear. (MIT Press)

Introduced as a “rogue academic” and member of the Cybernetic Culture Research Unit, it wasn’t immediately clear if the talk was going to be highly abstract or grounded, but it turned out the latter–lucid, well researched and informative. Here are some notes.

Goodman started by saying he was at first interested in “taking literally the way certain currents of electronic music culture were describing themselves using military metaphor,” for example, Underground Resistance. But he found most was an outpouring of male fantasy and conspiracy theory. Then, he turned to non-lethal weaponry, which is now essential in an overexposed world with real-time televised events.

“[It's an] arms race in which the opponent is the general population,” Goodman said, noting microwave pulses that can modulate behavior without supposedly lasting effects or visible traces. In his definition of a sonic weapon, it’s something that can cause modulation of feelings and behavior, be it violence, pain, seduction, trickery (advertising!), deception, unease or fear.

Most politics of music, he said, deal with content and language, text that can be deconstructed and lyrics that can be reinterpreted. More fundamental is how sound and music affects and modulate the body and mind, but not always consciously or representationally, part of the “vibrational relationships between things, sometimes humans,” as part of a continuum of vibrational forces that have been colonized by different groups.

Military research into acoustic weapons tends to focus on to repelling people, dispersing crowds and essentially making a group into individuals. Seduction indicates branding, to induce consumption behaviors and to get people to buy things. In music culture and sound art insidious frequencies to attract crowds, bring people together.

So we have forces of repulsion and forces of attraction.

Goodman then moved on to the origins of sound produced in the military, as a fanfare to call to arms, and drumming to discipline the troops in time: a soundtrack to war.

He went into the Urban Funk Campaign and Operation Wandering Ghost¹, two Vietnam era projects to experiment with sound in battle, and talked about the ghost army the allies set up in World War II.

Goodman then went into his three definitions of “unsound”–that is, having suspect methods, “politically unsound”, below the threshold of hearing, or most interestingly, things you can’t hear because they haven’t been created. “The potential between the vibrational field, what futurism in music culture has always been intereted in, the shock of the new.

This leads to an interesting premise: “what a body can hear is not something that is fixed in time.”

Hearing aids let us hone in on certain frequencies, hi-tech prosthetics. “We don’t yet know what the sonic body is capable of.”

Much of the talk around sonic warfare (that isn’t waging it) consists of debunking military press releases, according to Goodman, and names Dr. Jurgen Altman as a leader.

Most effort in that field is involved in directional ultrasound, things like sonic lasers. Rather than use sub-frequencies (like Goodman and many musicians) the military tech focuses on directional devices that create hole-y space, and pockets of audition.

He talked about how military technology trickles down, as of the case of the vocoder, initially a speech encoder so Roosevelt could talk to Churchill. Then came two great quotes, that I may have mis-attributed, or under attributed in my notes; I have “Kintler”. Anyway, the quotes are (on seperate lines because they’re great):

All entertainment media is an abuse of military media.

The discoteque was a boot camp for World War 3.

The latter meaning it was subtly improving our nervous systems to function in a situation of sensory overload.

He touched a bit on the Mosquito, post-9/11 urban culture and its pelethora of sirens, the LRAD, playing Balinese gamelan on the greatest soundsystem known to man and studying the brain’s response, sonic booms and sonic warfare as war crimes, the monopolization of the means to experiment with frequencies, schizophrenia as “split voice”, Project Jericho and more.

Goodman’s keeping a blog on various topics related to the book here. You can preview it on Google Books.

UPDATE: Luis adds this. Very appropriate.

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1. From WFMU: “The Urban Funk Campaign is something much more evil. It was employed by the CIA Audio Harassment Division in Vietnam and Laos. The idea: bombard the local citizenry with sound instead of bombs. The desired effect: rouse the populace from their hideouts and destabilize their resolve.

   In 1972, 13 choppers were equipped with Sound Curdler Systems (costing $50,000 each). The Curdler is a small oscillator unit that is capable of hundreds of hours of uninterrupted operation from a simple 9v. battery. It emits a shrill pulsating shriek at 120 decibels at 10 meters. (Standing on a runway during takeoff of a 747 measures 112db, in other words, potential aural harm.)

   The system is also called a “People Repeller” when used with a hand portable US HPS1 Public Address System with a 350 watt amp and anti-feedback microphone. This system delivered intelligible speech over 2.5 miles. The system also came with an optional siren system with built-in wail/yelp audio frequency oscillator with adjustments to frequencies from 500-5000hz.

   Code-named “Wandering Soul” because the audio engineers spent weeks recording eerie sounds based on their exposure to local music, foklore, ghost stories. The eerie sounds are similar to the soundeffects employed during a radio mystery play, but transposed to live theatre of Vietnam. These sounds were intended to represent souls of the enemy dead who had failed to find the peace of a proper burial. The wailing soul cannot be put to rest until this proper burial takes place.

   The purpose of these intrusive sounds was to enhance panic instincts and facilitate crowd dispersal and the disruption of troop strategies, village chanting, rites, routines, and celebrations. The target audience (victims) are forced to drop everything to cover their ears. At night the system was at its most effective as it harassed the sleeping and preyed on the sensibilities and superstitions of the target population. It was further intended to destabilize beliefs, disorient the human targets, and enhance intra-community irritability.

   The 10,000-watt airborne systems were mounted on the choppers so as to best project sound downward in a pyramid apexing at 3,500 meters altitude. This was the technological heart of psychological warfare.

   In 1973 the Urban Funk Campaign tested super/sub-sonic and ultra/infra sound with a weapon system called a Squark Box which creates 2 simultaneously inaudible ultrasound tones at pitches of 16 and 16.002khz. These 2 ultrasonic waves of highly directional beams are aimed to coincide at the target point. This interference pattern creates a sub-beat of 2hz outside normal auditory perception and when played at immense volumes causes ars, shoulders, chest wall and buttocks to resonate. It converts the target body into a human tuning fork. Symptoms include headache, visual distortion, epidermal tinglings. the skin actually gets heated by localized ultrasound and gently cooked.” Other effects are the formation of cavities or bubbles in the body, choking, excessive salivation, testicular pain, nausea and giddiness – a technological extension of witchcraft. And when combined with rapid flickering hi-intensity lights it caused systematic disorientation, sensory destabilization. Prototype for the modern dance floor where for an admission price, revelers willingly submit the ennui of their everyday bodies to the photo/auditory-epileptic effects of intense stroboscopic light. Synchronized at between 10-30cps – photoepilepsy will occur during intense prolonged conflict exposure.”

I’ve got big news I wanted to share: I’ve taken on the responsibilities of opening an office here in New York as Contagious Communications’ North American Editor.

The official press release is up, and I’ve done a quickie intro on contagiousmagazine.com.

If you don’t know Contagious, I’ll give you the quick primer. It’s a London-based marketing intelligence company founded in late 2004 and led by the flagship product, a quarterly magazine. It also produces FEED, a bespoke subscription service for specialized pulses of information, an events division offering custom conference programming and Contagious Insider, a consultancy that has helped think on a bevy of interesting challenges from a wide variety of top-notch clients.

Contagious started around the idea of chronicling and considering how non-traditional efforts were impacting marketing; it has grown to a robust clearinghouse of innovative approaches, unique insights and all manner of interesting ideas from around the world of marketing and beyond. (Download 2009′s Most Contagious report for a taste.)

It’s extremely exciting to be able to bolster such a robust and focused team. Contagious has a diverse and deep pool of talented writers, researchers and collaborators as well as a can-do startup mentality.

A while ago I was reading a blog post BSS&P’s Ed Cotton had written about the need for a creative-thinking version of McKinsey, about how stimulating ideas and creative revitalization can be more beneficial to growth than cost-cutting. I think Contagious has the potential to serve as that energy- and idea-giving entity for any of today’s companies interested in what’s next.

So in the next few months I’ll be building our presence on this side of the pond at conferences and events, paying visits to lots of companies and, most importantly, watching closely and taking observations and insights to the print magazine and website.

If you’re not already, get in touch. Sign up for our e-mail newsletter, follow us on Twitter (@contagiousmag) and submit your best work.

Contagious is well known in Europe, and has been very successful around the globe so far, but we’ve still got a challenge in helping it find a bigger audience in the Americas. I hope you’ll be able to play a part and contribute to what’s fast become a vibrant community of forward-thinkers.

No doubt saying something offensive and hilarious.

I galloped down to the West Village with my buddy Sam last night to see Louis C.K. tape a few bits for his upcoming FX show (March). It was brutally hilarious. I suspect some of the material might be too horrifying for the FX audience but if he puts out a DVD of the show it might have some of the crazier stuff from last night. Oh yeah, we got to sit right in the front, too.

Louis (@cklouis) gathered the audience via a tweet the day before. This was by far the most exciting thing to happen via Twitter.

This is Sam’s favorite C.K. video bit; his YouTube channel is pretty golden.

Photographer Caroll Taveras emailed the other day with some end-of-project news from her Photo Studio project, which you may remember from our visit this winter. Selections are online, and there’s a book in the works, and, according to Caroll, she’s going to be bringing cheap (but great!) portraiture to more cities. Stay tuned!

(ps., turns out, as you can see above, I made the website, alongside Stefan Ruiz, a photographer and briefly creative director of the iconic magazine Colors.)

(pps. In other eminent Brooklynite news, Jim Hanas, my predecessor at Creativity/AdCritic, has a nifty full-pager explaining why you’ll never be famous in the Post today. The story is based on a talk Jim recently gave at his lecture series, Adult Ed, which I have shamefully yet to attend. Congrats, Jim–if they didn’t tell you about the perks, by dint of the Post filing you in the Opinion/Op-Ed columnist bin you’ve earned a one-year trial membership to the John Birch Society and a 2010 copy of G. Gordon Liddy’s ‘Stacked and Packed’ calendar.¹

1. I kid, but while working on the desk at the Post I got into a protracted phone conversation with one of Liddy’s radio producers that called for some esoteric sports stats and he sent an autographed, dedicated copy of the calendar to me at the paper in thanks. I put it in my mail cubby to take home later, as I was due at the bar that night and didn’t have safe transport, but the next day it was gone.

99% Conference Sneak Peek!, originally uploaded by jeffreyk.

I peeled myself out of the office briefly Thursday to stop over at Behance’s 99% Conference (“It’s not about ideas, it’s about making ideas happen”) at the Times Center.

I was only able to see a few speakers, but I picked a good time to drop by. First, Seth Godin talked about squashing your lizard brain, the fearful primitive part of consciousness that’s forever impeding progress and preventing us from actually finishing projects with thoughts of fear.

After that, it was Jake Nickell and Jeff Kalmikoff from Threadless, who talked about implementation of ideas at various stages in their business (the slide above is one of their credos). Another laffer was a picture of a desktop PC set up in front of a door, monitor stacked on CPU with a desk chair in front. That was apparently Nickell’s setup to prevent himself from leaving the house in the early days of the site.

I especially enjoyed Scott Belsky of Behance, who spoke just before lunch. Belsky touched on the different types of creative personalities, how we can pair people to max our their effectiveness by combining traits, how competition and conflict can spur things, etc. It was interesting, in part because it was similar to Hyper Island’s philosophies of group dynamics, which they illustrated last month at South by Southwest.

I ran into a chum of mine, Jocelyn Glei, who informed me she’s working with Belsky on a book-length exposition of his findings, which will certainly provide a grounds for greater comparison of the two groups.

I’ve only played with Jim once, in a “Friday-night nickel-and-dime game” (which was actually on a Sunday, in a basement in Howard Beach) but if I recall correctly I managed to mad-dog my way through the game longer than he did. Obviously he’s gotten quite a bit better. Jim’s on Twitter, as well. I’d stay tuned, as hopefully he’ll have some more of this good stuff soon.