The city plans to levy fines on households with no working smoke detector. According to this item, 16 people died in fires in Montreal in 2011, most of them in buildings with no detector.
The city’s public consultation office says citizens don’t get enough information about telecommunication antennas, although – like the smart meters – radio frequencies are generally agreed to be harmless. It’s also a question of aesthetics.
In any case, the city’s going to announce new rules soon as antennas are proliferating like crazy all over town.
billturner posted a photo:
When you swing a guitar without strap locks.
The Awl had a story yesterday called the Scourge of Pourover Coffee. Now, while I’m tempted to write this off as yet another example of New Yorkers not knowing good coffee (while there has long been good espresso, until very recently the coffee has never been much better than recycled douchewater) I’m not sure that really captures the nuance I want to convey.
So I made this video as a counter-point.
My apologies to Jon Lam for any stylistic similarities.
YES! Art for our office. Signed and numbered print called Bird Vision by Lisa Hanawalt:
You can get your own here.
Someone followed to clues in the song to figure out when Ice Cube had a “Good Day”.
[via @ztaylor]
Edmund has written three suicide notes in his life. No one has seen them but him, and he never got so close that he even attempted any of their promise, but still he wrote them, actually on paper. And he thinks about them sometimes.
Carolyn,I'm sorry for all the trouble. I don't like putting up with me either. Hopefully Evelyn only has my eyes.
- Edmund
He thought of leaving it under the windshield wiper and remembered wondering if she would throw out his CDs or not.
Ali, this should do the trick. -E
Written on the back of a bank statement, indicating a zero balance, because he had transferred all his money into her account. He ate a burger while he looked at it and thought about how people of other generations than his spent their lives fighting wars.
"There was obviously something else going on. It's not your fault." "No, I didn't, and yes, it was."
He remembered feeling their weight in his hand. It was like building a weapon. It could take any shape, it could be any strength. The only dissatisfying thing was having to shoot the weapon into the air without getting to see if it hit the target. There was a hand on top of his.
"Ed?" It was May. "Hm?" "What are you thinking about?" He smiled. "You. Always you."
Digital Leather - "Sweet Cheeks"
[Buy Too Beautiful to Work]
[Buy Modern Problems]
If you’re upset, confused, alarmed, and/or concerned about Twitter’s new policy of censoring tweets at a country-level, this is worth reading: Why Twitter’s new policy is helpful for free-speech advocates .
Longish La Presse piece by Michèle Ouimet asks whether the homeless can be helped off the street – not surprisingly, the answer is “sometimes, but it takes concerted effort and funding.”
She mentions that the successful “Chez soi” program is going to lose its funding in 2013. Here’s a clue to the government: nobody, not even people accustomed to the street, likes to feel that while they have a warm private place to sleep this year, it’s anyone’s guess if they’ll still have it next year. Itinerants are victims of instability – adding to it is only going to make things worse.
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book.
Previous contributors include Bret Easton Ellis, Kate Christensen, Kevin Brockmeier, George Pelecanos, Dana Spiotta, Amy Bloom, David Peace, Myla Goldberg, and many others.
Keshni Kashyap's graphic novel Tina's Mouth is aptly subtitled "An Existential Comic Diary." Written in the form of a school-assigned diary written to philosopher Jean Paul Sartre, the book follows a sophomore in high school through the ups and downs typical of the teenage years, but with the additional conflict that comes with being the progeny of immigrants to this country. Kashyap's Tina is relatable yet unique, a protagonist who grabs the attention of both teen and adult readers.
The book is more illustrated novel than graphic novel, and Mari Araki's simple yet elegant illustrations are the perfect accompaniment to Kashyap's prose.
Tina's Mouth is the rare book I didn't want to end, and is a graphic novel I have tirelessly recommended to friends and family of all ages.
SF Weekly wrote of the book:
Instead of just charting the discoveries of a smart kid's adolescence, Tina's Mouth can make you feel them. This is familiar material, yes, but it's familiar the way of philosophy and pop songs can be: At their best, the breathless feelings dramatized by Kashyap and Araki might match up to a corresponding one in you — and then set it off like fireworks.
Stream a Spotify playlist of these tunes. If you don't have Spotify yet, sign up for the free service.
In her own words, here is Keshni Kashyap's Book Notes music playlist for her graphic novel, Tina's Mouth: An Existential Comic Diary:
Tina's Mouth: An Existential Comic Diary which came out this month is a graphic novel written by me, Keshni Kashyap, and illustrated by my friend and collaborator, Mari Araki. The book is about a fifteen year old Indian American girl who attends a private school in Southern California. For an English Honors class in philosophy, she is given the assignment to keep an 'existential' diary. She addresses the diary to the dead French existentialist Jean-Paul Sartre and it becomes a treatise, of sorts, that charts her life and times during a particularly trying semester during her sophomore year of high school.
Music definitely played a large role for me in creating this book. I listened to music often – while writing, while working on the visual stuff with Mari, while spending endless hours in front of the computer. Maybe because I'm in my thirties and the protagonist is fifteen, I often found myself listening to songs that were the type of music that I would have loved in my teen years…music that captured the spirit of the book, which is young, sweet, joyful but also portends adulthood. To that end, I’ve compiled this list.
“Around the Bend” by The Asteroid Galaxy Tour
How can you not be happy listening to this song? Asteroid Galaxy Tour is a Danish band that just makes you want to be fifteen and drive illegally around L.A! Also, I love Scandinavia (I lived in Norway last summer) so I'm partial to the weirdness that is inherent to that part of the world and it comes across in these songs.
“And Then I Dreamt of Yes” by The Dandy Warhols
There are several songs by Dandy Warhols (mostly from their album Thirteen Tales From Urban Bohemia but also from Earth to the Dandy Warhols) that I have listened to non-stop while working on Tina's Mouth from the very beginning. I NEVER tire of this album. I can listen to it over and over and over. It seems to capture the spirit of this book in a deep, mysterious, inexplicable way. A lot of songs by the Dandy Warhols are also just really funny, such as "Bohemian Like You" about young love between two hipster vegans. "And Then I Dreamt of Yes," however, is more sad and makes me think of beautiful things from the past that are now gone. It’s exciting and painful at the same time. I particularly like the trumpet section towards the end.
“Only Love Can Break Your Heart” by Neil Young
I wouldn't be able to do this sort of a list without adding "Only Love Can Break Your Heart" by Neil Young because it is featured so much in Tina's Mouth. It is a nearly perfect song, in my opinion. One of my favorite tiny lines from this book is when Su Ming tells Tina that you have to be a 'basically good person to love Neil Young.' I concur!
"The Brandenburg Concerto #2 in F" (Christopher Hogwood) by Bach
I was given this album by a friend who is a film composer, and it has become indispensable. Bach has always evoked pure joy in me, and this album is, indeed, pure joy! Concerto #2 is the pinnacle (in my opinion). Tina takes violin and I feel that the school that Tina goes to is the sort of school that instills an appreciation of classical music so it feels appropriate. The thing is, when I listen to the Brandenburg Concertos – in particular this piece - I have the same breathless feeling as when I listen to a head-banging, modern pop song.
“Elderly Woman Behind the Counter in a Small Town” by Pearl Jam
Speaking of head banging rushes of a modern pop song….I'm going to age myself here and pick a Pearl Jam song. Hardly the most 'head-banging' of Pearl Jam songs (I think that the men's acappella group at Berkeley did a rendition of this one when I was a student), this song, with its quirky title, just makes me feel a whole smorgasbord of clichés, the most obvious one of which is saying good bye to a past self. The song brings up visceral feelings of being a student at Berkeley, going camping in some old mountain in Big Sur, driving around with my four best friends, getting drunk on cheap wine you carried for 14 hours in your backpack. But memories aside, it is just very evocative: 'I change by not changing at all.' It's the essence of being true to yourself which is probably what we were all discussing out there in those mountains anyways. It's also what lies at the heart of Tina's Mouth.
“Minor Swing” by Django Reinhardt
What a Franco-Belgian gypsy has in common with the Indian American Tina M., I don’t know. But, I love his jazz guitar and this piece, in particular, has male voices counting time and even cheering a little in it and you can just see a group of old gypsy guys playing guitars in Paris and drinking coffee and simply having a great time. There always seems to be a sense of humor in Django Reinhardt's music as well as a sort of sad whimsy.
“Aaye Bhairav Bholanath” by Cheb I Sabah
Cheb I Sabah is a famous North African DJ who specializes in Indian and Pakistani remixes. He has spun music on Tuesday nights at Nicky's BBQ in San Francisco for many, many years. In the meantime, he has put out a lot of albums, some to great critical acclaim. This album – called Devotion – focuses on Indian and sufi devotional music. This song is not one of his most famous ones, but I really love it. Like all of Cheb's music, it is at once dance-able and also mystical and takes you to a different state of mind.
"Paper Planes” by M.I.A.
How could I do a list like this without naming a song from Slumdog Millionaire?? I’m not a huge M.I.A. aficionado, but this song is both catchy and intriguing, perhaps due to the combination of a poppy, cheery tune with the locking and exploding of guns in the background, not to mention her menacing words about how she’s 'M.I.A. Third World Democracy.' For a while, I was at a writing retreat in upstate New York. I would go running everyday with my head phones and play this song and it really generated a lot of energy in me. Helped me run from scary upstate New York wild dogs.
"Bonnie and Clyde” by Serge Gainsbourg and Bridgette Bardot
I am a sucker for Serge Gainsbourg. Yes, he's a little sleazy and I don't think I agree with much of Bridgette Bardot's politics. But, there is just an energy to this song that simply makes you want to shut up, get up, dance and sip lillet! And, of course, there is the line in Tina's Mouth where Alex tells the winner of a French teacher that he looks like Serge Gainsbourg.
“A Flower is not a Flower” by Ryuichi Sakamoto
I learned of the plaintive piano music of Ryuichi Sakamoto by listening to Tom Schnabel's famous Sunday world music radio show on KCRW called Café LA. While many of the songs I have picked for this list have a sweet, fun quality to them, Ryuichi Sakamoto's music really evokes melancholia in me, plain and simple. It feels like the denouement of a sad, arty movie where the protagonist learns to accept disappointment as a way of life. For me, listening to Ryuichi Sakamoto is never an upper. Yet, on a good day, when the weather is just right, his music transports me.
“Firecracker” by Frazey Ford
Frazey Ford was one of the founding members of the Be Good Tanyas, and I love how her way of singing is so simple but also very unique and idiosyncratic. "Firecracker" is from her solo album, Obadiah. What is so interesting about this song is that it strikes a very particular balance - a girl who hasn't yet felt true, adult pain but she knows it's coming. I find it to be elegant and also evocative.
“Ego Trip by Nikki Giovanni” by Blackalicious
Nikki Giovanni's poem is set to music by Blackalicious and it’s one of my favorite songs on the generally awesome album Nia. I love Blackalicious and have been listening to them for a long time which means I have a lot of memories associated with their music. Being a spoken word song, however, this one doesn't really evoke memories, but I find that I listen to it often – I think because I like the words. They work on a lot of different levels.
Keshni Kashyap and Tina's Mouth: An Existential Comic Diary links:
the author's website
the book's website
A.V. Club review
BermudaOnion's Weblog review
BookDragon review
Hyphen review
Kirkus Reviews review
NYLON review
Republic of Brown review
San Francisco Chronicle review
Satia's Reviews review
SF Weekly review
Stories Are Good Medicine review
The Story Girl review
Tzer Island review
The Contextual Life interview with the author
Hero Complex interview with the author
India RealTime profile of the author
Nervous Breakdown interview with the author
also at Largehearted Boy:
other Book Notes playlists (authors create music playlists for their book)
List of Online "Best Books of 2011" Lists
List of 2011 Year-End Online Music Lists
100 Online Sources for Free and Legal Music Downloads
52 Books, 52 Weeks (weekly book reviews)
Antiheroines (interviews with up and coming female comics artists)
Atomic Books Comics Preview (weekly comics highlights)
Daily Downloads (free and legal daily mp3 downloads)
guest book reviews
Largehearted Word (weekly new book highlights)
musician/author interviews
Note Books (musicians discuss literature)
Shorties (daily music, literature, and pop culture links)
Soundtracked (composers and directors discuss their film's soundtracks)
Try It Before You Buy It (mp3s and full album streams from the week's CD releases)
weekly music & DVD release lists
The Scots, the Northern Irish, the Welsh, even the Cornish have all expressed a desire to have more autonomy from the United Kingdom in recent years. The announcement came this week that the Scottish referendum is now scheduled for the fall of 2014, but the Christian Science Monitor says that the latest group to be feeling its oats a bit is the English themselves. Public opinion in England proper is beginning to show a bit of resentment towards the other nations, particularly Scotland, for the amount of money the national government spends to support them, and a bit of old-fashioned John Bull-ism.
Since last summer, I’ve been dividing my time between my personal business providing at-home tech support to a clientele that is primarily senior citizens and a part-time job doing much the same thing for a biotech company. It’s a little schizophrenic going back and forth between an office environment and the homes of my clients, but at least the basic tasks are largely the same. The biggest difference is the level of appreciation I get from my clients and my co-workers. Not that my co-workers don’t appreciate the things I do for them, but the response I get from my clients is more like this, without quite so much Jello salad.
Good Evening, Mr. and Mrs. North and South America and All The Ships At Sea!
FLASH!
The New York Daily News recently reported that one Colin Hagendorf of Brooklyn, New York has completed his quest of eating a slice of pizza from every single pizza place in Manhattan. For his next quest, Mr. Hagendorf will make use of every public toilet in Manhattan.
FLASH!
The citizens of Dog Shit Village in Guizhou Province, China, were ecstatic to learn that the government has finally awarded their town with a new name. Until the presentation of the new town sign.
FLASH!
Republican presidential candidate Newt Gingrich told a group of Florida voters yesterday that if he is elected he will order NASA to build a colony on the moon. No, really, he did. No joke. Except for Gingrich himself, of course.
And now let’s go live to our correspondent for breaking news from a situation developing on the expressway…Steve, over to you…
A suspect has been nabbed in Ontario for the year’s second murder, the young man shot in the Wendy’s parking lot in Snowdon.
At this hour, students are blocking education ministry offices on Fullum to express opposition to tuition hikes.
The closure of an east end appliance factory will terminate more than 700 jobs by 2014.
The CN tracks through the Turcot are damn well going to be moved, says the transport ministry, even though it means putting them on ground that has to be expensively stabilized because it’s had a river and a small lake in it since before white people lived on this island.
Such planning genius, it doesn’t cease to amaze.
The 33 1/3 series of books on seminal albums has opened its call for new proposals.
Hold Steady frontman Craig Finn talks about his solo album and Friday Night Lights with Billboard.
"The only thing about the record that really deals with 'Friday Night Lights' is the title. I've seen it overstated in a few places, like that I wrote a record about a TV show," Finn says, chuckling. "That said, one thing I love about the show and just can't get over is that when the kids get older and graduate, they go away - but you're staying there. You know the teacher, the football coach, the guidance counselor, but you have a new group of kids coming in. That was a very smart plotline."
Book Boroughing posts photos of last night's Largehearted Boy 10th anniversary party at WORD (disclosure: I am co-founder of Book Boroughing, but Gabrielle Gantz, the other co-founder, wrote that post).
The Charlotte Observer interviews Mountain Goats frontman John Darnielle.
Q. Where does your literary approach to songwriting stem from?
A combination of my love of poetry and fiction. With fiction, you immerse yourself in the story. With poetry, it's like breaking into a castle. With a lot of poetry you have to figure out the riddles, the actions. There isn't a big scene setting. You have 16 lines and you read it multiple times. Maybe you memorize it and see how it sounds on your tongue. It's not like fiction and poetry haven't interacted a lot. I was writing poems, and I saw that the main people reading poetry are just other poets. I started setting them to music.
The A.V. Club interviews Weakerthans frontman John K. Samson about his new solo album, Provincial.
At HTMLGIANT, author Roxane Gay shares lessons she's learned starting a micropress.
On sale for $3.99 today at Amazon MP3: The Roots' latest album Undun.
Comic Book Resources interviews comics writer Gene Luen Yang about the first book in the Avatar: The Last Airbender series, The Promise - Part 1.
Pop Candy lists items whose design is inspired by the cover of Joy Division's Unknown Pleasures album.
The Seattle Times reviews Warren Ellis: Captured Ghosts, a documentary about the comics writer and musician.
Monkey See examines how the Academy Awards have lost touch with movie music.
Christopher Paul Curtis talks to All Things Considered about his novel The Watsons Go to Birmingham - 1963.
Singer-songwriter Anna Calvi plays a Tiny Desk Concert at NPR Music.
Cartoonist Craig Thompson walks the Guardian through the creation of his graphic novel Habibi in a slideshow.
Win three of my favorite New York novels and a $100 Threadless gift certificate in this week's Largehearted Boy contest.
Amazon MP3 has 1,000 digital albums on sale for $5.
Follow me on Twitter, Google+, Tumblr, and Stumbleupon for links (updated throughout the day) that don't make the daily "Shorties" columns.
also at Largehearted Boy:
previous Shorties posts (daily news and links from the worlds of music, books, and pop culture)
List of Online "Best Books of 2011" Lists
List of Online Year-End 2011 Music Lists
100 Online Sources for Free and Legal Music Downloads
Atomic Books Comics Preview (the week's best new comics & graphic novels)
daily mp3 downloads
Largehearted Word (the week's best new books)
Try It Before You Buy It (mp3s and full album streams from this week's CD releases)
weekly music & DVD release lists
Friday morning’s freezing rain is the day’s biggest story. Then two breakdowns on the orange line threw another spanner into the works.
Sad tale here about a man in Charlemagne who saw his house and business expropriated to build a station for the Train de l’est – and now the AMT has decided to cancel that station for budgetary reasons.
Every day, Daily Downloads offers 10 free and legal mp3 downloads, plus free and legal live sets from around the internet.
Today's free and legal mp3 downloads:
Cuff the Duke: "Cold Blooded Old Tunes (Smog cover)" [mp3]
search for more Cuff the Duke posts at Largehearted Boy
The Elkcloner: "Crossfire" [mp3] from The Elkcloner (out February 28th)
search for more Elkcloner posts at Largehearted Boy
The Mary Onettes: "Love's Taking Strange Ways" [mp3] from Love Forever (out February 28th)
search for more Mary Onettes posts at Largehearted Boy
Pelican: "Lathe Biosas" [mp3] from Ataraxia/Taraxis EP (out April 10th)
search for more Pelican posts at Largehearted Boy
Radiation City: "Park" [mp3] from The Hands That Take You
Radiation City: "The Color of Industry" [mp3] from The Hands That Take You
Radiation City: "Babies" [mp3] from The Hands That Take You
search for more Radiation City posts at Largehearted Boy
Rocketship Park: "It's Not You (Revue Rehearsal)" [mp3]
search for more Rocketship Park posts at Largehearted Boy
Sweet Billy Pilgrim: "Brugada" [mp3] from Crown & Treaty (out April 16th)
search for more Sweet Billy Pilgrim posts at Largehearted Boy
Terry Malts: "Nauseous" [mp3] from Killing Time (out February 21st)
search for more Terry Malts posts at Largehearted Boy
Free and legal mp3s of live performances at other websites:
The Diamond Center: Violitionist session [mp3]
search for more Diamond Center posts at Largehearted Boy
also at Largehearted Boy:
other daily free and legal mp3 downloads
100 Online Sources for Free and Legal Music Downloads
List of 2011 Year-End Online Music Lists
Try It Before You Buy It (mp3s and album streams from weekly CD releases)
weekly CD and DVD release lists
Still the city’s signature tall building, Place Ville-Marie is marking its 50th birthday this year with some new art to be installed on the mezzanine and an invitation for suggestions for a time capsule.
Jacob Larsen spots a knot in the government’s Turcot plans – the unstable remains of Otter Lake that lie right in the way of the proposed shift of the CN tracks.
billturner posted a photo:
This one celebrates two of my dearest loves – Back to the Future, and Calvin & Hobbes. Both sustained me when I was a kid – although I still wonder sometimes about Doc and Marty.
In this sendoff, arguably better than those pissing decals (feel free to customize one and send it to a crush. Or your boss.), Calvinized Doc and Marty let everyone know you’re still in touch with what matters. In other words – Date Bait. Enjoy.
$24.00 | URL Mens | Paypal, Credit | M: S – 3XL
Today's post is from S. Craig Watkins, author of The Young and the Digital: What the Migration to Social Network Sites, Games, and Anytime, Anywhere Media Means for Our Future. Watkins is a researcher with the MacArthur Foundation’s initiative on Youth, Digital Media and Learning where his work explores the intersection of youth culture, social media, and learning. He blogs at theyoungandthedigital.com, where this post originally appeared.
The debates about schools and social media are a subject of great public and policy interests. In reality, the debate has been shaped by one key fact: the almost universal decision by school administrators to block social media. Because social media is such a big part of many students social lives, cultural identities, and informal learning networks schools actually find themselves grappling with social media everyday but often from a defensive posture—reacting to student disputes that play out over social media or policing rather than engaging student’s social media behaviors.
Education administrators block social media because they believe it threatens the personal and emotional safety of their students. Or they believe that social media is a distraction that diminishes student engagement and the quality of the learning experience.
Schools also block social media to prevent students from accessing inappropriate content. I have often wondered what are schools really blocking when they block social media. Working in a high school this year has given me added perspective.
In one class my graduate assistant and I are working with a teacher in a Technology Applications class. Our goal is to reinvent the classroom and, more important, the learning that takes place. We structured the learning to be autonomous, self-directed, creative, collaborative, and networked. We decided to let the student teams pick which digital media project they wanted to pursue. Some students elected to team together to produce a series of Public Service Announcements (PSAs) that target teens. These students liked the idea of using digital media to tell compelling stories about the challenges of teen life. Other students wanted to produce short narratives. They were excited about creating worlds, characters, and narrative dilemmas that allowed their artistic identities to flourish.
In one of our first activities we selected a sample of teen produced PSAs and narrative shorts for the students to study. We asked them to view and critique the different styles, aesthetics, narrative strategies, and technical approaches to digital media storytelling. The teacher posted the links to the videos online and provided the instructions. Suddenly one student raised her hand. She could not access some of the videos. Another student raised her hand. She was having the same problem. At least two of the videos that we asked them to critique were posted to YouTube. The teacher and I had overlooked the fact that YouTube was blocked. A few students used proxy servers to access the videos, a typical workaround in this school. As we struggled to figure out a way to proceed with the learning activity it was clear that we needed to recalibrate the design of the class.
We faced a similar challenge in a game design class that we are working with. Some of the students were intrigued by the prospects of using a Facebook poll to conduct research to build ‘user personas’ of their peers. We thought that the poll would be useful in teaching them some of the principles of human-centered design and also expand their social media repertoire. But because Facebook is blocked the poll could only be conducted outside of school. This prevented us from working with them in the classroom. It also posed a problem for some of the students who either lacked access to the internet at home or have to share computers with parents and siblings.
We are learning a lot about how young people from this community, which has been hit especially hard by the recession and the growing wealth gap in the United States, are managing their participation in the digital world. The old theories about the digital divide—the access narrative—only explain a small part of what is happening in edge communities.
The real issue, of course, is not social media but learning. Specifically, the fact that our schools are disconnected from young learners and how their learning practices are evolving. The decision to block social media is inconsistent with how students use social media as a powerful node in their learning network. Can social media be a distraction in the classroom? Absolutely. Will some students access questionable content if given the opportunity? Yes. But many students use social media to enhance their learning, expand the reach of the classroom, find the things that they ‘need to know,’ and fashion their own personal learning networks. We have met students who have used YouTube to learn how to play a musical instrument—a not so insignificant fact for students whose families can not afford private music lessons. We have seen students use YouTube to help them pursue an interest in building their own gaming computer or share a multi-media project that they developed. Last summer I wrote about students from this same school and how they created a dynamic learning community to support their interest in creating games. Many of them shared YouTube videos with each other in order to learn how to use the game authoring software, GameSalad. (Because it was a summer program, the students and their teacher successfully lobbied to have YouTube unblocked).
A key part of the work that we are doing with students reaches beyond the typical new media competencies such as computer, information, and digital literacy. The teacher believes that network literacy is also crucial. That is, teaching students what Henry Jenkins explains is, “the ability to effectively tap social networks to disperse ones’ own ideas and media products.” Cathy Davidson’s students at Duke made a case for network literacy, that is, “using online sources to network, knowledge-outreach, publicize content, collaborate and innovate.” A number of these students are creators and makers. They design blogs, websites, games, and graphic art. By blocking social media schools are also blocking the opportunity:
1) to teach students about the inventive and powerful ways that communities around the world are using social media
2) for students and teachers to experience the educational potential of social media together
3) for students to distribute their work with the larger world
4) for students to reimagine their creative and civic identities in the age of networked media
In the not so distant future the notion that schools should block social media will become difficult to defend. Before that happens schools will have to reimagine their mission in the lives of young learners, the communities that they serve, and the extraordinary possibilities of networked media and networked literacy.
Keyboard photo from Bigstock.
This video’s been widely linked the last few days, but why not: explanation of ventilation in the metro and how it will be improved in the new trains. With English subtitles.
Blogger Gab Roy (we don’t all look like that) is being accused of inciting mischief after his post accusing a car dealer of a scam appears to have resulted in a fire and other damage at the dealership. Of course Gab Roy is blogging about it.
The head of a trucking organization warns that bridge tolls could isolate Montreal (ironic because “isolate” means “to make an island of” which we already are). The CAA is also anti-toll.
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book.
Previous contributors include Bret Easton Ellis, Kate Christensen, Kevin Brockmeier, George Pelecanos, Dana Spiotta, Amy Bloom, David Peace, Myla Goldberg, and many others.
A sequel to his 1997 book, The Hunt Club, Bret Lott's new novel Dead Low Tide is a literary thriller set in the South Carolina Lowcountry.
Stream a Spotify playlist of these tunes. If you don't have Spotify yet, sign up for the free service.
In his own words, here is Bret Lott's Book Notes music playlist for his novel, Dead Low Tide:
I can't tell you how important music is to the writing of every one of my books (Dead Low Tide is number thirteen). I listen to music the entire time I am writing each book, from first day to last, my headphones on every minute, whether I'm writing a novel or stories or nonfiction. Music, rather than serving as the traditional distraction most people think of it as being to the specific act of writing, actually focuses images in my head, complements them, serves them, brings them to bear in surprising ways I've found silence cannot.
But it has to be the right music. I sit and audition CDs when I am first embarking upon a book, seeking out the right tone, the right texture, the right resonance and narrative that tunes and CDs can have, trying to find the one that comes closest to what I see in my head, but that will also exhibit the ability to expand that narrative. And when I hit the right one, there's no turning back. That's the CD I'll listen to from then on out. Looking at my iTunes playlist for Dead Low Tide, I see I've listened to Pat Metheny's Secret Story 479 times – the total time for the CD is around 76 minutes, so that means I've listened to it, in the last two and a half years, over 25 days straight. And this doesn't count the number of times I've listened to it in my car during that time, too.
Dead Low Tide is a mystery about a young man, Huger (pronounced YOU-gee) Dillard, and his father, Unc (it's complicated, and covered in the novel The Hunt Club, DLT its sequel), who find a dead body anchored in the mud of a tidal creek down here in Charleston. The story starts at 2:30 in the morning – at dead low tide – when Huger and Unc are poling their jon boat in on that creek so they can sneak onto a tony and very private golf course Unc wants to play. He's blind (I said it was complicated) and too proud to golf in daylight, and once they find the body, all hell breaks loose. It's also a story about Huger and how, at 27, he finds himself still living at home with his mom and dad and wondering exactly how he's supposed to make his way in the world, given the scars he has from what happened in The Hunt Club. Secret Story, with its lush atmospherics, its layered and sometimes spooky texture (this CD is one of his orchestral pieces), spoke to me all the way through the book's writing, and still does as I listen to it right now, writing this. I am back again with Huger, on that jon boat in that darkness.
This is only a sampling of the tunes, too, as I could sit here and write all day on the 14 tunes that make up this album. Can't do that: I have to write the next book.
"Above the Treetops"
This sets the tone for the whole novel, though the recording is based on a sample of the Choir of the Royal Cambodian Palace with members of the Pinpeat Orchestra of the Royal Ballet. That is, it has nothing whatsoever to do with the Lowcountry of South Carolina. But there is in its mystery, its layers, its pace and orchestration – low and moving strings, the crisp finger cymbals and multi-toned drums just allowing themselves to be heard that makes this the one tune to start the mystery that is the book: water at night, live oak, the briny smell of a tidal creek.
"Facing West"
There's a pace that hits hard with the first strum at the outset of this, giving me the fact the story at hand has to move, that things have to happen. There's also a sense in the high-pitched almost flutelike synthesizer and its nearly-happy melody line that makes me think there's a worthy heart inside this confused kid Huger, and that the deeper horror of what he's had visited upon him might very well be surmountable.
"Cathedral in a Suitcase"
Here's that pace again, but this time with a sharp dose of tension – the single-note offbeat syncopation sustained throughout belies the seemingly harmless melody. There's also a meandering into a minor key that reminds me, along with the building choir of what sounds like human voices almost cackling, that there's a deeper thing at stake, that there is another story, and it's a dark one.
"Finding and Believing"
This is, next to "Above the Treetops," my favorite tune on the album, and is built note by note and rhythm by rhythm into what I can only and always see as a chase through woods, heavy and dark and malevolent. The cymbal drive to this, along with Steve Rodby's relentless bass line, finds itself invaded time and again by a sort of harpy-like shrill over-voice, coupled with another, lower and relentless (again) voice-rhythm – there aren't words for this! – that sound for all the world like ghosts shouting down from inside the trees at Huger and Unc as they make their way away from the evil after them. I see this. I feel it. There is no better music than this, in that it brings me into a world I have no words for but yet is as real as this desk before me, this window and the gray light out there seeping in. There is life and death at stake here, and when finally that bass line stops and the cymbal crashes into a forest glade of some sort, I'm terrified and relieved at once. Oh, and did I mention the harp-glides throughout, and that lost oboe calling out into the dark?
"The Longest Summer"
This is the breather after "Finding and Believing," that mayhem and sorrow and fear all seemingly defused by the calm piano at the outset. The piece reminds, in its break, its beauty, its moment to breathe, that a story needs moments when its reader can breathe. If a story is only and always a frantic pace, there is no chance for reflection, no chance for illumination. Huger is trying to figure out who he is. Here he has a chance to take a breath, put his hands on his knees and look at the ground, then up what lies ahead.
"The Truth Will Always Be"
This comes near the end of the album, and gives us with its vibraphone-synth a sort of melancholic slow march, a movement that begins to herd, as it were, the story as a whole – the novel – toward its end, when Huger, now lost himself and nearing his death at the hands of he knows not who, is forced to piece together the shards of his family, his love, his life in the face of losing them all. There's a quiet snare drum throughout this, following at its own independent tempo a complex cadence, and finally, halfway through, the bass drum bangs in at each bar, as though it were a heart beating. Metheny's scrambled up synth shouts out that this is Huger's last moment for meaning, and he better face it well, to save himself and those he loves.
Am I making this all up? No. It's right here, in my head. Words have nothing to do with writing a novel, I believe. It's the feeling, the being there that matters, and this music does that.
"Not to Be Forgotten (Our Final Hour Together)"
The final tune could very well be mistaken as a lugubrious orchestration of melancholy strings, but it actually saves itself from such a fate because of its willingness to be as thick and luxuriant – and melancholy – as it is. Huger now has broken through to the other side of his life – the real beginning of it (I am at work right now on the third in the series of Huger and Unc books, listening to "Above the Treetops" each morning to get the tone, but now Bill Frissell's The Willies for the rest), but doing so with the knowledge of who he was, and the hope of who he might one day be.
I could go on. Could I ever.
Bret Lott and Dead Low Tide links:
Publishers Weekly review
Wilmington Star News review
The Banner interview with the author
Charleston City Paper profile of the author
also at Largehearted Boy:
other Book Notes playlists (authors create music playlists for their book)
List of Online "Best Books of 2011" Lists
List of 2011 Year-End Online Music Lists
100 Online Sources for Free and Legal Music Downloads
52 Books, 52 Weeks (weekly book reviews)
Antiheroines (interviews with up and coming female comics artists)
Atomic Books Comics Preview (weekly comics highlights)
Daily Downloads (free and legal daily mp3 downloads)
guest book reviews
Largehearted Word (weekly new book highlights)
musician/author interviews
Note Books (musicians discuss literature)
Shorties (daily music, literature, and pop culture links)
Soundtracked (composers and directors discuss their film's soundtracks)
Try It Before You Buy It (mp3s and full album streams from the week's CD releases)
weekly music & DVD release lists

Actual Water - "La Violence sur les Champs-Élysées". At first it seemed like a regular charge, an army with pikes and muskets marching down the boulevard. But as they passed through the tulip gardens, the soldiers began to change. Musketmen blurred into pikemen. Generals became their uniforms. Greens, blacks and pinks seemed to smear together. There was still violence in the crowd, still gunsmoke and pride. But this wasn't a gang of gathered patriots. This was a hideous, splendid, multi-limbed thing, galloping through broken petals.
[Actual Water are from Toronto. They make lo-fi paisley pop, like a beautiful broken 45. Their new LP is out today / bandcamp / video / album release party at Toronto's Sneaky Dees, tonight!]
Augustine Enebeli Olisa & The Black Arrows - "Isiche". In a week of many beauties, this is the most beautiful thing I have heard. Shadows, starlings, looks in lamplight. The tenderness of the horns, the kindness of the guitars, the sureness of Olisa's voice. Fumbling and happy, I resort to old metaphors. ...the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down Jo me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. [out of print]
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Unlikely solicitation: Do you live in Russia? I am hoping to make the journey this summer, to research my book. I'd love to connect with readers - please get in touch! The only for-sures on the itinerary are St Petersburg and Magadan, Siberia, which brings me to my second question. Magadan. That is a very faraway place - for me, at the edge of the known world. And so I'm working very hard to try to find contacts there - would-be friends, friends-of-friends, friends-of-friends-of-friends. Do you live near Magadan? Do you know someone near Magadan? Do you know someone who might know someone near Magadan? Family, friends, former research assistants? If so, I would be very grateful if you'd email me.
City ombudsman Johanne Savard has been at the job for eight years, and is now branching out into social media. Not sure why she’s in the news now, as the thing about social media was mentioned last year and blogged here too.
Once you see Ms. Savard’s picture, something may tweak your memory. Patrick Lagacé addressed this point a couple of years ago.
Henry Aubin casts a critical eye on plans to enlarge two major access routes in and out of the city – Autoroute 15, the Laurentian autoroute, and Autoroute 19, essentially the extension of Papineau into Laval. Aubin notes that this flouts the CMM’s PMAD plan to limit sprawl, instead encouraging it, as Quebec has consistently done. Not everyone is thrilled with the Autoroute 15 plan.
The issue of the “dangerous” Hydro-Quebec smart meters continues in the news with one group claiming they can cause headaches, palpitations, hormonal problems and possibly cancer.
Largehearted Lit is a reading series inspired by this blog's Book Notes feature. Inspired and previously hosted by the talented author Jami Attenberg, the series presents readings by authors featured in the Book Notes series along with musical guests.
The January edition of Largehearted Lit monthly reading is tonight at 7:00 p.m. at WORD bookstore in Brooklyn's Greenpoint neighborhood.
Celebrate Largehearted Boy’s 10th anniversary with a birthday-themed reading and fundraiser for Girls Write Now. Cupcakes will be on hand, courtesy of The Brooklyn Baker, and readers Emma Straub (Other People We Married) and Jennifer Gilmore (Something Red) will share birthday stories. Alina Simone is the musical guest, she will play a couple of songs and tell a literary anecdote or two. A raffle of book bundles, gift certificates, and cake dates with authors at the end of the evening will benefit Girls Write Now.
The Participants' Largehearted Boy Contributions:
Alina Simone's Book Notes essay for You Must Go and Win
Largehearted Boy interview with the author (with Eugene Mirman)
Largehearted Boy interview with the author (with Mark Everett)
Largehearted Boy Note Books essay by the author
Largehearted Boy Why Obama interview with the author
Emma Straub's Book Notes essay for Fly-over State
Emma Straub's Book Notes essay for Other People We Married
Jennifer Gilmore's Book Notes essay for Something Red
also at Largehearted Boy:
52 Books, 52 Weeks (weekly book reviews)
Antiheroines (interviews with up and coming female comics artists)
Atomic Books Comics Preview (weekly comics highlights)
Book Notes (authors create music playlists for their book)
Daily Downloads (free and legal daily mp3 downloads)
guest book reviews
Largehearted Word (weekly new book highlights)
musician/author interviews
Note Books (musicians discuss literature)
Online "Best Books of 2010" lists
Online "Best Music of 2010" lists
Shorties (daily music, literature, and pop culture links)
Soundtracked (composers and directors discuss their film's soundtracks)
Try It Before You Buy It (mp3s and full album streams from the week's CD releases)
weekly music & DVD release lists
Craig Finn talks to the Dallas Observer about his new solo album Clear Heart Full Eyes.
Capital New York profiles author Nathan Englander.
People recognize Englander. They recognized him in the coffee shop where he was interviewed, and they know his name from The New Yorker, where he's published a number of stories. But despite such notoriety, Englander keeps a lower profile than many of his contemporaries, not a chronic over-blurber like Shteyngart, not behind a non-profit or an indie press like Dave Eggers or a genre-dabbler like Michael Chabon, and not yet the winner of any of the big prizes or a presence on the lecture circuit. He appears to be more content teaching masters students how to write fiction at Hunter College than getting his face on the cover of Time.
Surf-Drift interviews John Darnielle of the Mountain Goats.
Drift: So many of your past albums have been tied together by themes. Is there anything like that on the next one, tentatively titled Transcendental Youth?
JD: There is, but I’m really reluctant to say what it is. I can do it in one word, but if I do people are going to get all excited and probably think the wrong thing. It's kind of about Satan, bit not the Church of Satan or anything like that. It takes place in a town in the Pacific Northwest, and it’s about the things inside that do evil to you. Which is to say when you're depressed and your mind is your worst friend, or you can't get a clear picture because there’s something inside you that won't let you see things clearly. So the short answer is it's about the devil, but it's also about a cast of characters living in the same town, all of whom are sort of last-chancers.
Three Guys One Book interviews author Matthew Norman.
The Rumpus interviews musician Momus.
The Free Music Archive gathers music blogs' responses to the MegaUpload shutdown.
The Telegraph profiles Rodrigo y Gabriela.
Has there been a more romantic musical story than that of the two Mexican heavy-metal aficionados – lovers as well as musical collaborators – who traded in their electric guitars and amps for a life of acoustic adventure on the road: blowing into Europe via Dublin, busking the streets, then setting festivals alight with their incendiary blend of metal-inspired riffing, jazz dexterity and latin rhythm. With stocky, pointy-bearded Rodrigo taking the lead, and clear-browed Gabriela more rhythmic and intuitive, their talents and personalities feel at once clearly defined and fused into one entity.
Smithsonian Magazine interviews Eric Klinenberg about his new book, Going Solo: The Extraordinary Rise and Surprising Appeal of Living Alone.
Nonstop Sound lists five egregious Oscar music snubs this year.
Bookworm interviews photographer Annie Leibovitz about her new book, Pilgrimage.
The Quietus excerpts from Matt Ingram's new book 100 Lost Rock Albums From The 1970s.
Stumptown Trade Review lists seven things independent comics did first.
Nerve ranks every Guided By Voices album from worst to best.
Pop Candy reviews the new webcomic by author Jeff VanderMeer, The Situation.
Fresh Air looks back on The Smiths discography and the band's recently released box set.
From April 16th -30th, publisher Angry Robot Books features open book submissions for epic fantasy as well as science fiction and fantasy YA novels.
Drowned in Sound interviews Air's Jean-Benoit Dunckel and Nicolas Godin about scoring Georges Melies' 1902 silent film Le Voyage dans la Lune.
The Wall Street Journal reviews William Patry's new book, How to Fix Copyright.
Win three of my favorite New York novels and a $100 Threadless gift certificate in this week's Largehearted Boy contest.
Amazon MP3 has 1,000 digital albums on sale for $5.
Follow me on Twitter, Google+, Tumblr, and Stumbleupon for links (updated throughout the day) that don't make the daily "Shorties" columns.
also at Largehearted Boy:
previous Shorties posts (daily news and links from the worlds of music, books, and pop culture)
List of Online "Best Books of 2011" Lists
List of Online Year-End 2011 Music Lists
100 Online Sources for Free and Legal Music Downloads
Atomic Books Comics Preview (the week's best new comics & graphic novels)
daily mp3 downloads
Largehearted Word (the week's best new books)
Try It Before You Buy It (mp3s and full album streams from this week's CD releases)
weekly music & DVD release lists
Every day, Daily Downloads offers 10 free and legal mp3 downloads, plus free and legal live sets from around the internet.
Today's free and legal mp3 downloads:
Ariane Moffatt: "In Your Body" [mp3] from Audiogram (out February 27th)
search for more Ariane Moffatt posts at Largehearted Boy
Carnivals: free and legal 2-track Absences/Ino (Parts 1 & 2) single [mp3]
search for more Carnivals posts at Largehearted Boy
Damien Jurado: "Museum of Flight" [mp3] from Maraqopa (out February 21st)
search for more Damien Jurado posts at Largehearted Boy
The Ex-Girlfriends Club: "The Witch (The Sonics cover)" [mp3] from Boo Hoo Hoo (out January 31st)
search for more Ex-Girlfriends Club posts at Largehearted Boy
Grace Woodroofe: "Battles" [mp3] from Always Want
search for more Grace Woodroofe posts at Largehearted Boy
Italian Horn: "Red Affair" [mp3] from Red Affair
search for more Italian Horn posts at Largehearted Boy
The Just Barelys: "Lions" [mp3] from Mad Bits (out February 14th)
search for more Just Barelys posts at Largehearted Boy
Rosie and Me: free and legal Arrow of My Ways album [mp3]
Rosie and Me: "Arrow of My Ways" [mp3] from Arrow of My Ways
search for more Rosie and Me posts at Largehearted Boy
Various Artists: free and legal Bang Bang Boogaloo: Beyond Beyond Is Beyond psych compilation album [mp3]
Yukon Blonde: "Stairway" [mp3] from Tiger Talk (out March 20th)
search for more Yukon Blonde posts at Largehearted Boy
Free and legal mp3s of live performances at other websites:
Cheyenne Marie Mize: LaundroMatinee session [mp3]
search for more Cheyenne Marie Mize posts at Largehearted Boy
also at Largehearted Boy:
other daily free and legal mp3 downloads
100 Online Sources for Free and Legal Music Downloads
List of 2011 Year-End Online Music Lists
Try It Before You Buy It (mp3s and album streams from weekly CD releases)
weekly CD and DVD release lists
See, every so often the Canadiens pull this kind of win out of their hats and we all go “ahh! see, they CAN do it!”
“What can you tell a person you been wit’ for forty years?”
Italianamerican (dir. Martin Scorsese; 1974)
[via Kung Fu Grippe]
A man is still in critical condition in hospital after a January 12 accident at the incident-plagued CHUM construction site.
Vision Montreal calls the $300K salary of new city DG Guy Hébert “indecent” but Quel Avenir asks why the fuss now when the previous DG earned more. Although he does go on to point out that the salary is high compared to similar posts elsewhere.

Thanks to my smart and talented friends for participating in Typographica’s “Favorite Typefaces of 2011”.
billturner posted a photo:
Roger Excoffon (1910–1983) was the most talented French type designer of the 20th century and probably the most prolific in the whole of French typographic history. Being an admirer of Excoffon’s work myself I was happy to see that 2011 has brought a sudden re-appreciation of his work in the form of no less than two biographies, along with an interesting take on Mistral (called Nouvelle Vague) and Zizou.
In the words of designer Christian Schwartz, Zizou is his attempt to “draw Antique Olive from memory”. The name Zizou is a clever and witty reference to the city where Excoffon was born: Marseille.
When Antique Olive was released in 1960 it was regarded as the French answer to the rise of the highly successful neo-grotesques of the time, most notably Univers and Helvetica. It is interesting to notice that this style, and in particular Helvetica, has seen a gigantic re-appreciation (or rather over-appreciation) during the last five years.
Will a similar thing happen to Antique Olive? Probably not, since it is too outspoken in comparison to its contemporaries. A prime characteristic of Antique Olive is its play with balance and imbalance thereby breaking conventional rules for stroke contrast. Excoffon believed that by deliberately thickening the most important parts of a letter it would gain legibility.
Zizou appears to have swapped this radical idea for a return to a more conventional stroke contrast. Some critics might argue that means the design was watered down, but that’s too easy. Zizou immediately conveys this very specific Antique Olive atmosphere in a manner that is unique and highly suitable for today’s design. It does its job beautifully and admirably in the tightly tracked headlines of FastCompany which has exclusive rights to the typeface.
Now let’s hope 2012 will bring us more spiritual successors to Excoffon’s legacy executed so well.
Paul van der Laan is a professional type designer and co-founder of Bold Monday. Since 2002 he has been a regular teacher at the Type & Media masters course at the Royal Academy of Art (KABK) in The Hague.
William Morris’ Golden Type, inspired by the founts of Nicolas Jenson, sparked a mania for Venetian types in the 1890s that continued for nearly 30 years. But since World War I the lighter types of “Garamond” and Francesco Griffo have pushed those of Jenson aside. Dieter Hofrichter’s Cala is notable not only as a contemporary Venetian but as one not rooted in the work of Jenson.
Cala has the low stroke contrast and sturdy bracketed serifs characteristic of Venetian Oldstyle types but not many of its idiosyncratic letters. The ‘E’, ‘H’, and ‘Z’ are not overly wide; the ‘M’ does not have double serifs at its apexes; the leg of ‘R’ ends in a serif; and the ‘e’ has a horizontal eye. The head serifs on lowercase stems are flatter and less beak-like than those of Jenson. The counters are larger and more open and the x-height is slightly taller. All of this makes Cala feel contemporary rather than musty.
Fifteenth-century Venetian printers did not have italics. Unlike most Jenson revivals, which have Arrighi-based italics grafted onto them, Cala Italic is a pure Hofrichter invention. It is more French Oldstyle than chancery cursive, though with less inclination. Furthermore, the inclination is consistent throughout the glyph set – another indication that Cala is a contemporary design.
Like most OpenType fonts today, Cala has a large glyph set, which is notable for offering ‘Th’, ‘ty’, ‘ct’, ‘sp’, and ‘st’ ligatures; long ‘s’ and long ‘s’ ligatures; and beyond the usual set of fractions, including 1/5s. There are no alternate forms of letters, other than the long ‘s’. The italic has no swash characters. In other words, Hofrichter has eschewed frivolity in favor of sobriety.
Cala is a quiet design, one that does not call attention to itself. This, coupled with its strong, even color, makes it a perfect typeface for books and other texts requiring a “crystal goblet” approach.
Paul Shaw is a designer and a design historian. He is author of the book “Helvetica and the New York City Subway System” and a contributing editor for Print magazine for whom he co-writes the “Stereotype” column.
I remember the first time I saw Julien. It was in 2010, on a poster from Tipoplakat. At the time I didn’t know that the strong graphics on the poster were from an upcoming typeface by Peter Biľak. I just enjoyed the poster.
In general, geometric typefaces can be really boring and many of them are so incredibly easy to produce with simple copy and paste techniques. So, neither their shapes or their handicraft can easily impress. But Julien is different and I think it’s due to his passion and a strong will to explore the possibility of creating something original – not merely producing a revival.
I love the way Peter pushed the concept to its limit and made something really new and playful. I dont know if I should call it “art” or “type”, and it’s almost ridiculous how many different shapes and variants this typeface has for each letter, but it’s ridiculous in a good way. I almost get the feeling that the whole process of making Julien was an experiment to see how far he could take the concept, and I’m impressed with how far it went.
Julien also takes advantage of one of the most exciting of OpenType features: contextual alternates. By using a pseudo-randomization script, different letters are combined to give the typeface a unique flow. I’ve never seen geometry have this much fun.
Göran Söderström is co-founder of Letters from Sweden and has been designing type since 2006. He is self taught (hence the occasional Autodidakt moniker) and has work published by Psy/Ops, Fountain, and FontFont. He develops custom type for various clients at Pangea design. In his spare time he cooks a mean curry and spends time with his daughter Siri, who is expected to be the youngest type designer ever. Or curry chef. Time will tell.
Somewhere between the lands of slab, sans serif, and typewriter there lives Outsiders.
In the roman it appears an elegant, sartorial slab, somehow holding itself above all others of its kind, with a bit of typewriterly officiousness, like a crisp, upper-level spy in MI6. But under the cloak of propriety in all of its seven weights, is Outsider’s surprising décolletage: a flamboyant, beautiful italic. Quelle surprise – Outsiders is gay! … or perhaps, more insidiously: French. Yes, during the day Outsiders may be sipping tea and filing precise reports, but at night it takes the Eurostar to Paris to kick up its heels along the Champs-Élysées.
All this to say that Outsiders is versatile. In all seriousness, I have used this font and find that it sets well and creates a block of text that I find very pleasing. But the italic is so pretty, so delightfully charming, that it begs to be used extensively – perhaps as one of two parts in a Q&A, or integrated where both roman and italic play together in a bibliography!
Also, note, that Henrik Kubel makes the best ‘K’s, both upper- and lowercase, in all of his fonts, all weights and styles. Could he be biased?
Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver.
Dane is a contemporary sans that distinguishes itself from others with its relatively wide proportions and some unusual lettershapes that give meaning to its name.
The 6-weight typeface is inspired by Danish industrial sign lettering from the 1940s. Its distinctive ‘g’ makes an immediate impact in all sizes and the lettershape itself is typically Danish, in a way, following a national tradition of daring double-story ‘g’s. Overall, I like the squarish architecture and compact text image that comes from Dane’s ultra-short ascenders and descenders. Despite these extreme proportions it’s surprisingly readable when small. I also admire the minimalist fractions, which contain only figures, no bars or slashes. Dane also offers some arrows suggesting its usefulness for signage, navigation, and information design.
Dane was designed by Henrik Kubel who runs the A2/SW/HK design studio in London along with Scott Williams. Their specialization in typographic work over the years has resulted in a lot of custom typefaces created for print, screen, and environmental design. These are offered under their young font label A2-Type, founded in 2010. There are 20 families in the A2 library at the moment, available from the new Danish retailer Playtype.
Jürgen Siebert is Chief Marketing Officer of FontShop Germany and editor of Fontblog.de. He also co-edits FontBook and is a member of the FontFont TypeBoard. Since 1997 he has been responsible for TYPO Berlin, arguably the largest annual design conference in Europe.
“Siri” made quite a splash in 2011. Two splashes, to be more precise: one in the shape of Apple’s software assistant, and another as Göran Söderström’s new sans serif typeface. Not the same size of splash, of course, but Siri the typeface, came first.
Göran Söderström, who already deserved kudos for typefaces like Satura, FF Dagny, and Meadow, launched Siri as the foundation for his promising new foundry, Letters from Sweden. And it’s a good start, a very distinct sans serif with a strong character. The slightly condensed letterforms save space and the large x-height aids readability. Siri is a Nordic name (also the name of his newborn daughter) combining the concepts of beauty and strength – fitting attributes for this family of 16 styles, from Thin to Black. Four OpenType stylistic sets, including alternates for ‘l’, ‘g’, ‘a’, and ‘t’ that allow room for even more individuality.
Perhaps even more interesting is Siri Core, a redesigned and hand-hinted version of the four basic weights: Regular, Italic, Bold, and Bold Italic. With a focus on screen performance, Söderström optimized both letterspacing and some critical details of the lettershapes. The results speak for themselves. This version also offers Siri’s alternates as a separate, CSS-accessible family: Siri Core Schoolbook.
Siri grabbed my attention right from the beginning, as it is one of the most feminine type designs that I’ve seen from a male designer. Among myriad new sans serif typefaces, it has a remarkably original character. Beyond a fresh appearance, Siri responds to today’s technical challenges, especially regarding webfonts. This kind of forward-thinking should be the rule, rather than an exception. Siri sets my expectations high for future Letters from Sweden.
Ivo Gabrowitsch is Marketing Director for the FontFont typeface library. He developed and introduced the Web FontFonts concept into the market. Gabrowitsch is also an editor for a number of typographic publications. In 2006 he organized the Berlin Typostammtisch, a bimonthly gathering of type lovers.
I have a soft spot for classic text faces carefully crafted in the digital format. They link historical tradition with modern technology in a perfect way. Antwerp is a prime example.
Henrik Kubel was inspired by 16th century samples found in the Plantin-Moretus Museum in Antwerp and his design evolved over ten months as he traveled between the Belgian city and his home in London. The typeface has a good color (the Medium weight makes for rich, dark text) and a familiar feeling, with a structure that is traditional but also leaves room for personal interpretation,such as in the contemporary proportions. Kubel applies many of his more unexpected ideas in the italic with its brave angle, double-story ‘g’, and magnificent ampersand. But in the spirit of a true text face, most of these details don’t call too much attention to themselves.
With five weights, Antwerp is designed to be a workhorse not only for books, but newspapers and magazines as well. Its forward-thinking design gives it a good chance to be just that for many years to come.
Based in Stockholm, Stefan Hattenbach has been producing type since 1997. After many years as a designer in the advertising world, he now works fulltime on custom fonts for clients and retail fonts for his MAC Rhino foundry.
Among recent Grotesque-inspired releases and Hannes von Döhren’s rapidly growing oeuvre, Supria Sans stands out to me as an especially interesting and useful addition.
The design has just the right amount of character to be memorable and unique but also restrained enough to remain thoroughly useful. Bypassing the polished rationality of Neo-Grotesques, it builds upon the hearty solidity of 19th-century faces, a heritage revealed in the curled-in jaws of glyphs like the ‘C’ or the faucet-shaped ‘r’. While some details seem quite charming, the design never gets coquettish. With its blunt inktraps, tight curves, and solid weight, Supria is ready for work.
Despite this crafty atmosphere though, its rolled-up sleeves don’t get uncomfortably sweaty. Apart from older roots Supria also appears informed by recent, softer approaches to sans-serif design, and steers clear of the sharp, sometimes clumsy vintage chic recently en vogue. With its idiosyncracies tamed just enough, this design is firmly anchored in a contemporary context. There is definitely no smell of mothballs here, but rather a fresh breeze of menthol. I’ve found Supria to feel decidedly fresh, especially when set in text, and more clear and angular than its details might suggest in large display settings.
A design that harmoniously balances such diverse stylistic factors promises to be excitingly versatile. This, along with Supria’s impressive range of styles, including a Condensed variant and the all-too-rare choice of two italics (a curly Italic – likely too cute for some applications – and a more rigid Oblique), makes it an attractive candidate for more complex typographic projects too. A winner at the 2011 TDC2 competition, Supria Sans altogether strikes me as a convincingly versatile, mature, and well-conceived face.
Nina Stössinger is a graphic/typographic/type designer based in Basel, Switzerland. She spends her days writing and designing for web and print at her own studio and many of her nights designing typefaces.

After a long hiatus (inexcusably skipping 2009 and ’10) we’re back with our annual review of the year in type.
The idea is simple: I invite a group of writers, educators, type makers and type users to look back at 2011 and pick the release that excited them most. The reviews range from the academic (like Paul van der Laan on Zizou or Jens Kutilek on FB Alix) to the theoretical (such as Jan Middendorp on Agile) to the personal (like Carolina de Bartolo who reviewed Calibre and Periódico after firsthand experience with a redesign of WIRED magazine) to the playfully unexpected (Microsoft’s Si Daniels praises Apple Color Emoji) to the exclamatory (Matthew Butterick on Neue Haas Grotesk).
This is not a juried contest. The result isn’t necessarily the “best fonts of the year”, or even those most used or ballyhooed. But these 50 selections do capture a pretty accurate snapshot of where type design is now, and where it’s headed.
If 50 seems like a lot, consider the thousands of new releases that didn’t make the list. The general public’s interest in typography continues to grow, and with that comes hundreds of new designers who are dabbling in or starting new careers in type making. Our list of honorable mentions represents only a small slice of the new fonts published in 2011.
As always, the other clear trend is new technology. By the end of 2008, we could finally declare OpenType the default font format. Three years later, in the wake of the @font-face declaration, there are new formats and new substrates as destinations for type design. Yet, in contrast to OpenType’s glacial adoption rate, webfonts are poised to take hold quickly, sparked by intelligent delivery platforms (pioneered by Typekit in 2009), early adoption by major foundries (led by FontFont), and screen-specific font design (like Font Bureau’s RE series).
The unexpected benefit of the new webfont era for an effort like this one on Typographica – it becomes easier to judge a typeface more fairly. Despite type’s long history in print, a font made today will likely be seen on screen far more often than on paper. I’ve always lamented that critics and users usually judge typefaces only on screen, not in their “proper” medium. But in an age in which we read more on screen than in print, maybe this isn’t a universal problem anymore. Of course, now font makers need to rethink the way type is made and rendered, but we’re already seeing progress there.
This year’s list wouldn’t be possible without Chris Hamamoto’s enduring design, Billy Whited’s proficient coding, Laura Serra’s image wrangling, able proofing by Matthew Coles, and, of course, all the contributors. We’re also grateful to FontFont for the newly updated FF Quadraat and Process for Anchor, typefaces that make writing and reading on the web a pleasure. Thank you!
The “Typefaces of 2011” image uses Salvo and Acta.
Doko’s name was generated automatically. Designer Ondrej Jób was only sure of how the name should sound, and – based on a small number of variables – he wrote a Python script that finally created the name he was looking for.
This is not the only thing that makes Doko unique. Doko’s features are drawn from various fields of inspiration, including comics and cartoons, illustration, and hand-lettering. The letter proportions (big head on a small body) are a direct reference to cartoon characters. In the italic styles, especially in the decorative swash caps, the nod to brush lettering is clearly visible.
As this project was started in the Type & Media master program at KABK in The Hague, Jób created extensive documentation where he states the goal of designing a serif typeface, but also plans to “have some fun” along the way. He clearly succeeded. Doko is, indeed, a serif typeface, and every letter is witness of the fun Ondrej must have had drawing it – the vigor they carry in their curves is quite evident.
Doko is a fresh take on the classic four-style type family model – pairing a Book and a Bold weight with their matching italics. Being a deliberate decision, this reduction is nice. For constructing a basic typographic hierarchy, Doko will go a long way.
Doko comes with a host of typographic niceties, such as the mentioned titling capitals, different figure styles, and a load of ligatures. Additionally, many alternate characters exist, emphasizing the playful nature of the family. By design, Doko is suited for many applications. One such fertile field is editorial design, where short paragraphs of text are combined with big headlines that can show off its illustrative features. Doko is also an excellent choice for packaging, especially if the appetizing swash caps are used. (Who wouldn’t love Doko Cereal, Chocolate, or Cream?)
Tânia Raposo is a freelance designer, dividing her time between Portugal and the US. She got her graphic design education from ESAD.CR Caldas da Rainha, and a master’s degree in typeface design from Type & Media at KABK Den Haag. Tânia has shared her passion in workshops and lectures on type design and lettering in Portugal, Germany, and the UK.
Frank Grießhammer studied Communication Design at HBKsaar in Saarbrücken, Germany and at ISIA Firenze, Italy. He received a master’s degree in typeface design from Type & Media at KABK Den Haag in 2010. After working for FontShop International in Berlin, he joined the Adobe Type Team in 2011.
With the Alda project, Berton Hasebe took on the challenge of designing a type family whose members not only shift in weight, but also in their quality of expression.
Analyzing how typefaces change their tone of voice across their weights, and how certain properties (robust, elegant, sturdy) are automatically assigned to certain stroke widths, he devised a weight system that incorporates a transition from rigid to smooth.
Bringing together so many parameters in a cohesive concept, Alda seems like the perfect Type & Media project, which is where its design was first conceived. In his documentation booklet, Berton talks about the desire of learning “as much as possible” in the one-year master course, and therefore assigned himself this very intensive graduation project.
The bold extreme of Alda was drawn with the properties of the broad-nib pen in mind, giving it a strength and sturdiness, characterized by angular joints and heavy serifs. Hasebe refers to this style as having the tension of bent metal, which is easy to see.
The light weight, however, as is especially evident in the italic, is very fluid, referencing the tension of a rubber band. The elegant, refined appearance comes from the underlying construction derived from writing with a pointed nib.
The regular style presents a middle weight between the two extremes, and – refreshingly – was not simply interpolated. Instead, it borrows features from either of the two extremes and tones them down just enough to make for an excellent type to be used in running text. The light and heavy weights clearly have their strengths in display settings, but I can also see them used in conjunction with the regular weight. Of course, Alda has everything you need in a modern text typeface, like different figure styles, ligatures and small caps. With this set of features, I see Alda performing outstandingly in the fields of advertising and publication design, especially magazines.
Frank Grießhammer studied Communication Design at HBKsaar in Saarbrücken, Germany and at ISIA Firenze, Italy. He received a master’s degree in typeface design from Type & Media at KABK Den Haag in 2010. After working for FontShop International in Berlin, he joined the Adobe Type Team in 2011.
Maximiliano Sproviero’s Reina starts with Bodoni and Didot and adds aspects of Spencerian script and the work of Herb Lubalin. The results are stunning – magnificent and graceful.
Sproviero has demonstrated his love of calligraphy in earlier work, such as Breathe (2010) and Parfait Script (2009–2010), but Reina is his most ambitious project yet, boasting 12 separate fonts. That is, three optical weights (12, 36, and 72) and an Engraved weight, plus two sets of Words (common words found in English, French, German, Italian, and Spanish, each enclosed in a calligraphic cartouche), a set of ornamental Capitals, and a set of Flourishes. It’s clearly a labor of love, which Sproviero completed at the ripe old age of 24.
OpenType technology, of course, has allowed script and calligraphic typefaces to come back in a big way. The Pro versions of Reina – with their alternate glyphs, contrasting thick and thin strokes, swashes and flourishes – make this typeface soar.
Personally, I am especially smitten with Reina’s Engraved set, which is beautiful and refined. Combine it with the Words and Flourishes components and you have a complete headline kit. I recommend checking out Reina’s PDF specimen to get a mouth-watering glimpse of Reina’s possibilities.
Ricardo Cordoba is a graphic designer based in Brooklyn, New York. His interests include typeface design, book cover design, and poster design. Ricardo is a frequent contributor to Typographica and also a contributing Quipsologist.
Chartwell is a set of three fonts that together create a remarkable set of tools for creating bar, line, and pie charts. It uses OpenType ligatures to perform its magic – a series of numbers can be transformed into clean, perfectly rendered graphs, as you type.
In use, the fonts are pretty straightforward, and though it’s an overused phrase, it does feel rather magical: you type numbers, it creates graphics. The formatting for all three fonts is to type the numbers as a sum, with the numbers separated by plus symbols: 20+40+10+30 for example. The fonts have a set of basic numbers and letters (resembling a compressed Trade Gothic) you can use with ligatures turned off to type in and check your numbers. Turning the ligatures on transforms your numbers into charts, and demonstrates just how many glyphs these fonts contain – up to 10,000 in each style.
Each of the fonts has a set of specific features and capabilities. Chartwell Lines creates sparkline-style graphs, while Chartwell Bars creates stacked bar charts. It’s Chartwell Pies that most feels like magic though. Like the other two, it works in whole number increments, from 1–100, but what’s interesting is what happens when you go over 100. Anything up to 100 and you get a single pie chart, go over 100 and the remainder starts a new pie chart, and again at 200, 300, and so on. Magic! Seeing a font interpret your numbers to create graphics like that is pretty remarkable. With Chartwell Pies you can also add a letter to the end of your sum to transform the pie into a ring – ‘A’ for a small hole in the pie, ‘Z’ to transform it into a hairline circular chart.
For all three fonts, you can set each number in a different color and it’ll be reflected in the chart.
Chartwell is the first in a new category of fonts that use ligatures to transform text into graphical representations while leaving the text itself untouched. In terms of a milestone it’s similar to the move from expert fonts to incorporating standard ligatures and swashes into the one font file that OpenType first enabled. The methodology does require you to type in a particular format which slightly limits its flexibility, but the promise is clear: the potential to transform data into graphical forms without losing the original text. It’ll be useful in all areas of publishing, if only to relieve the chore of creating basic graphics. For the web, however, it could be transformative: instead of icons and other indicators as bitmap pictures, they’re glyphs, stored in the right unicode slots, and selected as ligatures for particular words or abbreviations.
Aegir Hallmundur is a type-obsessed web and graphic designer living and working Brighton, England. He also runs The Ministry of Type, a website mainly about type and sometimes calligraphy, illustration, architecture and photography.

At first glance, A2 Beckett feels like a 19th century gothic. The angled stroke endings on some of the characters remind me of the very condensed styles of Venus. But its construction and details give it a very contemporary look. It doesn’t feel “retro.”
I love the lowercase ‘g’. It’s not as common to see a double-storey ‘g’ in a condensed sans serif, and I’m glad to see it has one.
I am a fan of straight-sided, condensed sans serif faces, such as Alternate Gothic, Railroad Gothic, Compacta, Knockout and so on. I think Beckett is a fine addition to the genre.
Mark Simonson is a former art director and graphic designer who now makes his living designing typefaces, several of which can be found at Typographica, including this year’s Bookmania.
The thing I love most about type design is that, no matter how bent out of shape its practitioners get about rules, there’s always one of them ready to completely sidestep convention and create a face that’s totally unexpected. Miguel Hernández did that beautifully just a few weeks ago with the release of his unconventional beauty, Mija.
Mija’s a weird little family of grotesques – kinda – which has no business doing as well as it does. It has a candid sweetness in its blobby forms inspired by handmade signage from Hernández’s home in Santiago, Chile. I immediately warmed up to the family because it’s so reminiscent of the lovely, imperfect signs in Spanish, Korean and Polish covering Chicago’s walls.
The past few years have seen an outpouring of “friendly” faces trying to fit into a vocabulary of the round, pillowy shapes inspired by web 2.0 visual devices. It leaves me a little cold because, frankly, such a widely codified vernacular opens the door for enormous corporations to disguise themselves as harmless little things. I don’t care how warm and fuzzy General Electric or Unilever make themselves appear, they’re still gargantuan monsters, and I don’t want to be their BFF on Twitter. Mija’s sweetness arises from its weirdness, and it’s a flavor of weird I’d be surprised to see used like anything else in this blobby web-2.0ish vernacular, even though it’s superficially related. There’s no disguising that these faces are totally imperfect – there’s a little bit of chaos to them I can’t see fitting well into any sort of corporate identity. Its imperfections combined with proportions perfect for reading make for a versatile experience in display and text applications.
The family pulls the best parts from handmade signage and combines them with elements of handwriting, but without resorting to a templated visual vocabulary to pull the forms together. There are a few commonalities between forms, like the tail of the ‘K’ and ‘R’, and the connections between bowls and stems of the ‘a’, ‘b’, ‘d’, ‘p’ and ‘q}, but for every commonality there’s a form that could have been repeated but just wasn’t. The curve of the ‘f’ could have easily been related to the bottom of the ‘g’, but it isn’t … and yet it fits. And that’s just delightful to look at.
Patric King designs and blathers on about design technology, education, and digital publishing from Chicago, Illinois. He used to do this at Print magazine up until a short while ago, and will soon be doing so again, under his own steam.
Salvo is a multi-faceted series that’s hard to pin down. It can be used in a very corporate, serious way by making extensive use of its numerous variants – five weights in three widths, plus italics, adding up to 30 fonts each. At the same time it is down to earth and approachable, even quirky.
The v-shaped notches, where round and straight parts meet, make a line set in Salvo varied and lively. This is even more apparent in the serif styles where angular top slabs and low-sitting bowls in the uppercase letters give the typeface almost a hint of Western style or reverse contrast Egyptians like Trilby. But for me it is the lowercase ‘a’ that is the most iconic in both families and which, to a very large extent, contributes to Salvo’s affable atmosphere. The bottom curve has only a small overshoot under the baseline. This – together with the angular serifs of ‘a’, ‘u’, ‘b’, and others – make the type seem to bounce slightly. Furthermore, the bowl of the ‘a’ reaches more left than its upper stroke, giving the impression of a smiling face. To tell the ridiculous truth, it reminds me of the tooth-bearing grin of Jolly Jumper (the equestrian companion of Belgian cowboy comic hero Lucky Luke). Even the serifs resemble his hoofs.
There are surprisingly stark differences between the normal and narrow variants. All the mentioned informality – the angular slabs in the serif, the cheeky ‘a’, and many other quirks – is not as present in the condensed styles. This is owed to the much smaller, less round counters and a shorter ‘a’ tail. Also, the bowl of ‘a’ retracts and now lines up with the upper curve. The extremely large x-height, or short extenders respectively, counter the bouncing tendency effectively. This visually ties the letters together, making it an ideal headline typeface.
With its umpteen styles the Salvo series is predestined for complex editorial applications and jobbing tasks such as magazines and advertising material. And this is also what the series was originally designed for: as a custom typeface called Boomer for AARP’s (the American Association of Retired Persons) numerous publications. Of course the two sets and different widths can just as well be used separately. The Sans Condensed is especially versatile, an all-around grotesque suitable for shorter texts and display, corporate design, or everywhere where a strong American Gothic is desired.
Obsessed with topics such as the history of sans serifs and the classification of typefaces, Indra Kupferschmid is a German typographer, teacher, and traveling activist for the good cause of good type.
Art critic Jerry Saltz said of a recent exhibition that the artist had “done what an artist ought to: open the floor beneath my feet, and take me places I didn’t know were there.”
That’s how I feel about Neue Haas Grotesk. Christian Schwartz has gone deep into a typeface we all think we know – fucking Helvetica! – and come back with something beautiful and fresh. It is a flat-out wonderful work of type design. Why? It successfully bridges all the tensions that great typefaces are made of: conceptual yet concrete, rigorous yet loose, respectful yet daring, fashionable yet practical.
To those who would scoff and say, “Why do we need more Helvetica?” Grant me two points. First, we’ve been looking at digital Helvetica for so long that we’ve forgotten it embodies decades of compromises. Christian has restored the layers of subtlety and balance that have gone missing. (As someone who’s worked with cold-metal Helvetica, I can vouch for the fact that it’s never looked better.) Second, love it or hate it, Helvetica will be part of our visual culture for the foreseeable future. So if I have to look at Helvetica another 50 years, I’d rather look at the best version of it.
And that brings me to my sole criticism of the face – its ungainly name, which I’m regrettably certain will limit its visibility and hence its uptake. “Neue Haas Grotesk” makes it sound like a second cousin of Akzidenz Grotesk that’s just stumbled in from the hinterlands. But no, it is the rightful heir to the Helvetica throne. It should carry the Helvetica name. The old king is dead; long live the new king.
Matthew Butterick is a typographer, lawyer, and writer in Los Angeles. He is the author of the book “Typography for Lawyers.” His most recent typefaces are FB Alix and Equity.
Neacademia is a book serif that draws inspiration from the types that Francesco Griffo cut for Aldus Manutius in the 15th century. Do we need yet another Aldine revival? If it is as spirited and well-executed as this one – oh yes, please!
Sergei Egorov’s debut release is very vivid – with its bright-eyed ‘e’ that briskly stretches out to the right, the debonaire ‘d’ that overshoots the baseline, or the valiant ‘a’ with its strongly modulated, lightly leaning stroke. In fact, all lowercase stems are off the vertical, the words gently tilt forward. Neacademia is less regularized and stiff than most related designs. It exhibits the typically long extenders and is pretty large on the body. Particularly striking, however, is its relatively short cap height. The serifs are pronounced and asymmetrical. On the page, Neacademia creates an even and not too light color – only the long-tailed ‘Q’ proudly stands out. The Italic slopes just a little, its caps even less. Still, the companion style sets itself apart by its distinct forms.
The fonts do with minimal kerning – the Roman lowercase actually needs no kerns at all. Instead, the balanced spacing is achieved with the help of contextual alternates. If the ‘g’ precedes another descending glyph, its loop swings a smidgen to the left to make room. In the same vein, the ‘f’ pulls back its arm when followed by an umlaut. As fascinating as it is to watch this built-in intelligence in action, there is room for improvement: similar pairs that would equally benefit from a substitution were not always considered. Apart from the alternates that prevent collisions, there are also some that seem motivated by a desire to reduce monotony. In doubles like ‘ll’, ‘tt’, or ‘zz’, the first character takes on a slightly different form. Likewise, a sequence of repetitive forms, such as in “accommodate”, gets its rhythm through the insertion of alternates.
Coming from Rosetta, a foundry established in 2011 that specializes in multi-script fonts, it is no surprise that Neacademia’s language support goes beyond the usual. Although I don’t feel qualified to judge the Cyrillic, it goes well with the Latin and was drawn by a Moscow-born native. There is no bold, but that is just fine for a classic book face. More important are optical sizes, and, fortunately, those are already in the making. Adding small caps and a full set of superior figures would render the family even more usable. If you still ask yourself whether this might be a good addition to your library, typeset the question in Neacademia – you will love that question mark!
Florian Hardwig is a full-time typographer, part-time lecturer, and occasional writer. With his Berlin-based studio he shapes books, websites and other publications. Obsessions: handwriting dialects and hand-made signs. Pet peeves: clashing umlauts.
Abril is the web’s kind of typeface. This family encapsulates current trends and is an amalgam of traits from past periods. It brings Didone romanticism to a sea of very similar screen-safe sans serifs, and offers a lean, useful alternative to designers tired of (but spoiled by) Georgia, the preeminent screen Scotch.
The contemporary design aesthetic is full of objects with mass and humanism. Apple hardware and Audi cars, with their rounded corners, apparent density, and (visually or physically) low centers of gravity, are good examples. Abril’s “Display” styles exude a similar density (for instance, their chiseled, leaden ball terminals) and subtle humanism (the tapered stems and flexed stroke endings in the italics), while maintaining the formality of a Didone. Thin strokes, critical to the personality of a Didone, are sturdy enough to ensure the face survives on screen, yet they do not compromise its spirit – the thinnest among Abril Display’s four available weights still has plenty of contrast.
Abril’s “Text” styles draw more inspiration from Scotch Roman types than Didones. Nevertheless, there is no shortage of mass and humanism in Abril Text, and plenty of family resemblance – same chiseled ball terminals, flexed stroke endings, and stroke axis as the Display styles, but with beefy, bracketed serifs, and a toned down contrast. There are also a variety of features that make the type more readable, like a stronger sense of continuous rhythm in letterforms and spacing, as well as subdued idiosyncrasies (the lowercase ‘g’, for example).
The fact that Abril comes in separate Text and Display styles is itself a mark of distinction. Desktop publishing seems to have given us the idea that one size fits all when it comes to digital type, but that’s certainly not true. Abril is also a study in how to successfully release a font across distribution channels and media. It was simultaneously made available on TypeTogether’s own site and via web font partnerships with Typekit and Fontdeck, and its basic styles had been manually TrueType hinted prior to release. Plus, Abril’s Fatface was made freely available as an introduction to the family.
I hope Abril’s culturally relevant style and astute release strategy earn it the success it deserves. I, for one, will be using it.
Tim Brown is Type Manager for Typekit and he makes Nice Web Type.
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book.
Previous contributors include Bret Easton Ellis, Kate Christensen, Kevin Brockmeier, George Pelecanos, Dana Spiotta, Amy Bloom, David Peace, Myla Goldberg, and many others.
Stewart O'Nan's new novel The Odds is a brilliant depiction of a marriage on edge, clinging to hope while its participants' vulnerabilities are fully on show both to themselves and each other.
In the Washington Post, Ron Charles wrote of the book:
"It's O'Nan's attention to the murmurs of exasperation and smothered ardor that will unsettle you. I read “The Odds” over my 27th anniversary, and I defy any long-married husband to make it through these pages without feeling the bracing wind of exposure. Our neediness, our brittle impatience, our loony sense that sexual satisfaction redeems the universe: It’s all laid out here in prose that’s deceptively modest. A few hours with this witty, sad, surprisingly romantic novel might be a better investment for troubled couples than a month of marriage counseling."
In his own words, here is Stewart O'Nan's Book Notes music playlist for his novel, The Odds: A Love Story:
It's funny that Largehearted Boy asked me to write about the songs in The Odds, because of all my novels, it probably has the least music in it. My earlier books like Everyday People or The Speed Queen have extensive contemporary soundtracks and even featured artists, like Cat Stevens in Snow Angels, or Fleetwood Mac in The Good Wife. Sibelius and Nielsen color The Names of the Dead, and a piped-in mix of corporate top 40 anchors Last Night at the Lobster, while Emily in Wish You Were Here and Emily, Alone prefers Bach, Gabrieli and Purcell.
But Art and Marion Fowler aren't great music lovers, and since they're on vacation, they don't control the music they listen to, so the songs they run into--as with Niagara Falls itself--are public and mainstream. At the casino where they spend Valentine's weekend, the gaming floor jangles with the electronic pinging of video poker and slot machines, the only songs maddening snatches of traditional ditties like "Camptown Races" and "The Yellow Rose of Texas" and "La Cucaracha." At a Sunday brunch on Valentine's Day they find a jazz trio tackling that old warhorse "My Funny Valentine," its predictability emptying the standard of any real emotion Even at the Heart concert they attend, where Art wants to apply the lyrics of "Crazy on You" to their precarious marriage, he realizes that the classic rock the Wilson sisters are dishing up is the musical equivalent of fast food--endlessly replicated and unthinkingly consumed by millions, therefore belonging to no one. Two of the encores Heart plays aren't even their own songs--Led Zeppelin's "Rock 'n Roll" and The Who's "Love Reign O'er Me"--further preventing Art from taking the experience personally.
Rather than the music being attached to characters and their moods or personalities in programmatic fashion, in The Odds it seems the music--like the casino and the tourist attractions surrounding Niagara Falls, or the ceaseless roaring of the Falls itself--exists outside of the characters, another impersonal force. Like the pouring Falls and the plinking machines, it distracts them, but to no purpose, and only briefly. At the end of their long marriage, Art and Marion have a lifetime of things to say to each other but can't quite bring themselves to do it. The pricey restaurants they eat at and the lavish hotel suite they return to are far too quiet. Music would be a balm, an escape, but, as with the life savings they put down on the roulette wheel, their fate is out of their hands. Like the gamblers and daredevils drawn to Niagara, they're at the mercy of forces greater than themselves--in their case the twin mysteries of Love and Time. And maybe that's why there's so little music in The Odds: because there's so much silence.
Stewart O'Nan and The Odds: A Love Story links:
Cleveland Plain Dealer review
Columbus Dispatch review
Los Angeles Times review
Miami Herald review
Minneapolis Star Tribune review
NPR review
Three Guys One Book review
Washington Post review
Bat Segundo interview with the author
The Book Bench interview with the author
Niteside interview with the author
Reluctant Habits interview with the author
also at Largehearted Boy:
other Book Notes playlists (authors create music playlists for their book)
List of Online "Best Books of 2011" Lists
List of 2011 Year-End Online Music Lists
100 Online Sources for Free and Legal Music Downloads
52 Books, 52 Weeks (weekly book reviews)
Antiheroines (interviews with up and coming female comics artists)
Atomic Books Comics Preview (weekly comics highlights)
Daily Downloads (free and legal daily mp3 downloads)
guest book reviews
Largehearted Word (weekly new book highlights)
musician/author interviews
Note Books (musicians discuss literature)
Shorties (daily music, literature, and pop culture links)
Soundtracked (composers and directors discuss their film's soundtracks)
Try It Before You Buy It (mp3s and full album streams from the week's CD releases)
weekly music & DVD release lists
Nick Turner writes about what the Creek means to New York comedians:
I perform maybe a quarter of all of my NY stand up sets at The Creek. Way more than on any other stage, I have learned how to be a comedian at The Creek. No other full time comedy venue allows the freedom and the stage time together that this venue provides.
There’s are roughly 10 open mics a week on two stages. There is a podcast network with roughly a dozen podcasts with tens of thousands of listeners. there are 20 independently produced comedy shows a week. Stand Up, Sketch, Improv, Short Films, Plays, Music, and any other relevant kind of comedy that exists is showcased here. If you look closely you can see The Creek in the background of dozens of comedy shorts made by people who know that whatever idea they can conceive, it can be realized within these walls…
I was going to write a post on this subject, but Nick says it better. If you support comedy in New York City, support the Creek.

An interview with Jason Kottke on The Verge. Jason’s blog is still, consistently, the blog to read. Even more so now that he’s able to draw from Stellar.
I have two invitations to Stellar to hand out. Just ask: @torrez.
I wouldn’t consider anything in this review to be a spoiler, and I’m about as spoilerphobic a guy as you are likely to meet. But spoilers are in the eye of the beholder, so caveat emptor. If you are really worried, skip the section entitled “The Playtest”.
Why does a board game review requires a spoiler warning? Read on.
Every once in a while an extraordinary idea galvanizes the board game community. Dominion, for instance, introduced (or, rather, refined) the idea of a game centered on deck building, and dozens of games utilizing this mechanism have since been released. Before that it was the idea of “worker placement”, pioneered by the seminal Caylus.
Risk Legacy, the newest version of the classic war game, is built around such an idea, though it would be more accurate to describe the premise as “polarizing” than “galvanizing”. Reaction to the announcement of the game ranged from accolades to derision, and spirited debates abounded months before it was published. But no one, not even that game’s fiercest critics, could deny that the central conceit of the game is extraordinary–and perhaps even brilliant.
Here’s the hook: as you play Risk: Legacy, the game changes. I don’t mean in the conventional sense of gameplay evolving as players become more experienced; I mean the game literally, physically changes. The components include an assortment of stickers, which players use to irrevocably alter play: stickers affixed to the board forever enhance or mar the topography, stickers added to cards permanently revise their value and utility, and so forth.
But wait, as they say: there’s more. The rules frequently ask–demand!–that players take up Sharpies and annotate the board, to name continents, record events, and immortalize victories by scrawling their John Hancock on the “Winner’s List”.
Some events require that cards be removed from the game. This is not uncommon–many games ask you to “take cards out of play” by setting them aside or returning them to the box; only in Risk: Legacy are you told to do so by ripping them into confetti and then tossing them in the trash. The horror.
The upshot of all this is that, after your first game, you are playing on a board unlike any other in existence, with cities positioned according to your whims, locations named by your opponents, and cards customized per the preferences of your game group. And that’s just the beginning. The Risk: Legacy box contains a number of sealed packets and compartments, which are only opened when specific conditions are met (e.g., a single player wins his second game). Opening a cache may introduce to the mix new cards, new stickers, new rules, and even new pieces (maybe! I don’t even know!). The game was designed to be played at least 15 times, preferably with the same group of people.
It’s difficult to overstate how anathema this is to many gamers, for whom even minor wear on the edges of a card is a travesty on par with the Hindenburg. The idea of defacing cards on purpose has some railing about the impending tsunami of “disposable games”, even though Risk: Legacy is, to date, the only game featuring this innovation.
Me? I’m a sucker for a gimmick. I had to have it.

Risk: Legacy is … well, it’s Risk, albeit Risk with a science-fiction theme and a 100-word backstory so ridiculous that it was apparently dashed it off in the moments before the game went to press. As in the original, the map depicts Earth divided into 48 Territories, into which players place Troops. On a turn a player selects a Territory he occupies and commits a number of Troops to attacking an adjacent space owned by an opponent. Dice are rolled and Troops are removed; when the defender’s Territory is vacant the attacker moves in and can continue his conquest. At the end of a turn in which a player took at least one Territory he receives a card, and these cards may later be redeemed to receive bonus Troops.
That’s what’s the same; the biggest difference between Risk: Legacy and its progenitor are the victory conditions. In the classic Risk, a player only wins after systematically eliminating all of his opponents and controlling every Territory on the board, a process that typically takes three or four or seven hours. Here, the goal is simply to obtain four Red Stars. Each player begins play with a Headquarters, and ownership of an HQ is worth one Red Star. Much of the game revolves around the battle for these HQs, as control of four–regardless of to whom they initially belonged–wins the game.
There are, of course, lots of additional tweaks to the original design. But the game is much more Risk than not.

Four of us gathered Sunday evening to break in my copy of Risk: Legacy; we conscripted our host’s 13-year-old daughter to fill the fifth position.
I am, and always have been, a fan of Risk, even though I dislike the player elimination and find the playing time to be entirely too long. Some of my fellow players are less charitable to the original game. But we all enjoyed this latest incarnation.
We played the game three times in a row, in the space of perhaps two and a half hours. Early games go quick; until a player has won at least one game he begins with a free Red Star in addition to his starting HQ, and therefore needs only two more points to win. (The length of future games increase as, one by one, players require three Red Stars beyond their starting HQ for victory instead of two.)
The “gimmick” of the game–that of altering the components as you play–has real strategic implications. Early in game one, for instance, I applied a “bunker” sticker to Greenland, which gave the Territory a defensive advantage; as a result, Greenland became a good place for a player to hunker down in the second and third game. Another player used stickers to increase the value of the China card, turning the corresponding Territory into a resource coveted by all.
As one of my opponents observed, the brevity of the game lends itself to bolder play; if you take a gamble and fail, you will only suffer the consequences for another 20 minutes or so. In other words, this version of Risk actually encourages its namesake, and the game is more exciting for it.
We opened our first sealed packet at the end of our third game, to reveal new cards and rules. I won’t describe them, but I’ll confess to looking forward to our next match, eager to see how they affect play. The premise of Risk: Legacy–that of a game that evolves as you play it–appears to work exactly as intended.

My policy is never to review a game until I have played it at least three times. In one sense I have fulfilled this obligation, having played Risk: Legacy thrice Sunday night. In another very real sense, though, I’ve only played a fifth of the game. With rules, cards, and pieces entering the game over the course of 15 plays, I still haven’t experienced everything it has to offer.
Given my previous statement, that I like Risk except for the player elimination and the long playing time, it stands to reason that I would enjoy a version of Risk that has neither. And I did, quite a bit. I remain unconvinced that my enthusiasm won’t wane before we reach game 15, though. An alternative peril, since the game is designed to be played by the same group week after week, is that I will want to play through to the end, but that one or more of my colleagues will eventually beg off.
Of course the “evolution” element is designed to address this, to goose the replayablity of what is at heart a pretty simple game. Whether it succeeds remains to be seen–we have another play session on the books for next Sunday, and I will report back after.
If I make it through game 15, what will I do with Risk: Legacy then? Maybe just toss it out; by that point the board will be covered with graffiti, the cards will have been defiled and destroyed, and, for all I know, I may be instructed to set fire to the box at some point. You might think that $50 for a game you’ll only play 15 times is a total rip-off, and many are making this very argument. But honestly, 15 plays ain’t bad for a game, especially one that can provide a unique experience. I don’t regret my purchase yet and, based on what I’ve seen so far, do not anticipate doing so.
You can find more information on Risk: Legacy on its Boardgamegeek entry, and even read a PDF of the rules online. Risk: Legacy is available on Amazon, Funagain, and elsewhere.
Rob Daviau, the designer of Risk: Legacy, responds via Twitter:
Rob discusses his inspiration for the design in this NPR story.
If you are a contemporary of mine, you will immediately recognize the fellow on the right in the photo above. That is Robot B-9, the automated companion of the Space Family Robinson from the classic 1960s television show “Lost In Space”. But you may not recognize the humanoid to his left. That is Dick Tufeld, longtime announcer and voice-over specialist, and the man who voiced the Robot and made immortal the line “Danger, Will Robinson!”.
Dick Tufeld passed away over the weekend at the age of 85. My two favorite showbiz bloggers, Mark Evanier and Ken Levine, each had something nice to say about him and his career.
(The fellow who actually performed INSIDE the robot suit, actor Bob May, passed away in 2009.)
Meanwhile in Finland…
They held their presidential election over the weekend. The Scandinavian countries have largely been spared from the financial chaos that threatens their southern neighbors, and Finland consistently rates right up there as one of the best places to live in the world, but the leading candidate after the first round is former finance minister Sauli Niinsto, who favors closer ties to the European Union. However, Niisto did not receive the needed 50% of the vote for an outright win, so he faces Green Party candidate and second-place finisher Pekka Haavisto in a runoff.
But this is just the icing on the proverbial cake: check out the election results from the first round of voting as displayed by the Finnish national television network YLE on their website. When the page finishes loading, click the button near the bottom that says “Sivakoikaa!”, and spend the next five minutes wishing that FOX News would do this for the Republican primaries.
It was pushing 60 around here yesterday, which might ordinarily qualify as our “January Thaw”, except we’ve seen enough 50-degree weather this winter that nothing’s all that frozen. We did get a few inches of snow last Friday and Saturday, and like an idiot I went out and shoveled it on Sunday, not knowing that if I waited another 36 hours it would all disappear on its own.
Aaaaanyway, things were VERY different this time last year. Check out this cool satellite photo of a massive bank of cumulus clouds just off the coast of New England exactly one year ago yesterday, as we were recoiling from one of the massive snowstorms that pummeled the Northeast. You almost can’t even SEE Nova Scotia. This effect is called “cloud streets” because of the lane-like appearance of the striations.
Meanwhile, over on the other side of the continent, our dear friend Karan is getting the treatment we were getting this time last year. Here’s yesterday’s “Photo of the Day” from the Earth Observatory, showing the extent of the snowfall in Washington and Oregon:
Somehow I don’t think that’s gonna melt itself away overnight.
In the weekly Atomic Books Comics Preview, Benn Ray highlights notable new comics and graphic novels.
Benn Ray is the owner of Atomic Books, an independent bookstore in Baltimore. The Mobtown Shank is his blog, and his comic Said What? is syndicated weekly in the Baltimore Sun's B-Paper.
Atomic Books has been named one of Bizarre Magazine's 51 geekiest places on the planet, as well as one of Flavorwire's 10 greatest comic and graphic novel stores in America.
A.D.D.
by Douglas Rushkoff / Goran Sudzuka / Jose Marzan Jr.
From the famed media theorist, this original Vertigo graphic novel is about a group of special powered gamers, and provides a sharp look at media and corporate culture.
Blobby Boys
by Alex Schubert
Alex has a remarkable style - one that reminds me of several other artists styles that I'd never thought could be synthesized, and the result is something fresh and funny. If you like Boy's Club, you'll like Blobby Boys.
Fantastic Life
by Kevin Mutch
It's with good reason this graphic novel received both a Xeric Award and inclusion in America's Best Comics. It's a pervy mix of punk culture, the undead, and quantum mechanics. Yes, you read that right.
Kramers Ergot Volume 8
by Sammy Harkham (editor) / Robert Beatty (designer)
Kramers Ergot is the Cadillac of comics anthologies. It's the rare anthology whose contributors are every bit as stellar as the design of the book. In this volume, there's Gary Panter, C.F., Kevin Huizenga, Ben Jones, Jason T. Miles, Sammy Harkham, Johnny Ryan, Dash Shaw, Frank Santoro, and many more.
Rub The Blood
by Paul Aulisio (editor)
Who doesn't love Rob Liefeld? Well, aside from those who teach anatomy illustration. And even they must get a laugh out of him. Regardless, Rub The Blood is a tribute to the Image Comics co-founder by a collection of underground indie artists and the results are awesomely surreal and frequently psychedelic. Including contributions by Bald Eagles, Box Brown, Jim Rugg, Benjamin Marra, Josh Bayer, Keenan Marshall Keller, and more.
Questions, concerns, comments or gripes – e-mail benn@atomicbooks.com. If there’s a comic I should know about, send it my way at Atomic, c/o Atomic Books 3620 Falls Rd., Baltimore, MD 21211.
Atomic Books & Benn Ray links:
Atomic Books website
Atomic Books blog
Atomic Books on Twitter
Atomic Books on Facebook
Benn Ray's blog (The Mobtown Shank)
Benn Ray's comic, Said What?
also at Largehearted Boy:
other Atomic Books Comics Preview lists (weekly new comics & graphic novel highlights)
the list of online "best books of 2011" lists
52 Books, 52 Weeks
Antiheroines (interviews with up and coming female comics artists)
Book Notes (authors create music playlists for their book)
guest book reviews
Largehearted Word (weekly new book highlights)
musician/author interviews
Note Books (musicians discuss literature)
A committee pondering the Olympic Stadium is in favour of a retractable roof. Death, taxes and the stadium roof, the three unavoidable facts of life in Montreal.