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    Why We Love What We Do Eric Obenauf Two Dollar Radio

  • Sep 27, 2010 from jasonchambers(Jason Chambers) in Lifestyle
    jasonchambers JE: Weve talked a lot about Two Dollar Radio here on the blog, for a number of reasons: we love their editorial voice (authors like Josh Mohr, Rudy Wurlitzer, and Grace Krilanovich), we love how they do business, we love how they get behind their authors, and we love love love that theyre a family run shop. Without further ado, meet publisher Eric Obenauf:

    My Creepy, Run-Down Entertainment
    We got started while we were living in San Diego. Eliza and I drove up the coast to Big Sur to camp with our dogs and celebrate our one-year anniversary. We stopped at the Henry Miller Memorial Library where I bought a photocopy of a letter that Miller wrote to random visitors who sought him out at home, Big Sur and the Oranges of Hieronymous Bosch, and a book that had nothing to do with Miller called The Business of Books, by a writer named Andre Schiffrin. The subtitle was How International Conglomerates Took Over Publishing and Changed the Way We Read. Schiffrin was the publisher at Pantheon for many years before being shoved out by the new regime at Random House.
    My background was in film. I interned at The Daily Show with Jon Stewart, where I realized if I wanted to take part in any established medium as a writer I would inevitably be forced to devote the next decade of my life to climbing the ladder before Id be able to work on something that even remotely interested me. So while in San Diego I immersed myself in fiction writing, envisioning the world of books as one untainted by greed and pop culture. The Schiffrin book woke me up. At the time, I was also beginning to feel disillusioned with contemporary publishing, as though my appetite wasnt being sated by the new books that occupied shelves at stores. I spent a lot of time surfing the spines at the local bookshop in search of anything published by the colophons that I had come to trust: Akashic (I loved their Urban Surreal Series), Soft Skull, Dalkey Archive.
    I was bartending at the time, earning more money than I really deserved. The bar was across the street from the harbor. Apart from the local crowd, the bar catered to the out-of-town yuppies on their way to or from sport-fishing trips, and the uber-wealthy whod get tanked on their sailboats in the morning and stop by for a drink after coming ashore, still rocking on their sea-legs. Rich old men dont like to get cut off by the snotty-nosed bartender. I was doing my best to put off the inevitable, and this one particular old drunk knew it. He said, Dont mind me, I make more noise than a $2 radio.
    It was the confluence of these events finding the name Two Dollar Radio, Schiffrins book, and immersing myself in the work of some exceptional indie publishers that served as the foundation and initial impetus to want to start my own press.
    Ive got a stable of pretty rad memories that really underline that I absolutely love what I do. Coupled with the fact that Im able to work on this with my wife and brother, makes the experience that much more enjoyable.
    I remember the first time I met Rudy Wurlitzer, chatting across couches in the basement of a townhouse while Philip Glass railed on the piano in the room directly above us. I carried everything around in my backpack and didnt know what I was doing. We didnt even have a distributor for our books at that point. Looking back, its incredible that a writer of Rudys stature took a chance with us. Hes someone I talk to on the phone a couple times in a good week, and refer to fondly as my consigliere.
    Francis Levy, author of Erotomania: A Romance and the forthcoming Seven Days in Rio, in addition to being a groundbreaking and provocative voice, has become a wonderful friend. In the 70s he worked at Grove Press before he was fired (which I imagine would be hard to do). A few years ago, Francis was kind enough to invite me to meet Barney Rosset (who blurbed Erotomania). We sat around Barneys apartment chatting, before we migrated to a restaurant around the corner. At some point, Barney pulled from the inner pocket of his jacket a worn Russian copy of Tropic of Cancer. He took his time relaying the particular copys importance, which amounted to him publishing the book in Russian merely to piss off the Soviets since the book was still under ban in the country. And I loved that. His defiant spirit.
    More recently, we were in NYC in May for a benefit we put together for Girls Write Now. Josh Mohr had agreed to emcee and flew in from San Francisco. We were going to grab a sandwich before the event, and were meeting at the transfer from the L to the A line. I was arriving from a meeting with an editor at the New York Times Book Review who had told me that they had assigned Joshs second novel, Termite Parade, to review. When I met Josh and his girlfriend, Leota, he asked how the meeting went and I told him. We were both a little stunned. It was to be a first for both of us. We were waiting on my brother, Brian, who was coming from Brooklyn, to meet us before boarding a train to...

    APPRAISAL OF INDIAN SITUATION- EFFECTIVE UTILISATION OF ICT IN INDIAN PERSPECTIVE

  • Sep 20, 2010 from pixelstoreus(PIXELSTORE.US) in *
    pixelstoreus APPRAISAL OF INDIAN SITUATION- EFFECTIVE UTILISATION OF ICT IN INDIAN PERSPECTIVE
    Today we are living in the age of information, and communication where the information societies are rapidly transforming themselves from information society to knowledge society. Information society or rather its Japanese term Johoka Shokai, was perceived by the Japanese writer, Yoneji Masuda, as a society, which would eventually move to a point at which the production of information values became the formative force for the development of the society.

    In India the significance of communication in equipping people with new information and skills; and mobilizing them for their willful participation in various development programmes and activities has been well recognized and emphasized in the countrys blueprint policy i.e the five year plans. Communication is fun, Communication is power, Communication is money and Communication is intelligence today. So a countrys growth, cultural moorings, its inner strength and competitive edge all depend greatly on communication power. In the recent years the country is on the threshold of a new communication revolution of which satellite, TV, Video are major manifestations. In this information age from high frequency wireless communication to digital compression technology, to microwave communication to silicon chips, satellite communication, optic fibers, telematics, computer graphics, Internet, world wide web, Internet protocol TV(IPTV),interactive TV(ITV),digital audio broadcasting(DAB),multimedia and so on, there is no stopping and no looking back. Communication wise the whole world is technically knit together and with the constraints of time and distance disappearing, it has been possible for humanity at large to be integrated at intellectual, economic, cultural and emotional levels, by sharing a global commonwealth of human resources, transforming the whole world virtually into a global village.

    NEW COMMUNICATION TECHNOLOGIES-Different Perspectives And Significance

    The concept of global village by Marshall McLuhan is becoming increasingly interconnected by communication technologies that is gradually defining the way we look at the world. The Gutenberg era is over. A new digital communications technology has emerged. An electronic superhighway is beginning to girdle the globe as voice, video and data converge bringing in the wake a new basket of digital multimedia and interactive communications technologies. New technologies such as Global Satellite of Mobile communications(GSM),General Packet Radio service(GPRS), Teletext, Videotex, Virtual Private Network(VPN), Wi-Fi, Coded Division Multiple Access(CDMA) etc are gaining wide acceptance due to several advantages like
    Interactivity
    Demassification (As opposed to the old economy (which focused more on mass production and mass broadcasting to a mass audience), the new economy breaks down (demassifies) production. The focus, in terms of production, is now shifted to customization, segmentation, and individualization. This trend leads to narrowcasting).
    Asynchronity (the exchange of data, figures, and conversation takes place on a real time basis, without the presence of all the participants).
    Immediacy
    User friendly
    Narrowcasting(A narrowcast is the transmission of data to a specific list of recipients. Cable television is an example of broadcast model in which the signals are transmittedeverywhere and anyone with an antenna can receive them. The internet uses both a broadcast and a narrowcast model. To transmit to selected individuals. Cable TV and satellite radio are examples of narrowcast services because they reach only their subscriber base. Mailing lists are another example.)
    Infotainment(A television program with a mixture of news and entertainment features,such asinterviews, commentaries, and reviews).
    Ease of updating
    Instantaneous message dissemination
    Time saving and
    Cost Effective

    Marriage of mediums or rather, Convergence is today a reality and India is fast waking up to the digital era, re-shaping the way the individuals and organisations produce, process, market, collaborate and share information. The launch of paid Internet radio services on Yahoo! And Rediff.com, Edge, Third Generation(3G) and Bluetooth, Internet on TV, are some of the new technologies that have been used for the benefit of mankind. At the same time ,there is an increasing demand from consumers for data delivery, telephony services, global roaming, e-mail, video and Internet access on one single device. These needs have resulted in global standards that are more open, making available the vast knowledge base and providing substantial increase in productivity, a better quality of life, enhancements in education and recreation and cross cultural understanding.

    COMMUNICATIONS SCENARIO: Then And Now

    Coming to the access of these new technologies, no wonder it can be safely said that the Indian middle class have moved at a much faster pace than...

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    Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA

  • Sep 14, 2010 from khemso(Hassan Khamis Eliwah) in *
    khemso Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA

    Master of Light: Conversation with Contemporary Bollywood Cinematographer Rajeev Jain ICS WICA Rajiv Jain Indian Cinematographer / DOP - The Complete Interviews, Vol. I The Shape of Light Rajiv Jain Paints with His Camera Rajeev Jain (Born: 1968, Lucknow) started working as a director of photography in 1993, after serving an apprenticeship as camera assistant and camera operator. Since then Rajeev has worked as director of photography with some of Indias most esteemed directors, in some cases establishing a close and intimate association. We met up with Rajeev Jain in India, on the occasion of a five day seminar organized by the Delhi Film Club on The Shape of Light, an event which saw the participation of hundreds of students, filmmakers from across India. How has cinematography changed in the last fifteen years? I went to the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We were witnessing a cinematographic quality which had unchained itself in many senses in films from the period until the end of the 1980s. Even the montage was much more liberated, and Cinematographer/ Directors, with Gautam Ghose at the forefront, were searching for greater liberty. Even when it came to shooting, using hand-held cameras, using natural lighting, or lighting in a way which seemed natural, such as through open windows, etc. In other words an absolute freedom whether with camera movement or lighting. And in our country? In India there was still a more classical style of photography, and I am making reference such as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray up until Agantuk (1991). Meanwhile other new cinematographers with different ideas were also emerging, like Ashok Mehta (36 Chowrangi Lane), especially with black and white. But this black and white image with its own proper aesthetic beauty had a characteristic quality of merging lighting to atmosphere or ambience. Hence from this point on maybe cinematography acquired a more important significance, a complete symbiosis with the film and the narrative. Can the meeting between director and director of photography influence the career of one or the other? During the seminar a meeting of a good director of photography and a great poet. With the cinema of Ray, on the other hand, there was without a doubt a decisive turn with the arrival of Pather Panchali (1955) onward. Which filmmakers have made a particular impression on you? The rapport with Shyam Benegal on Tota Maina (TV Series) certainly was for me an event which I remember with great emotion until this day. I meet people who confide with me that they decided to become a director of photographer after seeing that serial, or directors who decided to enter cinema thanks to Tota Maina. For example, one day there was a kenyan boy who happened to be at my house that decided to come to India to make Tv seial after seeing Tota Maina. So it has been an important film for many people, and much more for me because I was lucky to work with Shyam babu. How did you meet? It was quite by accident. He was looking for a director of photography who was also mentally prepared for this adventure, and through various sources my name came up. A friend of mine who worked as assistant director introduced me to Shyam babu. I remember when he called to tell me that Shyam Benegal wanted to meet me. We met at his office for tea, and at the end of this encounter he takes out a script and offers it to me. I can feel the emotion of that moment right now. Can you tell us about the TV Seriess dynamic photography? Shyam babu used to tell me that TV uses time like a narrative element, while the photography normally remains constant for the duration of a sequence. It is precisely time that the dynamic photography exploits to render a different consistency to the film. An example is the atmospheric conditions within nature: if during a cloudy day the sun comes out at a certain moment this will modify the condition of the light. In an interior space if someone enters a dark room and turns on the light this will change the condition of the light. However, this is all tied to precise actions. This discourse is amplified in Tota Maina, where in addition to variations in natural light were added variations which correspond to emotional motivation rather than any sense of logic. During some scenes you also used different shutter speeds, sometimes barely noticeable. During the filming Shyam Babu would ask for certain precise frames a slight increase in shutter speed, hardly noticeable, and therefore far from the slow motion effect we have been accustomed to seeing in many TV Series. This was solely to have greater suspension, therefore always in the service of a certain atmosphere in the serial. Technically this variation in speed consisted of a slight adjustment of...

    Pat's Fantasy Hotlist: Extract from Gail Z. Martin's THE DREAD

  • Nov 07, 2011 from globalgoodgroup(GlobalGoodGroup.com)
    globalgoodgroup Once again this year, I've decided to be part of Gail Z. Martin's Days of the Dead tour. Here's an extract from the forthcoming The Dread . For more info about this title: Canada , USA , Europe . Martin is the author of The Summoner ( Canada , USA , Europe ), The Blood King ( Canada , USA , Europe ), Dark Haven ( Canada , USA , Europe ), Dark Lady's Chosen ( Canada , USA , Europe ), and The Sworn ( Canada , USA , Europe ). Here's the blurb for The Dread : War has come to the Winter Kingdoms. The Dread will rise. Kings will fall. Summoner-King Tris Drayke takes what remains of his army north to fight a war he is ill-prepared to fight, as reports from spies confirm Tris's worst fear. A new threat rises across the sea: a dark summoner who intends to make the most of the Winter Kingdoms's weakness. And in Isencroft, Kiara's father is assassinated and she will now have no choice except to return and claim the crown. But she must leave behind her husband Tris and their infant son and face the dark power that threatens her rule. THE DREAD is the epic conclusion to the Fallen Kings Cycle . And here's the book trailer: Enjoy! ----------------- A candlemark later, Jonmarc was seated at a large council table. As Queen’s Champion, he sat at Berry’s right hand. Berry had dressed for the occasion, attending the council in full formal regalia, to reinforce the authority of the crown. At Berry’s left was Jencin, the seneschal. Around the table, Jonmarc saw several familiar faces. General Valjan, the former leader of the War Dogs mercenaries, Jonmarc knew and trusted. Laisren and Serg, the emissaries of the vayash moru and vyrkin , had fought alongside Jonmarc. Hant, the palace spy master, had thrown his considerable abilities toward helping Tris Drayke take back the throne of Margolan. Exeter, the head of the Mercenary Guild, was an unknown, as was Lord Alarek, the representative from the Council of Nobles. “We’ve sent advance troops to the coast, and what ships could be mustered are in place,” Valjan reported. “Thanks to the mercenaries,” he added with a nod toward Exeter. “The Principality troops are split three ways: most went to the coast with the mercs. Some will patrol the river, to make sure none of the enemy ships slip inland. The rest will guard the palace.” “What of the mercs?” Berry asked. “How many troops can we count on?” Jonmarc looked to Exeter. For other kingdoms, mercenaries were usually just extra hired muscle. But Principality had a long, complex relationship with the multitude of merc groups that called the small kingdom home. A few hundred years ago, Principality had been created by the surrounding powers as a way to keep the peace over its wealth of gem mines, mines that had been a near constant source of war as the neighboring kingdoms fought for control. Battered by fruitless and expensive fighting, the other kingdoms had created Principality as its own sovereign state, but it was too small to marshal a full army from its population. The first king of Principality, in a stroke of genius, had made it known that all mercenary groups were welcome to winter within the kingdom’s borders, provided that those merc companies swore that they would never sell their swords against Principality. Over the years, the best and most fearsome merc companies in the Winter Kingdoms found their way to Principality, as did the fastest privateers and some fleets that were probably more pirate than privateer. The kings of Principality had welcomed them all, along with their oath of fealty. As a result, Principality was heavily protected from within, and rested in the assurance that no legitimate mercenary group would agree to attack them. Now, Jonmarc hoped that the age-old agreement would be enough. “We’ve rallied the merc troops,” Exeter reported. “Those that were traveling have been recalled, except for the ones that had already been recruited to serve the other kingdoms against the Northern threat. As for ships, we’re still counting as they come in.” Exeter grinned, showing a row of mottled teeth and a wolfish grin. “It’s been a long time since there’s been a war like this is shaping up to be. Any fighter worth his price is itching for a piece of it. And of course,” he added with a calculating look toward Berry, “for a piece of the spoils.” “You’ll receive your customary percentage, and a bonus if my commanders say it’s been earned,” Berry replied. “Thank you, m’lady.” Berry looked to Laisren and Serg. “Were you able to recruit from among the vayash moru and vyrkin ?” Laisren was Dark Haven’s weapons master, and Jonmarc knew exactly how dangerous Laisren could be on the battlefield. Although he was several hundred years old, he looked to be in his early thirties, with an angular face and dark blond hair fell loose to his shoulders. The charcoal jacket that he wore made his pallor the more visible. “Our numbers are fewer than they were at the...

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Youth's Companion

Literary Criticism - 1911

Amazement and relief struggled together in the stranger's face as he stumbled up the oilclothcovered stairs toward the .... August, 1907,two other vessels, theDelaware and North Dakota, were contracted for, of about the same size, ...



1085 pages

Against the Day

Creator: Thomas Pynchon | Fiction - 2007

An epic tale spanning the years between the Chicago World's Fair of 1893 and the end of World War I features a sizable cast of characters who are caught up by such events as the labor troubles of Colorado, the Mexican revolution, and the ...

Publisher: Penguin Group USA

About this book
The inimitable Thomas Pynchon has done it again. Hailed as “a major work of art” by The Wall Street Journal, his first novel in almost ten years spans the era between the Chicago World’s Fair of 1893 and the years just after World War I and moves among locations across the globe (and to a few places not strictly speaking on the map at all). With a phantasmagoria of characters and a kaleidoscopic plot, Against the Day confronts a world of impending disaster, unrestrained corporate greed, false religiosity, moronic fecklessness, and evil intent in high places and still manages to be hilarious, moving, profound, and so much more.



760 pages

Gravity's Rainbow

Creator: Thomas Pynchon | 1995

Gravity's Rainbow, his convoluted, allusive novel about a metaphysical quest, published in 1973, further confirmed Pynchon's reputation as one of the greatest writers of the century.

Publisher: Penguin Classics

About this book
Winner of the 1973 National Book Award, Gravityís Rainbow is a postmodern epic, a workas exhaustively significant to the second half of the twentieth century as Joyceís Ulysses was to the first. Its sprawling, encyclopedic narrative and penetrating analysis of the impact of technology on society make it an intellectual tour de force.


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