Tuesday, November 30, 2010

Web 3.0, The Movie:: Part 2



Here's part 2 of Kate Ray's short film, Web 3.0. My post on part 1 is here. Not many notes here, but here they are::

The Schism Between Web 3.0/Semantic Web Approaches
  • scruffy (humans) vs. 
  • neat (ontologies)
  • Philosophy matters, in that it will define how it should be pursued.
The Future of the Web
  • The web offers info retrieval
  • social aspects (all the things we do, i.e., social interactions on the web)
  • Staging
    • semantic-evolution (systems in place) then
    • revolution (innovations & wonderful toys)
  • What will shape the future?
  • economics, politics, technology, & culture
  • The semantic web as a platform, built on top of the existing web
My take is that there will be a combination of ontologies and folksonomies involving human judgment with the development of Web 3.0. The idea of computer-to-computer interactions and data mining to anticipate user needs will require an evolutionary phase. This won't happen overnight. I know of several web redesigns that aren't factoring in the idea of content residing in databases and the semantic web enabling features that drive value for the user. Why? I think it's still too new and the features that can be had aren't clearly seen as benefits. In my mind, if a website consists of multiple data structures and these can be monitored, manipulated, and merged with other external data structures by the organization and user alike to enhance value, it's a no-brainer. It takes vision to make this happen—across multiple functional boundaries of organizations.

Moreover, I think that interoperability of sites can add tremendous value for the user...if content providers can get over thinking of their sites as turf to fight over, but look at the web as "ecosystems". The struggle will be over revenue models, but in my mind, the increase in value will lead to revenue generating potential in ways that require much less marketing effort. Pie-in-the-sky thinking or marketing mumbo-jumbo? I don't think so. I think that the semantic web can be a gamechanger that decentres the existing power dynamics on the web, so the economics and the politics of the web become things to watch.

Finally, I think that the pervasive notion of a site (e.g., Facebook for social networking) or a technology ecosystem (e.g., Wintel, Apple, Google's cloud) being the end-all-and-be-all leads to diminishing utility with scaling. The larger a paradigm is, the less value it creates and the less valuable it becomes. My take is that if there's a dominant technology, monopologies or oligonologies, there's less pressure to innovate in meaningful ways and more interest in increasing efficiencies. While my work seeks to take advantage of what the semantic web offers, I realize that there will be huge challenges in terms of resistance to what is a more decentralized, open, and collaborative technological environment.

Twitterversion::  [blog+video] What the hell is Web 3.0? Part 2 of short film describing the semantic web w/ notes. The future web?  @Prof_K

Monday, November 29, 2010

Web 3.0, The Movie:: Part 1


image:: screencap of an information ontology, from part 1 of Kate Ray's "Web 3.0" short film

Update {30 November 2010}:: Part 2 is here.

In doing research on Web 3.0, I sought out a description in plain English that also outlined its parameters and the data overload problem. I found this video by Kate Ray {"Web 3.0" page}, which fit the bill.


Here are my notes on Part 1, that may be useful for others. I'll post my notes on part 2 at another time...

  • There is a massive amount of data, moving towards trillions of pages.
  • Clay Shirky: important to aggregate information in useful ways for users
  • Nova Spivack: Google good for millions of pages, not billions or trillions of pages, which is where wer're going. Google doesn't scale to that.
  • Chris Dixon: Echoes sociology that finds that too much choice (in searches) frustrates consumers and leads to a lower likelihood of purchase & greater dissatisfaction, if a purchase occurs.


Key issues for Web 3.0 development:
  • Finding the content you want
  • Integrating data (I think this is a key feature, although this may be utopian at this time)
  • How to filter data to get more value
  • Keeping up with new sources of info.


Web 3.0 or the semantic web provides more information, giving it more meaning  and context. So, the links between the data define relationships and eventually give rise to context and  meaning—ontologies {see image at top}.  Example: If you have a word, it's the context around the word that gives rise to the meaning.  

This implies a structure, but is there a normative orthodoxy to a structure of information on the web? More importantly, does it matter?  

Like Web 2.0, which is being increasingly equated with the tools of social media, Web 3.0 and the semantic web is becoming more of a marketing term (Chris Dixon).

Clay Shirky brings up a good point with a dichotomy emerging regarding web worldviews::
  • Does the world make sense (ontologies) or
  • Do we make sense of the world (folksonomies, i.e., tagging).  
Twitterversion:: [blog+video] What the hell is Web 3.0? Part 1 of short film describing the semantic web w/ notes. Ontology v. folksonomy? http://url.ie/8bl6  @Prof_K

newmusicmonday #71:: The Most Serene Republic



image:: The Most Serene Republic, MySpace

Genrealt rock/pop
MembersSimon Lukasewich
Ryan Lenssen
Adrian Jewett
Nick Greaves
Sean Woolven
Adam Balsam
CityMilton, ON, Canada
Upcoming Tour Dates[dates]
1 December:: The Mod Club, Toronto


website/blog


I was surfing CBCr3 and stumbled on The Most Serene Republic, the first band signed to Arts & Crafts that had no connection to BSS whatsoever. The video for the poppy "Heavens to Purgatory" {below} caught my eye with its surreal disembodiments. If you listen to tracks from their 2009 '...And the Ever Expanding Universe' in contrast from their earlier work, you'll hear a clearer sound. Pitchfork attributes that to producer Dave Newfield. I can see/hear that and also agree that the sound is "gorgeous sounding". The band made a conscious decision to go in a new direction with the last album, Lenssen states on their website::
“I want it to sound like Motown, like Diana Ross and the Supremes, because indie-rock is done; that sound was pretty much 2002-2005. I wanted to do something that could also communicate with our parents because they have great musical taste. Before we went into this, Kevin [Drew of Broken Social Scene] was like, ‘Fuck Toronto; make a record for the world.’ If you can pay homage to geniuses and get a new audience to pay attention to old sounds, that’s about the most flattering thing you can do for those past generations. And I want to keep it fresh for ourselves.” 


The video, directed by Ben Steigler-Levine, was nominated for a Juno for Video of the Year.

Here's a live version at NxNE in 2009::



The following two videos are for tracks from their "Underwater Cinema" début album from 2005. The sound is layered and dense.

"Content Was Always My Favourite Colour"::

"Oh God"::


Here's a 2009 Side B interview with Lenssen and Jewett describing the band's shift and their philosophy::



They have a show on Wednesday at the Mod Club and I might try to check it out. Vocalist/guitarist Emma Ditchburn left the band last year, so I'm curious hearing their sound in her absence. In listening to the band's songs, I felt that Ditchburn's vocals helped bring things together, which might be big shoes to fill.

I'll leave you with "Phi" from last year's NxNE Arts and Crafts showcase::


Twitterversion:: [blog+videos] #newmusicmonday featuring The Most Serene Republic {@TMSR}. Upcoming #Toronto Mod Club show on 1 Dec. @Prof_K




Sunday, November 28, 2010

Stella Artois 12 Jours de Noël


I finally found a version of the Stella Artois ad that's been running here in Canada, "Ice Lounge" {UK} featuring a rendition of "12 Jour de Noël" {"12 Days of Christmas"}, which is available for download on Amazon for $.89.


Plus, here's the original 60" concept::

The US version featured "Deck the Halls" in French, also on Amazon::


Surprisingly, as Christmas ads go, these don't bug me. The ad agency is Mother and more info. on the commercial is here.

Twitterversion:: [blog+videos] Finally. New Stella Artois Xmas ads for "Ice Lounge" have been posted feat. "12 Jour de Noël" {UK+Canada}  @Prof_K

How to Be a Hipster


image:: "The Mission Hipster", graphic spotted in SF in early 2004, 
which establishes my early street cred. on the topic

This video could, no, should be a series. I know someone in Toronto who would be perfect for it, but, let's face it...a video series on hipsters...unhip. I'm pretty sure even if it were ironic, he'd pass.


Coffee, vinyl, quirky style....urban. I think vinyl is key...also the embracing lo-fi and ironically liking things that are stereotypically lowbrow, like PBR and diner fare. I think every hipster should have one signature piece of vinyl that defines their hipsterness. I'm not a hipster, I'm just old...but I think I should start a business lending out some of the accoutrements of hipsterness...like my turntable hooked up to a 1984 Akai receiver. Plus, there's my old vinyl pressings of New Order with sleeve designs by Peter Saville. Who could forger FAC 63, AKA, the "Blue Monday" 12" that has cutouts to look like an oldschool 5¼ floppy disk and a a black inner sleeve that resembled the magnetic disk itself? Geek hipster chic. This one has a clear inner sleeve. Tsk, tsk::


But, even having this is very hipster.

New Order, like The Smiths, isn't very obscure. So, stuff like Rough Trade's Microdisney might fit the bill. Here's the sleeve for "Birthday Girl" {1985} b/w "Harmony Time" & "Money for the Trams"


I had a bunch of CD longboxes somewhere. Remember those? They were phased out in 1993, so if you started buying CDs after that...remember those?, you probably have no idea what I'm talking about. They were cardstock and 12" long, so they could fit in record bins and were harder to shoplift. Mine might have been tossed in a move. I'm thinking that CD longboxes framed as art could also be a hipster décor tip. You can buy some here. I also have a handful of 7"s, but some of those are embarrassing, but might be OK in an ironic way. I seem to recall Taylor Dane and maybe Martika. One of the more recent 7" I have is Julie Doiron and The Wooden Stars and I think there's something by Franz Ferdinand floating around.
Twitterversion:: [blog+video] "How to Be a Hipster" video should be a series. Blog w/ hipster tips not from a hipster, but someone who is just plain old. @Prof_K

Saturday, November 27, 2010

The Ontario Beer Hunter:: Mapping Alcohol-Selling Retailers in Toronto



Here in Ontario, I forget that you can't get beer, wine, and spirits in supermarkets like in California. "When in Rome", as Ron Burgundy would say. I found The Ontario Beer Hunter that maps the locales of the Beer Store, LCBO, the Wine Rack, Vineyards Estate, and indie retailers, as well as letting you know if they're open or not.

It doesn't look like it uses feeds, as it has the old hours for the local LCBO at the Manulife Centre., which is {gasp} closed. C'est la vie. 

At any rate, looks like The Beer Store on Church is still open and the big LCBO up in Summerhill is open until 10. There's a pull down menu for other areas than just the 'Ront.

Twitterversion:: [blog] The Ontario Beer Hunter mappings of locations of open beer, wine, & spirits establishments in #Toronto. @Prof_K

Fireplace Channel 2010


Update {6 December 2010}:: On the Rogers lineup in Toronto the Fireplace Channel is currently broadcasting on Channel 204.

Here's my post from last December on the Fireplace Channel on Rogers in Toronto, which was on channel 175. There are embedded YouTube videos of other fireplace channels for those seeking virtual hearths.

I get searches for the Fireplace Channel in Toronto. Rogers in Toronto seems to have ditched it, although the Sunset Channel, Cottage Channel, and Aquarium Channel are all going strong. This isn't optimal, but here's 10 minutes of streamed fireplace.

Twitterversion:: [streamed video] Rogers in Toronto seems to have dropped the Fireplace Channel. Lacklustre streamed substitute found. @Prof_K

Snow

image:: snow in Toronto, 27 November 2010

Snow is still a novelty for me, as in California you went to the snow, it didn't come to you. One of my favourite memories is walking up Yonge St. in Toronto a few years back when it started snowing heavily. The traffic thinned out and narrowed to 2 lanes, with drivers being extra cautious. This morning flurries gave way to brilliant sunshine, which is fine by me.

My first snow of the year was up in Val d'Or, QC, right before Halloween.

image:: Forestel, Val d'Or, QC

This morning, I started reading up on the Trans Labrador Highway {now completed from Baie Comeau, QC to Blanc-Sablon, QC, via Labrador City, Churchill Falls, & Cartwright}. While this looks charming, despite the ominous warning::


This doesn't::

image:: Trans Labrador Highway, Winter 2008, Advrider

On another note, I'm wondering what Toronto's snow removal budget will look like under Rob Ford. 

Twitterversion:: [blog+photos] Snow. @Prof_K

Friday, November 26, 2010

Friday Night Videos:: Beth Orton


The last time I saw Beth Orton was 8 years ago at the Commodore in Vancouver. Yeah, nobody goes to Vancouver in November. It rained nonstop.

"Central Rez"::


"Stolen Car"::

"Pass in Time", live, Webster Hall, 11 April 2006::

Twitterversion:: [videos] #FridayNightVideos w/ three from Beth Orton. @Prof_K

Thursday, November 25, 2010

Stereolab:: "Fluorescences"


You might like this from 1996. Lyrics.  L is for Lætitia Sadier & M is for Mary Hansen. Mary was tragically hit by a truck on her bicycle in 2002.     


Twitterversion:: [video+streaming] Stereolab's "Fluorescences" video & streamed tracks from the 1996 EP.  @Prof_K



  

Wednesday, November 24, 2010

Europe's Spotify & The Long Tail of the Music Industry


The Guardian {UK} is reporting that the European startup that legally streams music may launch in the US without the 4 major labels on board. Currently, Spotify has 10M users {see above image for the countries} and while streaming functions like radio, it offers the advantages of the web—metrics and trackability, which lead to data mining opportunities in Web 3.0.

While the record labels want to get paid for their content, where is the tipping point that forces them to ease restrictions in order to increase exposure of their artists—particularly those in relative obscurity, often defined at sales under 10,000 {see this TechDirt article for more on the long tail, obscurity, and sales}.

What I'm interested in is how can music in the long tail, i.e., bands on small labels and unsigned bands, leverage sites like Spotify and data mining in Web 3.0 to find their audiences—globally. The "theory" of the long tail is that there is a "head" of popular titles and a long "tail" of relatively unpopular ones. Typically, the head represents the titles that bricks and mortar retailers will stock, i.e., have enough inventory turnover to warrant stocking in stores.

image:: heads {hits} & tails {niche products}, Elberse {2008}

The long tail has its detractors, including Harvard's Anita Elberse, who in her 2008 HBR article found, using Rhapsody, Quickflix {Australia}, SoundScan, and VideoScan data::
"Although no one disputes the lengthening of the tail (clearly more obscure products are being made available for purchase every day), the tail is likely to be extremely flat and populated by titles that are mostly a diversion for consumers whose appetite for true blockbusters continues to grow."
I think it would be unfair to criticize her work and her recommendations to producers and retailers, as it examines the industry as social media was rising and while it may capture the dynamics of the industry of the mid-2000s, it may not be providing an accurate picture of what the long tail truly offers as technologies mature. Nevertheless, Elberse found that the demand for entertainment media isn't fattening, but flattening, with more demand for the hits and the tail populated with many, many unpopular titles. While this doesn't bode well::
"When I differentiate between artists on smaller, independent labels and those on major labels, I find that the former gain some market share at the tail end of the curve as a result of the shift to digital markets. However, that advantage quickly disappears as we move up the curve: A more significant trend is that independent artists have actually lost share among the more popular titles to superstar artists on the major labels. (These results hold when I control for the number and type of titles that artists brought to market.) Thus digital channels may be further strengthening the position of a select group of winners."
there are assumptions here that market share and sales are the holy grail. Losing share in digital channels may not necessarily be a bad thing for artists, producers, and retailers—costs and profits matter. Plus, music is increasingly the loss leader, as licensing, touring, and merch become increasingly important across the board.

So, what are the implications here for the long tail, particularly for indie and unsigned artists? Spotify, Grooveshark, and YouTube {social media, in general} are all tools in the arsenal of the indie artist—ways to help artists cut through the immense clutter of the Internet. Not everyone will be able to make a living this way, but it's an opportunity. I agree with Elberse that indie producers and artists need to keep the costs down {taking the Robert Rodriguez work ethic of getting the most out of every production buck}, but I suspect the future of music will be a handful of large companies handling the head {in terms of marketing and distribution} and a large cadre of smaller, nimble companies handling the tail. Data mining and resultant recommendation algorithms can be a huge gamechanger {See, e.g., screenshot from Last.FM of artists similar to Neko Case}. I'll concede that purchases of the popular titles will persist and sociologists would attribute this to status and legitimacy in the market, along with the Matthew effect {the rich get richer}. Nevertheless, with social media and recommendation algorithms, consumer purchases may shift towards artists that share characteristics of the stars, but have more cachet and an alternative status and legitimacy based upon perceptions of authenticity, i.e., more art, less commerce. 

While there could be consolidation to try to gain economies of scale in the tail, I'm not sure if it will be efficient to do so with large corporate enterprises handling literally dozens of regional and niche markets. It might be time to re-examine the history of Rough Trade, which may offer insights into developing collaborative arrangements or even marketing and distribution coöperatives for entertainment in the long tail. Rough Trade faltered when it couldn't scale operations to handle artists moving towards the "head", e.g., The Smiths in the mid-1980s.

Twitterversion:: [blog] Euro ♫ streaming site Spotify to launch in US w/out major 4 record labels. Implications 4 indie and the long tail? @Prof_K

Tuesday, November 23, 2010

Saint Etienne:: Only Love Can Break Your Heart


I don't know why, but I never tire of Saint Etienne. This was their first hit, a cover of Neil Young's "Only Love Can Break Your Heart" and with Moira Lambert on vocals, which was just before Sarah Cracknell joined the band. Three versions of the song are on the player at the bottom, including the original by Neil Young and the Weatherall remix of Saint Etienne's version.


After the 90s, Moira {CBCr3} moved to Victoria, BC, released an album in 2006, "Coming Up Roses" and is known to play eclectic music of folksy electronica-tinged pop. Surprisingly, I'm her only fan thus far.

I always appreciated Moira's vocals on "Only Love Can Break Your Heart", which was a bit more somber than Sarah's. Ah, I'd love to hear her do a folk pop cover of Neil Young's "Harvest"...


Twitterversion:: [video] #TheWaybackMachine Saint Etienne's "Only Love Can Break Your Heart" cover of Neil Young w/Moira Lambert @Prof_K


Monday, November 22, 2010

newmusicmonday #70:: The Balconies

image:: The Balconies, F. Yang-www.chromewaves.net, MySpace

Genreindie pop
MembersJacquie Neville {guitars, voice}
Liam Jaeger {drums, voice}
Steve Neville {bass, voice}
CityToronto, ON, Canada
Upcoming Tour Dates11 December:: Rivoli, Toronto
17 December:: The Casbah, Hamilton, ON





















Guitarwork reminiscent of post-punk UK and the combination of droning and soaring vocals really don't do justice to Toronto's The Balconies. Here's a BlogTO entry where the band compares the Toronto and Ottawa scenes {the band's members are classically trained, studying at the University of Ottawa}. Here's Liam's take on Hogtown versus Bytown::
"I love playing Toronto. I love it because people in Toronto will just go out to check out shows. And once we live in Toronto we can do more GTA tours. Ottawa is just so far from anything. Personally, every time I go back to Toronto there's so much life, and people being creative. In Ottawa, it's so quiet and conservative. Everywhere you go there's someone telling you 'don't do that'. The mood in Ottawa is, as someone described to me, like there's always someone shaking their finger at you."
Ouch. On the other hand, Ottawa can be a supportive community environment::
"It's small. It feels a lot more like a community. In Toronto, no matter how long you've been playing there, there will still be bands that have been working at it for a while, that you've never heard of. Whereas in Ottawa, it's definitely possible to know everybody at once. There won't be more than one good show each night. Maybe, sometimes two things will get booked, but that's really rare."
I saw promos for their Montréal show at Divan Orange with Sandman Viper Command on Facebook wishing I could be there, but saw they have an upcoming show here in the 'Ront.

When I was younger, I'd lament how I thought live music wan't as good as the studio recordings—yeah, boo, hiss, but I was young and probably glommed onto that from someone, but looking back, I think it had more to do with the crappy bands I was seeing back in the day. The Balconies definitely supply an energy to their live shows that transforms their music into an immersive experience. I think it's just a matter of personal taste, but check out this live footage of "Serious Bedtime" and "Lulu"::



Here's the official music video for "Serious Bedtime"::


Here's an andPOPsideB interview from February with the band where they talk about their creative process and how playing live fits into that and you get a sense that the band enjoys playing live and interacting with the audience.



I'll leave you with a live version of "Giant Squid" from Irene's Pub from last year::



Twitterversion:: [blog+videos] #newmusicmonday featuring The Balconies from Toronto. Upcoming Rivoli show on 11 Dec. @Prof_K

Sunday, November 21, 2010

Violence & the Drug Wars in Northern México


Originally posted on ThickCulture



Ann Hutyra of KGNS-Laredo, TX reporting on recent cartel violence in Nuevo Laredo, Tamaulipas


I was talking to a colleague of mine who has travelled quite a bit to México since he was a kid. His take on the increasing violence of the border towns tend to just affect those involved in criminal activities or tourists doing things they have no business doing.

Lately, the violence of the cartels has been resembling scenes from Breaking Bad. One of the things going on in Nuevo Laredo, the terminus of I-35 and a key port of entry between the US and México is a feud between rivalling factions that were once allies, the Zetas and the Gulf Cartel. President Felipe Calderón and the Mexican army has been deployed. The WSJ reports corruption and a state of anarchy in northern México, while gunfire from street battles reaches US soil over in El Paso and a collapse of tourism in many border towns further erodes the economy amidst a lingering recession. {While there is increased violence, the reality for tourists is that 70 Americans have been killed as "innocent bystanders" since 2004. Nevertheless,the US State Department has issues a travel warning and has pulled consulate employees.}


This isn't a clear cut case of good guys and bad guys, making US policy dicey to say the least. It's one thing to talk about a war on drug trafficking and addressing issues of corruption, but there's no scorecard and no clear cut way to know who can be trusted and citizens are better off keeping their mouths shut. Last year, The Atlantic's article, "The Fall of Mexico", made this clear with how civil rights are going out the window with Calderón's militarization::
"Meanwhile, human-rights groups have accused the military of unleashing a reign of terror—carrying out forced disappearances, illegal detentions, acts of torture, and assassinations—not only to fight organized crime but also to suppress dissidents and other political troublemakers. What began as a war on drug trafficking has evolved into a low-intensity civil war with more than two sides and no white hats, only shades of black. The ordinary Mexican citizen—never sure who is on what side, or who is fighting whom and for what reason—retreats into a private world where he becomes willfully blind, deaf, and above all, dumb."
Quibbling over comparing México to Colombia 20 years ago fails has implications for US policy in that it determines how much US drug policy is contributing to the strength of the cartels and the violence over turf. Three ex-Presidents, of Brasil, Colombia, and México, wrote a report titled "Drugs and Democracy: Towards a Paradigm Shift" [pdf-English], emphasizing a public health approach to dealing with the problem and curbs demand. I feel this excerpt is worth quoting::
"The European Union policy focusing on the reduction of the damages caused by drugs as a matter of public health, through the provision of treatment to drug users, has proved more humane and efficient. However, by not giving appropriate emphasis to the reduction of domestic consumption in the belief that the focus on harm reduction minimizes the social dimension of the problem, the policy of the European Union fails to curb the demand for illicit drugs that stimulates its production and exportation from other parts of the world.

The long-term solution for the drug problem is to reduce drastically the demand for drugs in the main consumer countries. The question is not to find guilty countries and allocate blame for this or that action or inaction, but to reiterate that the United States and the European Union share responsibility for the problems faced by our countries, insofar as their domestic markets are the main consumers of the drugs produced in Latin America."
A prohibition/criminal approach to drug enforcement hasn't been effective. The report cites statistics::




US Drug War 
Expenditures & price of cocaine


The report cites that increased expenditures on the "War on Drugs" hasn't affected demand or price. On the other hand, depenalization of consumption {which isn't the same as decriminalization, but a move towards a more humane approach to drug enforcement and addiction} in both North America and the EU hasn't resulted in increased demand.

The problem being is that the current state of drug enforcement has created a highly lucrative black market for drugs by organized crime cartels, much akin to the US experience with the prohibition of alcohol.

I don't get a sense that the Obama administration and the Attorney General's office are really open to moving towards a public health/depenalization approach to the drug trade. AG Eric Holder stated he was strongly against California's Prop. 19, which would have permitted distribution of marijuana subject to local regulation and taxes. His concerns? That it would impede going after traffickers of pot and harder drugs like cocaine. Paradigm shifts are tough, but one would hope that there would a more holistic approach to dealing with the drug problem and how its market is fostering crime, corruption, and violence.

Twitterversion:: [blog] Violence & the drug wars in northern México. US policy implications for @whitehouse, Obama, Clinton, & Holder @ThickCulture @Prof_K




Saturday, November 20, 2010

Anti-Junk Food Posters from Oaxaca




I saw these photos of anti corporate, anti-junk food posters from Monte Albán in Oaxaca on ¡Turiste Libre! Bimbo is a multinational corporate bakery based in México {Grupo Bimbo} and Gansito and Jumex are brands and basura is trash.

Twitterversion:: [photos] anti corporate, anti-junk food posters from Monte Albán in Oaxaca @Prof_K

Friday, November 19, 2010

Friday Night Videos:: Karkwa





Three from Polaris-winner for Les chemins de verre, Karkwa