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Archive for July 2006

Friday, 21 July 2006

Triad of new designs

I’ve been working on three sites during the past few months, so I thought I’d officially “set them loose.”

Annie basically handed me the Weichert gig after recommending me to her boss. While initially designing the layout, I showed her the newly redesigned City Gate site. She like it enough to urge me to retain most of its design elements for the Weichert site. City Gate happened to be my first authentic PHP site, but I only really used the language for includes, the majority of which was just more HTML code.

While the brunt of the City Gate work came in the style and design, the majority of the Weichert work came in the PHP programming. I needed to create a site that was dynamic and able to do what I wanted it to, but at the same time, let people upload brochures and real estate disclaimers and have those files appear automatically and on the correct pages. I thought about creating a MySQL database in which every PDF had its own row of data, with the listing agent, state and address as applicable fields.

But on second thought, such a system would require one to interface with said database after every file upload. That would be a hassle and create another layer of potential human error. I realized that PHP was capable of dynamically displaying the correct files without a database, as long as the file names were strategically named, and uniform. PHP regular expressions now sort the contents of directories on the fly and eliminate the need to touch another line of code when a new PDF is uploaded.

Thursday, 13 July 2006

Stephen Thomas Erlewine on Sufjan Stevens

Stephen Thomas Erlewine has a fresh article on Sufjan Stevens which basically condemns him for being the teacher’s pet, his music for being too perfect and pretentious, and his subject research as being too “school-report”. Dare I say I sense a bit of jealously in Erlewine’s heart?

The orchestrations and compositions on SMiLE are purposeful — on Illinois, they’re clever-clever and showy, as the ornamentation of the production is there for its own sake, never there to illuminate or enhance Sufjan’s musical or lyrical motifs. Because, apart from the conceit of writing songs about a particular state, there isn’t much connection to the sound or feel of the state in question. Stevens never taps into the musical history of a state — never touching Chicago blues or jazz, or Michigan soul or rock. He simply uses the concept of songs about a state as a vehicle to deliver his baroque folk-pop …

So, Stevens – instead of creating his own sound – must now ape the style of his forebears? Does Erlewine honestly think Stevens would stand out in the indie world by basically being a cover artist? I can see it now: Stevens in the studio, about to record California. “Now, track one will be my Beach Boys song, my tribute to Weezer and The Offspring will be track two, and now I’ll go write my Glen Campbell knockoff.”

Oh, and contrary to the article, Stevens did touch Chicago blues/jazz: see track 21, “Riffs And Variations On A Single Note For Jelly Roll, Earl Hines, Louis Armstrong, Baby Dodds, And The King Of Swing, To Name A Few.”

Friday, 7 July 2006

The Smashing Pumpkins: Bodies

The Smashing Pumpkins’ “Bodies” – from Mellon Collie and the Infinite Sadness – has got to be one of the more underappreciated songs by the band. The song opens to a tolerable amount of art-noise but quickly gathers speed as Iha’s guitar riffs break through.

Chamberlain’s drumming is top notch as usual, but it’s Billy Corgan’s vocal workout that really defines the song. He alternates from his trademark whine on the verses to a controlled roar on the two choruses (which take part on independent melodies): “But no bodies ever knew” … “Love is suicide”. The latter appears on a strategically placed break, in which Corgan sings over a bed of double or triple tracked (and out of phase) voices droning the words deny, decide, destroy, disobey, disguise. I sense not rage in his words, but acceptance or resolution. Then again, the uncharacteristic guitar chord on the fadeout adds a pinch of discontent.

They could have brought the vocal levels up just a tad and made this a single. Easily.