Bands from other Lands: It's a Hidari!


This interview was done in August 2008 by Charlie Daugherty aka Zagaduba. Enjoy!

In a downtown city sprawl, lies a coastal city of Kobe, Japan. Across the street from a convenient store and up a spiral staircase is a lounge where the sounds of something unique lingers. Sometimes these resonances can be heard on the street in ill-shaped stone-covered parks. Wherever heard the band Hidari is sure to follow.

Some of their songs, although seemingly shallow, have a deep and rich soundscape that pulls the listener in with its smooth lyrics and atmospheric tunes. There is a bite and a punch to the songs driven by the rock music foundation that doesn't falter even on top of the synths and catchy sound effects.

The band consists of its three members Hiroshi Ohta, guitarist and vocalist, Daisuke Kozuki, the bassist, and Justin Bacon, known in Japanese as the Mecha or producer of beats and sounds. Having formerly lived in Olympia, Justin is the band’s newest member with his foreignness occasionally exploited as one of the selling points or novelties of the band. Although most of this is contrived you can find Justin ejecting random gibberish in English as onlookers stare in fascination. Justin is also the pioneering individual introducing the band to an international audience. They can be found stomping Internet playgrounds like MySpace, Last.FM, and The Sixty One. You can also find them at there website Recently I had a chance to do an email interview with the band highlighted as follows (some of the responses have been translated from their original Japanese):

Charlie: So, Justin, compared to music you’ve done in the past what’s unique about being in the band Hidari? And what does being the Mega mean?

Justin Bacon: First of all, it's actually 'Mecha', and it is proficiency in building, using and repairing machines of all shapes and sizes. It is augmented by my intelligence score.

Before joining Hidari, I've always been a solo artist focused on recording and never played my own music live. Now I am doing shows on a weekly basis, and all across the country. In terms of recording, I am focusing more on composition and sequencing since I don't have to worry about trying to play guitar or bass with my hamfingers or getting a decent and in-tune take for a lead vocal with my wobbly vocal cords. Which is nice.

C: My bad... Before I ask this next one is it correct of me to say that people call your music Japanese pop rock right?

J: You can call it whatever you like. Nobody ever knows what to call it.

C: Given that problem what do you yourself call it? What kind of walls do you run up against when compared to other music in Japan?

J: Oh, I don't know. Not to be too pedantic, but I always resist classifying music unless it's clearly idiomatic and the musicians seem to be intentionally trying to replicate something else or create something that fits into a particular genre. Our music is definitely rock, it's got a certain retro bent to it, it's catchy, so I think power pop is pretty accurate. But there are also elements of chiptunes and classical music (mostly from me). The other day we were called Techno Pop, our label calls us Shibuya-kei and Japanese New Wave. Which is fine - they all have elements of truth, I suppose–but one consequence of not being easily categorizable is that the label doesn't seem to be quite sure how to market us, and we get booked for extremely odd shows. We play with everything from prog and punk bands (generally our friends who we play with locally are more on this side of the spectrum) to cutesy pop groups and generic J-Rock outfits. The oddest show we've played would have to be the time we opened for the insipid girl pop group Perfume, who have since taken over the airwaves in Japan. We sold a lot of CDs and t-shirts at that show, though, so apparently there's some crossover.

C: What kind of exposure have you gotten overseas? Do you think a Hidari avalanche is possible?

J: Sure, we tend to attract foreigners when we play downtown, and I think our music is quite accessible... excepting the lyrics, of course. All of our exposure outside of Japan thus far has pretty much been through websites like and to a lesser degree, MySpace and their ilk, and we've had a decent response. One barrier in the U.S. is that people generally seem put off by things that aren't in English. How else do you explain Hollywood spending millions of dollars to remake Japanese films almost shot for shot just so audiences don't have to strain their eyeballs reading subtitles. Personally, I think we have a better shot in Europe.

C: Do you ever have communication issues how do you get along outside of doing sets?

Daisuke Kozuki: There aren’t really any big communication issues. It's a matter of perspective I guess. Justin is serious about music and friendly so I would have to say no.

Compared to way back when we were young we don’t hang out nearly as much but rather then being due to bad relations its just become less of a necessity to be together all the time I think. When we’ve already been together for a long time and know each other real well for example. We like taking advantage of meeting new people and trying new things. However, even now we’ll occasionally go out partying or end up doing birthday parties which is always fun. It’s definitely one of our specialties.

C: Daisuke, you’re always the one with the highest energy at shows where does it come from?

D: Originally I was never the type to show off on stage, I didn’t really like that. But I can remember seeing ourselves on TV without any movement. It gave too much of a visual like we were detached and unfocused. I thought this was a problem seeing as when we played on the street not very many people stopped to listen. So I thought, lets stop some people, and that's when the crazy movements started.

C: This ones for Hiroshi, as the vocalist what was it that pushed you to join a band and sing? If you weren’t in a band what would be taking up your time?

Hiroshi: It wasn’t about wanting to join a band and singing. Casually, I tried writing some songs and since they turned out pretty well that started me in music. As for becoming the vocalist there wasn’t any other singers in the band. If I weren’t in a band I’d be leading a more serious life I believe.

C: Ok well finally is there any cryptic news about the release of a new album?

D: Naturally our music now compared with our previous albums is a little different. Justin is included in the new album for one. This time around challenging ourselves with something different has been important and interesting I think. Just producing art that's been well crafted has always been our one vision.

C: Alright, that's all for the interview thanks for your time.

A Conversation with TETRAEON by myktoronto


Two young guys, an ocean apart, jointly pulsing the airwaves with sweet soothing trance... I give you one of my favorite duos on t61 TETRAEON !

mykroronto: I was reading your bio where it said you started with a gaming community of two and a theme song "Relentlessly Destructive and Corrupted". That’s a pretty cool beginning.

Raju: About a year ago me and Alex were playing on the same server in a game called Team Fortress 2. We were just messing around, singing strange songs, and screaming at each other, so we added one another as friends in the community after the game.

Alex: As we got to know each other more, we found out we had a lot in common, and started to get to know the other person more personally. We talked over MSN and soon were having regular video chats.

Raju: And that's when the "freaky shit" started happening.

myktoronto: I know your music has certainly progressed over the past year, what about the gaming community? Do you still play?

Alex: Ha, we still play the game, but the community (Random Destruction Clan) started going downhill, and we started focusing more on the music.

myktoronto: So, Raju, is that London, Ontario, Canada, or London, U.K.? I know that Alex lives in Toronto.

Raju: London, UK.

Alex: I wish it was London, Ontario. That would be a lot more convenient!

myktoronto: I think one of the greatest things about the internet is enabling artists and individuals the ability to collaborate in real-time. Have you guys ever met in person?

Raju: No, but it has been planned, and we are meeting this coming summer.

Alex: We're definitely going to be taking advantage of our time as a "musical group" in the same continent, so we're most going to take pictures and hopefully set up live gigs here and there. We'll keep you posted. :D

myktoronto: That would be great meeting you guys and hearing you at a venue. Being a photographer and a music geek I especially enjoy an opportunity to take concert shots. When did you buys get interested in playing and composing as opposed to just listening to the music you love?

Raju: First it started in year 2, when I was about 6 years old, and I loved the hymns and stuff, I joined the school choir, and when I got to secondary school I joined the boys choir. Around 2001 I began my love for trance, about the time when such songs as Delirium - Silence, and artists like DJ Tiesto were hitting it big. Since being 11 years old, I had played piano, and taken grades 1 till grade 5, and I continue to take my grade 8 next year. In 2005, with my love for metal and rock blooming, I took up guitar and bass, and in 2003 I took up clarinet, and moved on to the saxophone which I later gave up due to boredom. It has only been in the past year that my love for trance music has once again struck me, but this time I feel I need a new path with my love in music.

Alex: In public school, when I was 6 years old, I was in the choir and played the recorder like the rest of the kids. But my real musical interest started a few years after, when I got this really cool toy keyboard as a gift for christmas. I was playing around with it and, I guess it grew into a larger interest. Up through Grade 8, I played the trumpet in school, but lost interest as the guitar and piano appeared on my radar. My musical interest drifted from classic rock of the past decades to new rock, techno, and orchestrated songs at around 2005. I played the piano more as I grew older, and soon the guitar was set aside and my focus was solely on the keyboard. Then I became interested in music on computers, and started messing around with full programs such as Garageband and demos of others, such as FL Studio and Audacity. The more I played with these, the more I learned about musical composition, and how a track is arranged to make it appealing to the listener. Nowadays my interest is still on the keyboard, working with new synths and voices, and learning new techniques to play better.

myktoronto: So, why trance? What grabs you about it?

Raju: In trance, there is nothing that can hold you back, in terms of style and content, and in terms of the actual ambiance of the music.

Alex: To be honest, I didn't even know trance existed until a few years ago, when I was 14. When you hear it, it hits you. This music is the definition of freedom and customization. Anything is possible, and variety is everywhere. Trance is like the photography of music - it's pure, and it's real.

myktoronto: Are your family and friends supportive in your musical endeavors and aspirations?

Raju: Yeah, my friend friends all enjoy our music and cheer me and Alex on. My family is not into the kind of music we make, but they support us as well.

Alex: In Canada, trance isn't as popular, and many of my friends didn't know what it was we were making. Later on, they warmed up to it, and now interest is spreading. My family supported me from the beginning, and they actually seem to enjoy the music.

myktoronto:What was the first CD you ever bought?

Raju: Hybrid Theory, by Linkin Park, probably the best CD on the planet. Around 2005 it was the first album I ever bought independently. I love Slipknot, they are my favorite band, but this album is probably the god of all albums. It has the techno, the metal, the R&B, the rave, it's just, ****ing in there.

Alex: I think it was Out of Exile by Audioslave. I still listen to that CD. Chris Cornell has an amazing voice, it really sticks with you after the songs are done. I guess it goes to show how a memorable voice can make or break an album, and in this case, it made it.

myktoronto: If I were just getting into trance what three tracks, new or old, and from any artist, would you recommend to introduce me to the genre?

Raju: Castles In The Sky by Ian Van Dahl, The Future by DJ Joop, and The Theme by Jurgen Vries.

Alex: Last Experience by Nu NRG, Ride (Remix) by DJ Tiesto, and Castles In The Sky by Ian Van Dahl.

myktoronto: With the amazing array of performance and recording software available, what kind of equipment do you use?

Raju: I use a DELL 720 XPS System, Goodman's UniDirectional Dynamic Microphone (ACC2011), Logitech Webcam (for microphone use), FL Studio, and Sony Erricson K850I's sound recorder.

Alex: A MacBook Pro 15" 2.4 Ghz Dual Core Laptop, Logitech ClearChat Pro 2.0 USB Microphone, Garageband 08, and a Yamaha PSR-E203 (YPT-200) keyboard are what i use.

myktoronto: Does one of you take the lead with creating a track or is it pretty much back and forth? Do you have areas you specialize in individually, like is one of you the percussion guy and the other more into the instrumental bits?

Raju: I am solely based in creating the music, although Alex contributes around 30% into the tunes used, and the beats made. The lyrics and names are generally 100% from him. I just have the technology, the knowledge and musical understanding, making me musically-apt.

Alex: I think of myself as a main sounding board. I come up with themes and ideas for songs, then Raju begins on a beat and the song. I contribute what I can, modify some areas, and suggest what I think will make the song better. I'm more of a lyricist - sometimes I can't believe the song names I come up with, or the lyrics that I write.

myktoronto: Where do you see yourselves or wish to see yourselves five years from now?

Raju: That's a difficult question for me, I know my families expectations, and my sensible expectations, would draw me towards a career in science, although my dreams have always dragged me towards a musical career. Although I feel it is a distant "dream", it is something I have always wanted, more than anything, and I'd give anything to have it.

Alex: I've always loved the film industry, and I'd really love to take up a career as a director in the future. I've never really seen myself as a complete musician, but as time passed with Tetraeon, I thought about what could happen. It's really cool, how that something that originally started out for fun turned into an event that we look forward to each week, an outlet for our creativity and feelings, and a way to introduce others to the genre. Really, you never know until you go for it, and there is always an event waiting to be found.

myktoronto: What's the funniest or stupidest thing to happen when you were making music?

Raju: It was when I stood in the pouring rain, in the middle of a thunderstorm, with my mom shouting at me to come back inside, as I was trying to record a thunder sample for one of our songs, which unfortunately turned out to be one of the worst ones that we have ever made (Epos035).

Alex: Hmmm... It would have to be either when we were recording the vocals for "Relentlessly Destructive and Corrupted", where we had to basically cry at each other for 5 minutes straight, in very strange voices, or when we had a "revelation" for a song name, in which mispronunciation transformed "The Reason We Came" to equal "Freezing Kaine".

myktoronto: OMG... that’s hilarious... well certainly no one could doubt your dedication to authenticity and creativity in your music.

***this interview was written a few months ago I apologize to Alex and Raju for the delay in getting this posted. It was the result of part circumstances in my life and part procrastination.

Certainly Tetraeon has not let the time go by idly as you can hear by visiting their MySpace and other social networks listed here and on their t61 profile.

Thanks so much guys for you patience and all the great tracks!

merchandiseGarageBand YouTube MySpace Stereofame email

From the archives - an interview with Topology

A friend of mine from down under, and new Listener on thesixtyone, rotheche, conducted an interview with Topology. It was first posted in April of '07.

Topology has some excellent and weird stuff! I Have a Dream is truly unique.

But I should let the interview speak for itself.

It's the new Sixtyone! (1)

More than a month ago, The Sixtyone had it's first real makeover and although it seems that the developers are still busy getting stuff the way they want, it's time we review the biggest changes. The site used to be characterized by these three elements: music discovery, game play and social interaction. Today, the big question is: are these three features still the pillars on which T61 stands. There's enough to talk about so let's make this article a series by splitting it up into three parts. In this first part we start by looking at the game.

A year ago The Sixtyone was well on its way to become a prediction market game like the Hollywood Stock Exchange (movies), urladex (websites) or Media Predict (media, obviously). The points that every new Listener member received at the opening of an account were meant to place bets on songs. As with other gambling opportunities, the more risk a Listener took, the better the return if a song became successful. You really needed some strategy to do well and reach the leader board. You also needed to adjust this strategy with each new level, because the system was programmed to handicap higher-level Listeners. Just as if the virtual bookmaker knew that he would loose money on you if he wasn't careful.
The greatest thing about it was, that the site in fact simulated a real art expo, where all kinds of players in the music industry get together. Artists undertook all kinds of action to promote themselves and their songs, while Listeners tried to cut deals to make profit.
If it had stayed like this, The Sixtyone could have been the start of a small revolution in the (indie) music market, because it was the perfect testing ground for professional artists to find out what works and how well it works. Not only in terms of composition or musical quality, but also in terms of choosing tracks for an album and even dealing with fans and critics. T61 could replace the whole A&R department of a major record company, enabling unsigned artists to become as successful as their talent allows them to.

But unfortunately the owners of The Sixtyone seems to have chosen a different direction. For reasons not at all clear, they decided to diminish the game to a meaningless leader board for listeners and take away the ability for artists to promote their work or conveniently interact with their audience. T61's about page used to say: "It’s like a massively-multiplayer game for music junkies who are always on the prowl for new sounds". Now it says: "thesixtyone makes music culture more democratic: artists upload their work for review, but, rather than allow a stuffy suit in a boardroom to decide what's good, thousands of listeners do." Instead of using your points to bet, you all of a sudden were supposed to use them to support. While being well on it's way to becoming an absolutely unique mmombg (massive multiplayer online music bumping game), T61 decided to stick with the hardly unique dig-music-you-like concept.

Now, amongst the several achievements to reach, there's one achievement that nobody has yet reached. It's the Mosh Pit, for which a Listener must be online when at least 4999 others are as well. Let's face it: 5000 listeners is a lot, but it's marginal compared to traffic at - while T61 has the potential to be as hot as! All they need to do is take a few steps back and then start developing towards a real prediction market game. That'll be fun for music lovers and prosperous for indie artists.

It's the new Sixtyone! (2)

Over two weeks ago, when I decided to review The Sixtyone's interactive / social features, I mainly had all recent spam measures in mind. But when I started to give it some real thought, I realized that there's more to communication at T61 than meets the eye.

The developers of T61 wanted to supply all kinds of tools for interaction and social activity, but they didn't want their members to take over. After all, T61 is not a community site, but the venture of two young developers. They probably developed appliances with a certain usage in mind, but then saw people use it in ways they didn't like. The most memorable listener to do so was the one called KosmikRay.
KosmikRay was a high profile member who used to set up all kinds of crazy events, like having a song bumped to 1000 before it could hit the homepage or getting as many comments on a song as it had bumps. He used to put a lot of effort into showing new artists around and getting listeners involved in the community (as he thought there was such thing as a community). He was also the driving force behind a number of so-called upload parties, which were like massive online rock festivals with a lot of stages and spectators.1.
In June 2008 KosmikRay's account was terminated by the owners of T61. His profile was deleted, together with a huge amount of either usable or entertaining comments on walls and songs. Officially because he continued to violate the Terms Of Service, but the owners never explained which terms exactly were violated. This led to a lot of speculation and co-founder James Maio wrote an open letter to the T61 members, which also mentioned spamming and upload parties.

It is true that before June 2008 some bands would visit almost every Comment Wall available to promote their music. And KosmikRay would stop by to promote upload parties or radio bumping. But there was always the possibility to block members from walls. Then in October, just when we were organizing the Max Bumps awards - coincidently or not - another measure was taken against spamming. From then onwards it was no longer possible to copy and paste the same message onto more walls. Finally last month, when the redesign took place, the number of characters allowed in a comment got reduced to a mere 250. In addition, the forum was taken down, tuneboxing (the ability to send song discoveries and messages to other members) got turned off and the listener bio editor stopped accepting links, images or other html tags.

Without tuneboxing , unrestricted messaging, the freedom to create a profiling bio and a forum to interact with the site owners, there's not much left of the social features of T61. We have to trust that the developers to have their own good reasons for these measures. Maybe it's all for the better that no new KosmikRay or Maxbumper will arise to organize events that alter an unbiased music discovery. But it's hard to understand how the new Sixtyone can still be beneficial to artists.
A new music industry, one that is not directed by only a few major record companies, needs a community to evolve. But there's no community at T61. There are listeners and artists, who are members of a private site, where they need to obey the rules the owners impose. The success of new songs is not in the hands of the listeners, where it belongs, but in the hands of a few developers who are probably thrust worthy, but then again, maybe not.

1The idea behind the upload parties was to get at least 30 artists to upload a new song within just one hour and to get as much listeners as possible to bump the sparks out of them. The most exciting party was the one KosmikRay and friends organized as a tribute to the late Michael Paul Miller.

It's the new Sixtyone! (3)

Summarizing previous chapters (part 1 and part 2) it all comes down to this:
- The Sixtyone is not the game it used to be a year ago.
- Despite what they say on the About page, it's not a democratic site. It's a private project that lacks proper social features.

Does this mean that artists and listeners should avoid t61? Certainly not. It only means that the founders have a different view on how a revolutionary music site should look like. We can jump low or high, but at the end of the day we have to respect the choices that are made by the people in charge. Either that or move on to the next site.
Now I don't know if you know T61 as well as I do, but if you did, you knew that moving on isn't easy. If not because of the friends 1 you made, than most certainly because of the music you've heard. Within the last twelve months over 25.000 songs were either uploaded by genuine artists, or downloaded by the T61's own scraping system 2. A lot of these songs probably don't suite your taste or reach your standards, but after 10 months of membership I could easily make a top 100 of songs that should be number one and a top 200 of songs that would be number two.
Obviously, the quality of music is solely the merit of the artists who created it, but the people behind T61 deserve some credit to. They pay the rent (not unimportant), the design is neat, the persistent audio player is a treat, tagging is a great new feature, the artists bio automatically displays when you play a song, there are several ways to discover new music and so on, and so on. So no matter how critically I was about The Sixtyone, the music and the way it's presented are ace. The question is: is it good enough? Is it good enough for listeners who want to play an active role in the promotion of ambitious indie artists? Is it good enough for artists who want to be in charge of their own success? Is it good enough to support a music industry that is led by performers and audience, in stead of businessmen? Are we in need at all of a site that can fulfill these ideals? Maybe not, but thinking of the old T61, I know it sure would be awesome.

If I had to define the new Sixtyone in just a few words, I would say "It's a good site to find and collect great music, but don't bother about the game - it's hardly functional - and don't think you're part of a community, just because you've found some social features."
Ten months ago I truly believed I participated in a killer project that could change the ways of the music industry. Today I'm a member of just one of those music sharing sites. The new Sixtyone is OK, but I liked the old one better. Much better.

1At T61 it's easy to find other people who are as passionate about music as you are. But knowing these people doesn't mean you form a community inside. For that you need to sign up for a listener group (max. 1) or meet outside at Max Bumps or Plurk.
2Scraped music is music that wasn't uploaded by artists, but downloaded by T61 from various music blogs and added to the pool of songs. Scraped songs are a minority. More about this subject here.

It's a scrape

You may not know this, but not every song you can listen to at The Sixtyone, was uploaded by the artist, or an artist's agent. Some of the songs that arrive at the Browse Recently Uploaded pages are not uploaded at all, but downloaded by T61's own robot: a script that the developers run daily to check some selected music blogs for new mp3's. Any new audio file that meet certain criteria will then be downloaded and added to the music pool.
The whole process of checking and downloading content from other websites is called scraping. So any song that T61 fetches from other sites is called a mp3 scrape. Scrapes used to be identifiable on T61 by an extract of the original blog post in the song's comment area, but not anymore. If you don't care about the game or interacting with artists, you probably don't care where the music at T61 comes from. Otherwise keep reading to learn how you can tell the pushed from the pulled.

At this time there are seven music blogs that T61's scraping robot checks for new songs. These are Aquarium Drunkard, Welikeitindie, Soul Sides, Stereogum, Sucka Pants, Gorilla Vs. Bear and Palms Out Sounds. With some exception the pulled songs appear daily between 3:00 pm and 4:00 pm GMT (10am - 11am EST / 7am - 8am PST). If there's no artist account, one will be created on the fly. In that case the robot also checks for an account and scrapes bio and pictures from it. For an example take a look at the T61 and profiles of Jeff Mangum

The robot can't take human decisions. If it could, it would be able to avoid little mistakes like creating two accounts for the same artist. This happens when several blogs share music from the same artist. The slightest difference in the spelling of the artist's name causes the robot to create extra profile pages. Even minuscule typing errors can cause this behavior. The last time we saw this happen, was on January 4th, when the robot scraped three songs from Soul Sides. All three songs were performed by the recently passed away Jamaican artist Byron Lee, but two profiles were created, only because in two songs Dragonaires was miss spelled as Dragonnaires.

Some keen listeners who care about their Listener status, who like to compete with each other and/or just want to tag a song with their screen name, always make sure they know which scrapes get pulled in advance. Even T61 co-founder James Miao takes advantage of this possibility. Yours truly likes these aspects of T61 very much, so he's not the one to complain about advance knowledge, but competition becomes more fun, when there are more competitors, don't you think? Worse is that a lot of listeners give feedback on scraped music or artists, while these artists possibly won't talk back at all. They don't know they're on T61.

As a matter of fact, they possibly don't know at all how well their music was sub legally spread around the blogosphere. The whole mp3 blogging phenomena seems to be based on the assumption that when an artist allows one blog to share some music, he unknowingly allows every blog to copy and share it as well. I guess all is fine as long as the artist remains unsigned, but what if the indie becomes a major? Isn't it more than likely that their record company demands that T61 withdraws the music from the pool?

So there you have three reasons why mp3 scrapes should be clearly flagged as scrapes. They sometimes cause annoying errors like duplicate profiles, some listeners wrongfully think they can interact with the scraped artists and it's not certain at all whether mp3 scraping is a legitimate action. It would be best if the developers of T61 reinstate some identification, but as long as they don't, here's what you can do to identify the scrapes yourself.

Method 1. Create an account at The Hype Machine. This site scrapes music from hundreds of blogs, including the seven mentioned before. Once your account is active, click on the link Blog List in the footer of the page, locate the blogs you want to follow and favorite them, by clicking on the grey heart. After that go to your profile dashboard, click Watchlist Songs and choose Via Blogs in the sub menu. Doing this opens a page that lists every song recently published by the favorited blogs. If you are used to following syndicated feeds in your browser or a special feed reader like the free Feedreader, you can also create a feed of this page.

Method 2: If you don't want to go through the hassle of creating yet another online account, just check my Watchlist Songs Via Blogs page at Hypem. You can even syndicate that page if you please.

We should be aware that the T61 developers can change their scraping policy whenever they want. So if you're still in doubt whether a certain song was scraped or uploaded, use either The Hype Machine or Elbows to do a song search. If the song was published by any music blog, these sites can tell you when and where.

For those of you who like to have some more information on the subject of audio scrapes, here are some interesting reads:

Evonity, 2009

A special thank you and big hug for my friend SallySilvera, who at my request kept track of almost every scraped mp3 during the last six weeks of 2008, to help me put this information together.

Story also available at