12-24 October 2026
Hello, dear readers!
SpinTunes 26 will soon be winding up!
The deadline has passed for the round 4 songs, and tonight is the listening party where we’ll have the first opportunity to hear the songs. My attendance at previous listening parties has been spotty. They have been late at night, when I usually need to help keep the household’s seven kids on task with cleanup and bedtime. Given the large number of songs, I have sometimes been unable to stay and listen to the whole thing. But we’re down to just a handful of songs, so I ought to be able to stay for it.
Unlike the previous rounds, in this round we, the judges, are not going to determine the winner. The winner will be determined by the contestants themselves. However, there is a “tiebreaker” clause, so we’re supposed to rank the tracks (and optionally review them). I will be writing reviews! So stay tuned for those.
There will be a “bonus round.” In the bonus round, anyone may submit a cover of a song that was submitted for SpinTunes 26. Yes, even judges can submit songs, although of course we’re actually competing for the championship, so these songs will be considered “shadows” — just for fun.
I will be submitting a cover of Stefan Szabo’s song from round 2, “Circles.” You can listen to the original here. Why “Circles?” I told my son Joshua about the bonus round and asked him if he wanted to work on a cover with me. He was excited about the idea of singing “Circles.” It’s a lovely song, so I agreed that this would be a great choice! So our cover will be by “Common Lisp featuring Joshua Potts.”
I offered to work with Joshua on a song for several reasons. I’ve been trying for some time to find songs that we would sing and play together. That’s been a bit tricky because he has a nice acoustic guitar, and has become quite a good guitarist, but his musical tastes lean in the direction of screamy death-metal. Those songs aren’t really something I can play together with him, at least not on acoustic instruments, so we’ve been at a bit of an impasse. Maybe working on this track will help us break the impasse, and after we’ve finished this cover, we can come up with a way to do it live, or we can keep some momentum going to work on other songs we can play live.
I also wanted an excuse to start getting my studio gear up and running again. In our previous house, in Saginaw, I had a small suite of rooms, built into the attic. They became my home office and studio. The attic space was very uncomfortable — it had no working insulation to speak of, so in summer it was miserably hot, and in winter it was miserably cold. It was a terrible place to record, because the floors were pine and the walls were covered in pine paneling, and it was small, with low, sloping ceilings, so it produced a lot of audio reflections — it sounded like I was singing in a wooden box, which I was. I did what I could with egg carton foam, small carpets, blankets, and an SE Reflexion filter, and recorded, mixed, and mastered a number of original and cover songs in that space, but working in there was always difficult.
Since we moved into this house in 2017, we’ve theoretically had room for a studio, and some better space, but life with five, then six, then seven kids remained pretty chaotic. We had housemates, including two adults and three more young children, for part of that time as well. With the housemates, there wasn’t really an unoccupied space on the main floor, upstairs, or basement to set up the studio gear. For a while a basement bedroom was not occupied but was a sort of storage room, so I was able to set up a little table in there where Grace and I could sit together to record podcasts, and we used that for a while, but there wasn’t enough space in there to set up instruments. And when I did start recording in the basement, whenever I’d hit “record,” there was a better than 50% chance that whatever I was recording would wind up spoiled by someone clomping around on the floor overhead, or a child making either happy or unhappy noises somewhere in the house.
I became tired of ruined takes and got discouraged. Since my long COVID symptoms got bad in 2022, I haven’t been up to practicing guitar very much. My work has remained quite demanding. So aside from some podcasts, recorded originally in the basement and later with a handheld recorder, and some quick performances recorded on phones, I haven’t done any music production to speak of since leaving Saginaw in 2015.
Anyway, this past week I’ve put some time into setting up a viable space to record, by trial and error, figuring out what works as far as keeping the gear within reach, while trying to arrange the unfortunate mess of power and audio cables in a way that we won’t constantly trip over them. Have you ever noticed how the people selling audio gear try to avoid showing you just how many cables it’s going to take to use all this stuff? So I’ve been trying to remember how to use my gear, and set up just enough to record this song.
Over the years I’ve sold some gear as it became obsolete, or I outgrew it, and I’ve occasionally been able to pick up some new (or new to me) pieces of gear. I don’t have much of anything that I’d call truly high-end, professional-grade gear: I have no rack-mount compressors or 500-series preamps, no high-end microphones, and no professional-grade mixing console. I am well-supplied with microphone stands and professional-quality cables, though, because those have been within my budget over the years and I’ve stocked up when I could.
In Saginaw I had an Apogee Ensemble, which is the best-sounding interace I’ve owned, but that product became obsolete when Apple abandoned Firewire. The Ensemble in a Mac Pro running Snow Leopard was an incredibly usable and reliable device for producing music, but software updates left my perfectly good Mac Pro unable to use the Ensemble reliably, so I sold it. The workflow I used to have with the Ensemble and a “flying faders” controller involved getting every source into digital form and then applying all the compression, equalization, etc. “in the box,” that is, in an Apple Logic project in my old Mac Pro, with mix automation recorded using physical faders.
That “in the box” setup was, itself, a reaction to older setups with a lot of loose pieces of gear, building a home studio around cheap Mackie mixers. Those mixers never sounded good, although they claimed that you could plug in guitars, basses, and other instruments as well as microhones, if you set the 1/4” inputs to “Hi-Z” mode. Instruments with piezo outputs sounded especially bad. This was always frustrating, so the Ensemble and “in the box” setup was a big improvement. But after giving up the Ensemble, I wanted to try to move back “out of the box” and start putting more hardware in my recording signal chains again.
One of the standalone pieces of gear I had was a Sound Devices MixPre-6 II which I used for a number of podcasts. The MixPre sounds very good, with excellent microphone preamps. But the workflow was tedious. It involved recording multi-track WAVE files to an SD card and USB stick, then transferring them to a computer, then splitting the multi-track WAVE files into separate mono files using a quirky utility program, then bringing those files into Logic projects. I was hoping to upgrade to a Sound Devices recorder with more inputs for music projects. But with a long period of unemployment — 18 months — I sold it to raise some cash, and have not yet replaced it.
So, I’m kind of “in between” viable, practical, well-rehearsed studio workflows at the moment, trying to figure out something that works.
I’ve collected a number of smaller pieces of gear that sound good enough that the sound quality is not a big impediment to doing what I want to do. There are limitations in what I can do with what I’ve got, for sure, and I’ll talk about a few of those, below, but for now this gear is (and will have to be) good enough. Besides, having limited options often spurs creativity, right?
There’s some more stuff in boxes, but below is a list of gear I used to make this song:
I hven’t done much with it since building it, but I was pleased to find that it seems to sound pretty good on Joshua’s voice.
I’m hoping to build more kits from the same vendor in the future. Do I recommend that everyone build a microphone from a kit like this? Absolutely not — I’d only recommend it for someone who has a fair amount of soldering experience and a decent soldering workbench with good tools. You’ll need a bottle of liquid conformal coating. If you don’t know what that is, this probably isn’t a project you should take on.
It’s also quite complicated to use, since it was made to cram a whole lot of features into a small space. Accessing features like the sends and returns is awkward — they’re on a DB-25 connector, so using these sends and returns would require purchasing (or building) breakout cables to allow me to plug cables into cables, dangling out the back of the mixer, and giving up much of the space advantage of using a compact mixer.
Because of the complexity, all the overlapping functions in a small space, I’m forever getting it into a mode where I can’t get the audio to go where I want it to, and I have to stare at the schematic in the manual and try to figure out which tiny button is set wrong.
Although it sounds very good, I’m constantly reminded that this is not a USA-made or English-made console. It’s made in China. The midrange price came with compromises in quality. Using it this time, when I tried using it to record a vocal, the mixer would periodically start sending some nasty digital noise out of the main outputs for a while, then stop. I don’t know exactly what is causing this. I have worked around this for now by routing audio out the “Bus B” outputs and avoiding the main outputs. I would like to try using the built-in mix compressor on this track. That is possible, although the setup gets complicated, and I’m limited by the next piece in my signal chain: the audio interface.
It has limits, though, as it only has 4 outputs and 2 inputs. There’s a TOSLink input port that would allow me to connect a separate 8-channel rack preamp called an Octopre, giving me more microphone inputs. There are yet more restrictions with that setup, though — I could only use 4 of the 8 microphone inputs at 96kHz, and there’s no corresponding TOSLink output on the 2Pre that would let me use the Octopre’s additional outputs via the 2Pre.
The inputs are combo jacks so I can plug 1/4” balanced TRS cables into it, but the inputs aren’t truly line inputs; the preamp is always on, and you just turn the gain knobs down. But there’s no obvious indication that the gain is set to unity. This is a particular pain when working with stereo inputs — it’s never clear if you have the inputs set to exactly the same level. These issues signal that although it is a member of the slightly better-quality “Clarett” product line instead of the “Scarlett” product line, this is still “prosumer” interface, not quite professional gear. It also means that it’s easy to accidentally overload the inputs, because it doesn’t have the headroom that the mixer has.
Outboard effects: I have a tc electronic M100 stereo multi-effects processor. It’s been weird to see so much of the market for outboard effects dry up in favor of just applying algorithms inside a DAW. Sometimes I want some effects that I can physically plug in, and this is one of the few remaining devices like this available. In this project, I used this to put reverb on the headphone mix, so Joshua could hear it while tracking vocals. This is an old trick to help singers stay on key. For live performance use, the spinning speaker effect in this box sounds very good.
Controllers: while I own a Yamaha DX-7, it doesn’t fit very well on top of a bookcase in a small corner of my studio along with a mixer, interface, and laptop, or on a desk with a laptop, or even on my bed with a laptop. So I’m using a Korg NanoKey Studio mini-keyboard with touch pads to send MIDI data to my DAW, to record instrumental tracks in Logic. This works nicely either plugged in, or over Bluetooth. I don’t notice any latency issues over Bluetooth, and I prefer to use Bluetooth since the device’s USB port is one of those fragile USB micro-B connectors that always feels like it’s a little bit too easy to break.
The MIDI tracks gave me something I can easily record to create a scratch reference track that has some drum parts and instrumental notes in it, instead of just a metronome. Joshua recorded his vocal tracks using this reference track, and I then later replaced the Logic bass sound with a real bass, and some of the other Logic instruments with other, more carefully-chosen synthetic instruments.
Real instruments: for the bass, I played an old Fernandes fretless bass that I bought a few years ago from an ebay seller in Japan. I experimented briefly with recording some guitar parts using my battered and modified Fernandes Telecaster-style guitar, which I picked up for cheap at a Guitar Center back in Saginaw, but I wasn’t getting a good-sounding result quickly, so I deleted those tracks and added some more Logic instruments instead.
DI box: I plugged the bass and guitar into a Radial JDV MK3 direct box. I’ve had this for a number of years now and I hope I never have to give it up. The product has unfortunately been discontinued.
This was a high-end item at the time. I bought it after getting fed up trying to get a really good, clean direct guitar sound out of basses and guitars with piezo pickups. It works great as long as it goes into preamp with enough headroom, and then right into a compressor, before sending the signal to an analog-to-digital converter.
I have a couple of real amplifiers I could mess around with, but in the interest of time, I stuck with the DI input for this song.
I did have difficulties this time though — the user interface has changed quite a bit, and I constantly had to look up how to do things I used to know how to do well: how to freeze tracks, how to enable automation on a track. I wanted to use the Flex Time feature to nudge words in Joshua’s performance onto the beat, as I used to use this feature a lot, but figuring it out in the latest version of Logic Pro was taking too long, so I gave up and had Joshua re-record one of the verses with tighter timing. (This was one big advantage of using a hardware mixer in a dedicated studio space — all the knobs and buttons were still exactly like I left them, so I could easily get a replacement track that sounded the same as the others).
The laptop gave me a little trouble because although the M2 chip is very powerful, I’m layering a lot of MIDI instruments, and Logic was starting to complain that it couldn’t keep up. There are ways to work around this. I can freeze tracks, which applies the effects and writes the processed audio to a temporary file which is then used in the mix, instead of doing all the processing on the fly. Just running the laptop using a power adapter instead of battery power makes a difference, since the power-saving features that preserve battery life and slow down the CPU cores are disabled. So it wound up working fine, and it bounced tracks far faster than my old Mac Pro.
But even so, a low-end laptop isn’t really the best choice for this sort of work, although it is awfully convenient to be able to move it around easily. Working with Logic Pro on a 13” screen is not ideal at all, especially with my outdated eyeglass prescription and almost sixty-year-old eyeballs; it’s become harder to use just since 2022, when I bought it. I’ll be thinking about purchasing a used 17” MacBook Pro to use for this sort of project in the future, when funds allow.
Studio monitors: My monitors are a bit odd — a long-discontinued product, the Pelonis Model 42 system. That’s a rack-mount amplifier with two satellite speakers and a separate rack-mount amplifier and subwoofer that goes under the desk. They’re a bit worse for wear — one of my children kicked in the dust cap on the subwoofer almost a decade ago and I’ve never been able to get it entirely popped out again — but it still sounds good. To get something that sounds better in 2026, I’d have to spend quite a bit.
Room treatment: this room sounds a lot better than my old attic room for various reasons, and also better than the basement bedroom I was using to record podcasts. It’s not because I’ve put up acoustic foam everywhere — I haven’t done that.
But this room is larger, so doesn’t sound as boxy. It’s irregularly shaped, so some of the walls aren’t parallel. That helps lower the refelections. The walls are drywall, not wood, which reflects sound a little bit less. It’s full of stuff, including a wall of bookcases, a wall of guitars, three desks, and a lot of other things to break up reflections; it’s fully carpeted; there are two sets of heavy curtains; and I do have three big acoustic panels mounted on the walls to help absorb reflections. I’m also using a Reflexion filter behind the microphone to help keep reflected audio from going into the back of the microphone grille. There are no doubt more improvements I could make, but I don’t want to glue foam to the walls, and it sounds good enough to me at the moment. It doesn’t sound like we’re speaking or singing in a wooden box.
Plugins: the original song had a beautiful-sounding, highly-processed vocal, which I’m trying to emulate to some extent. I’m using the Vocal Transformer plug-in to produce an octave effect, along with Izotope Nectar 3. I’m sure there are better ways to approximate this sound, but this is what I was able to throw together quickly. On the choruses, Joshua recorded doubled vocals, so I’ll be using those. This differs from the original, but I like the way it sounds. I’m accustomed to using Izotope Ozone as a mastering plug-in on finished mixes, but this time I tried using Logic Pro’s built-in mastering plug-in. It scanned my project and chose some settings. The settings sounded good, and I didn’t have a lot of time to play around with different variations, so I just went with it. My impression is that Ozone is much more flexible, but the Logic mastering plug-in is much easier to use.
MIDI instruments: I’m using two Mellotron virtual instruments for strings and voices, an electric guitar sound, the “Solid Soul Electric Bass” MIDI instrument that I’ve replaced with my real bass, and the “Claps & Snaps Performance,” “Shaker 1 Performance,” and “Dark Mystic” percussion instruments.
I didn’t make much of an effort to emulate the exact sounds that the original artist used, in part because there is a fair amount of distortion in the mix, so it’s hard for me to figure out exactly what is going on. From what I can tell, the accompaniment it mostly uses chords of just two notes, fifths and maybe sevenths, with some additional harmonizing chords coming in at times. This wouldn’t really be well-served by transcribing it into chord notation. I think the parts may have been electric guitar volume swells, along with an actual acoustic bass, or a pretty convincing copy of one. So I just listened over and over and then played some tracks on my tiny little Korg keyboard.
I love the fact that Joshua worked on this project with me. I’m happy that I was able to put my music gear to use and get some of my money’s worth. I’m not entirely satisfied with what came up with for instrumental backing, but it was a compromised process where I had to get it done as quickly as possible with tools that had become slightly unfamiliar due to neglect. Trading speed for quality is familiar to anyone who has participated in one of these songwriting contests, especially those of us who can in no way be called professional musicians, and who are doing this in scraps of free time. I didn’t keep track, but I guesstimate that setting up everything, recording the vocals, and doing all the rest probably took me somewhere between twelve to eighteen hours. It would have gone faster if the studio had been set up and I had recently used the tools (and I probably would have been able to produce better-sounding results, too).
I’m hoping that Joshua might take on the challenge of actually writing original songs in the next SpinTunes, under his own name (or a band name, if he’d like to choose one). I’m hoping that he will be able to show off his guitar playing and singing, and add songwriting to his résumé. Maybe he’d like to take on learning how to use some of these tools. There are a few things I can teach him, although I’m sure he’s likely to surpass my skills very quickly!
My wife and I don’t have an answer yet regarding our reapplication for health insurance. For now it looks like we will be paying for everything out-of-pocket unless we can find some kind of affordable insurance program. One of her doctors tells us that Grace should be eligible for Medicare due to her disability, although it may take years to actually get her coverage going. It doesn’t seem like she’ll be eligible to receive any sort of monetary benefit because I have income and we have some equity in a house (although we are nowhere near paying off the mortgage).
I heard from the cancer surgeon who examined me and gave me a follow-up exam at University of Michigan hospital in Ann Arbor. She told me that their “tumor review board” (or something like that) had reviewed my scans and exam results and the consensus was that I should go forward planning for regular follow-up exams — a colonoscopy annually, and a sigmoidoscopy every six months, and possibly other follow-up. I’ve been getting voice mail from the hospital asking again about my insurance coverage, although I’ve told them more than once that I will need to pay out-of-pocket.
I would like to talk to someone about the CT scan of my lungs, which didn’t appear to show any obvious metastatic cancer, but did show some lesions and apparent injury. I guess that someone will have to be my primary care physician. Because all these organizations are built in siloes, even though she referred me for the colonoscopy originally, she apparently has not seen any results, so I have to figure out how to get her access to my results.
Apparently the MRI also found a small hernia, which I should probably follow up on as well. I don’t think I have any particular symptoms from that.
I continue to have a lot of fatigue, which is exacerbated by exertion. Exercise, when I get some, is not making me stronger like it used to, but leaving me nearly unable to work.
My wife and I celebrated our 25th wedding anniversary. We weren’t up to planning a big get-together, either physically or financially. We have a tenuous plan to have some kind of a celebration next spring, with a tent, and maybe catered food.
We did have a small bonfire the Sunday evening before, our first of the season, and got an order of firewood delivered. A few friends came over to hang out with us, but I found that even wearing an N95, the smoke was bothering my lungs, so I had to bail out a little bit early. It’s very frustrating because I grew up with fireplaces and bonfires and I love both of them, but it seems like my lungs don’t like either of them any more.
I also stacked up a good portion of the load of firewood, which our firewood guy had just tossed in a big pile. I did get some assistance from the kids. It seemed that I paid for that, too — I woke up the next morning very tired, with a lot of joint pain. Between the smoke and the exertion I wasn’t doing well on the day of our anniversary.
So, a subdued celebration.
I took the day off work, although as I’m not an employee, it meant giving up a day’s pay. After some errands in the morning Grace went to get her hair washed and I went to a bookstore to wait for her. We met up at a Middle-Eastern café in the plaza a few doors down from the bookstore, to pick up some pastries and Turkish coffee. I was not feeling up to high caffeine, so I wound up getting a hot cocoa instead. We drank our Turkish coffee and cocoa in the car, in the parking lot, parked next to a truck that was some kind of mobile document-shredding service, so it was a bit loud. We drove away separately — I went to get gas and pick up one set of prescriptions, and Grace went to pick up another set of prescriptions elsewhere. We met up at home. We went out again in the afternoon and stopped at a shawarma place for a shawarma sandwich (for me) and a burger (for Grace).
After we got home, we watched a movie together that we saw in the theater back in 2002, on a date to celebrate our first wedding anniversary. The movie was The Transporter, from 2002. Back then we didn’t have any special reason to choose that movie. It just happened to be playing near us on our anniversary, and it was an action movie, so we bought tickets.
It’s not an especially highly-regarded film, but we enjoyed it for what it is, back then: an action film with highly-entertaining fight scenes. It should be appreciated in the way that a good wuxia film, like Hero from 2002, is appreciated. The Transporter wasn’t directed by Luc Besson, whose work (including Léon: The Professional from 1994, and The Fifth Element from 1997) I absolutely love, but he did write the screenplay, so it has a little bit of “Luc Besson” quality.
Has it held up? The fight scenes have held up pretty well. There’s a great fight scene that takes place in a bus garage where the protagonist dumps out a big vat of oil, so that the garage floor is covered with oil, and then grabs some bicycle toe clips to put on his feet, so that he can walk. The ensuing fight is quite funny, looking like a greased pig-catching contest.
Overall, I’d say the film is a bit like a cross between a James Bond film and a John Wick film. It has some definite Bond influences, and may have influenced the John Wick series. It’s not especially enlightened in its portrayal of Chinese characters, women, or Chinese women, but that was hardly surprising. A lot of the action scenes we enjoyed look suspiciously like a lot of action scenes we’ve seen in other films since. If you watch a lot of action films, you come to realize that directors don’t just borrow from each other, they pretty much steal scenes outright.
The structural flaw in the film is that it feels like it’s getting ready to have a third act, but then it ends, a bit abruptly. There’s a sequel, Transporter 2, from 2005, and I have it on Blu-ray, since I got both for cheap on eBay. We haven’t watched it and I’m not sure I really want to. Reviews suggest it is quite a bit worse than the original.
Anyway. Our life together, over the past 25 years of marriage, has not quite gone the way either of us has expected; it especially went off the rails pretty hard starting in 2020. It’s frequently hard. But it’s ours, and we celebrated it the way we wanted to, and were able to.
I’d like to follow up on my reviews from SpinTunes 26 round 3.
After I had submitted my rankings and reviews, I became aware of the use of AI-generated audio in one of the submitted songs. I wrote an update, an addendum to my review of that song, and Micah was kind enough to update my reviews on the SpinTunes blog.
I also asked Micah if SpinTunes needs an AI policy. He told me that he is committed to drafting such a policy, with community input, before SpinTunes 27 begins. I look forward to engaging with the community on that topic.
Because there was no such policy in place, there isn’t much that we can really do to “fix” round 3 other than what several of the judges did — rank the song low enough that its positioning wouldn’t affect any outcomes. Had I realized what was going on, I would have ranked the song at the bottom. But I ranked the song number 4, and that is bothering me, so much so that after sleeping on it, I feel the need to vent my anger some more.
I’m bothered by the fact that although I am only one of five judges, this could have affected the rankings of all the artists I ranked below number 4. Those artists would have all gained a point. There was a strong consensus for Stefan Szabo. It would have changed the total number of points that traumadolls scored. It would not have changed Sober’s position, because I ranked Sober number 2, above 4th. So I think it would have resulted in traumadolls coming in second, pushing Sober down a notch to third, and miscellaneous owl winding up tied with Sober for third place. I don’t think it would have changed the outcome for Ironbark. But just the fact that it could have changed the outcome makes me angry.
Did this artist use AI in rounds 1 and 2? Not in a way that stood out as much as this does, but if so, then in my view the legitimacy of the outcomes of those rounds is called into question. It can (and should) undermine contestants’ faith in the fairness of the whole contest. What do I think the consequence should for a contestant who undermines the integrity of the whole contest for everyone like this? It’s probably best if you don’t ask me that, at this particular moment.
I want to be absolutely clear — I am not asking Micah to update my rankings and re-calculate the winners. I don’t think that would be the appropriate thing to do. But I’m writing all this out because it is all a ripple effect caused by the use of AI-generated music in a songwriting contest that is all about the “DIY” ethic. It fucks things up and it’s viciously unfair to the other contestants. I should have been more alert to this possibility, but at the same time, it shouldn’t be the responsibility of judges to serve as human AI detectors.
So what would a good AI policy look like, in my opinion? I haven’t thought about this as much as I should have, and I will no doubt think about it more, but I would write a rule that says that any and all use of generative AI must be disclosed in the song notes. Anyone using AI without such a disclosure will receive a permanent ban from the SpinTunes competition. Then leave it to the judges to decide if they’re willing to tolerate AI-generated music and express their opinion on this in their rankings.
My default position has been to trust the contestants, who I understand to be musicians, mostly on the amateur side, looking for an opportunity to hone their skills in a mostly-supportive online community and relatively low-stakes contest. If I can no longer trust the contestants, then I’m not going to be interested in judging any future SpinTunes contests. If the AI slop-using “musicians” want to be ranked and reviewed, ask the clankers that made their audio tracks to do it. Leave me out of it.
The world of 1984 is a grim place. Members of the “Party” have access to resources based on their rank. The rest of society are called “Proles.” The term is short for the “proletarian” and refers to the working class. The Proles make up the majority of society, and so the Party provides them with various sources of entertainment to keep them from getting too restless.
The versificator is one of the entertaining distractions made by the Party. A versificator generates songs that are “composed without any human intervention whatever.” The results range from insipid love songs like “Hopeless Fancy,” to the “savage, barking rhythm” of the “Hate Song” — designed to stir rage against political enemies. The novel’s protagonist describes one of these songs as “dreadful rubbish.”
But the Proles like it fine. The song “Hopeless Fancy” takes hold among them and “haunts” London for weeks. In this case, the art of the machine seems adequate for consumption.
See: Guest Post: Making Fake Art: “1984,” The New Rembrandt, and The “Fake Artist”
Bye for now!
As always, this content is available for your use under a Creative Commons Attribution-NonCommercial 4.0 International License. Thanks for reading!