I got a nice new piano. I am giving my old one away. The piano we used a few weeks ago at 2nd Story Recording Studio has the long lost old Sorcerer piano in it, the one I recorded Dead Boy and certain songs from the last album on a few years ago!!! I was so happy to see it again. It seemed different. I tried to pretend that I recognized it. But it reminded me of the cat that changed color when it got a new owner. Norah Jones recorded her first record on that piano too. Anyway it sounded great.
As the first "nonfiction" work of its scale, Nanook of the North was ground-breaking cinema. It captured many authentic details of a culture little-known to outsiders, and was filmed in a remote location. Hailed almost unanimously by critics, the film was a box office success in the United States and abroad. In the following years, many others would try to follow in Flaherty's success with "primitive peoples" films.  In 2005 film critic Roger Ebert described the film's central figure, Nanook, as "one of the most vital and unforgettable human beings ever recorded on film."  In a 2014 Sight and Sound poll, film critics voted Nanook of the North the seventh best documentary film of all time. 
The first configuration is what I came to call the Vampires’ Castle. The Vampires’ Castle specialises in propagating guilt. It is driven by a priest’s desire to excommunicate and condemn, an academic-pedant’s desire to be the first to be seen to spot a mistake, and a hipster’s desire to be one of the in-crowd. The danger in attacking the Vampires’ Castle is that it can look as if – and it will do everything it can to reinforce this thought – that one is also attacking the struggles against racism, sexism, heterosexism. But, far from being the only legitimate expression of such struggles, the Vampires’ Castle is best understood as a bourgeois-liberal perversion and appropriation of the energy of these movements. The Vampires’ Castle was born the moment when the struggle not to be defined by identitarian categories became the quest to have ‘identities’ recognised by a bourgeois big Other.