Photo by Linden Hudson (amateur photographer). This photo taken during lunch break at the Chante Mallard murder trail in Forth Worth Texas, USA.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
(see full story at Linden’s website: )
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at:…
LICKLIBRARY DOT COM (2013 interview) ZZ TOP’S BILLY GIBBONS SAID: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​

Posted by lindenhud1 on 2018-05-13 14:47:26

Tagged: , murder , murder trial , chante mallard , trial , fort worth , fort worth texas , texas , 2003 , worldwide news , world news , huge story , satellite trucks , sensational , news , story , huge_audience , sensational_news_story , media , communications , crime , courthouse , news_media , international_news , journalists , news_story , headline_story , homeless_man_murdered , vehicular_homicide

Released to Public: Panoramic Hubble Image for 17th Launch Anniversary (NASA)

Released to Public: Panoramic Hubble Image for 17th Launch Anniversary (NASA)

Public Domain. Credit for Hubble image: NASA, ESA, N. Smith (University of California, Berkeley), and The Hubble Heritage Team (STScI/AURA). Credit for CTIO image: N. Smith (University of California, Berkeley) and NOAO/AURA/NSF . For more information Visit NASA’s Multimedia Gallery You may wish to consult NASA’s
image use guidelines. If you plan to use an image and especially if you are considering any commercial usage, you should be aware that some restrictions may apply.

NOTE: In most cases, NASA does not assert copyright protection for its images, but proper attribution may be required. This may be to NASA or various agencies and individuals that may work on any number of projects with NASA. Please DO NOT ATTRIBUTE TO PINGNEWS. You may say found via pingnews but pingnews is neither the creator nor the owner of these materials.

Additional information from source:

In celebration of the 17th anniversary of the launch and deployment of NASA’s Hubble Space Telescope, a team of astronomers is releasing one of the largest panoramic images ever taken with Hubble’s cameras. It is a 50-light-year-wide view of the central region of the Carina Nebula where a maelstrom of star birth – and death – is taking place.

Hubble’s view of the nebula shows star birth in a new level of detail. The fantasy-like landscape of the nebula is sculpted by the action of outflowing winds and scorching ultraviolet radiation from the monster stars that inhabit this inferno. In the process, these stars are shredding the surrounding material that is the last vestige of the giant cloud from which the stars were born.

The immense nebula contains at least a dozen brilliant stars that are roughly estimated to be at least 50 to 100 times the mass of our Sun. The most unique and opulent inhabitant is the star Eta Carinae, at far left. Eta Carinae is in the final stages of its brief and eruptive lifespan, as evidenced by two billowing lobes of gas and dust that presage its upcoming explosion as a titanic supernova.

The fireworks in the Carina region started three million years ago when the nebula’s first generation of newborn stars condensed and ignited in the middle of a huge cloud of cold molecular hydrogen. Radiation from these stars carved out an expanding bubble of hot gas. The island-like clumps of dark clouds scattered across the nebula are nodules of dust and gas that are resisting being eaten away by photoionization.

The hurricane blast of stellar winds and blistering ultraviolet radiation within the cavity is now compressing the surrounding walls of cold hydrogen. This is triggering a second stage of new star formation.

Our Sun and our solar system may have been born inside such a cosmic crucible 4.6 billion years ago. In looking at the Carina Nebula we are seeing the genesis of star making as it commonly occurs along the dense spiral arms of a galaxy.

The immense nebula is an estimated 7,500 light-years away in the southern constellation Carina the Keel (of the old southern constellation Argo Navis, the ship of Jason and the Argonauts, from Greek mythology).

This image is a mosaic of the Carina Nebula assembled from 48 frames taken with Hubble Space Telescope’s Advanced Camera for Surveys. The Hubble images were taken in the light of neutral hydrogen. Color information was added with data taken at the Cerro Tololo Inter-American Observatory (CTIO) in Chile. Red corresponds to sulfur, green to hydrogen, and blue to oxygen emission.

Credit for Hubble image: NASA, ESA, N. Smith (University of California, Berkeley), and The Hubble Heritage Team (STScI/AURA)
Credit for CTIO image: N. Smith (University of California, Berkeley) and NOAO/AURA/NSF

Interesting Hubble Facts

In its 17 years of exploring the heavens, NASA’s Hubble Space Telescope has made nearly 800,000 observations and snapped nearly 500,000 images of more than 25,000 celestial objects. Hubble does not travel to stars, planets and galaxies. It takes pictures of them as it whirls around Earth at 17,500 miles an hour. In its 17-year lifetime, the telescope has made nearly 100,000 trips around our planet. Those trips have racked up plenty of frequent-flier-miles, about 2.4 billion, which is the equivalent of a round trip to Saturn.

The 17 years’ worth of observations has produced more than 30 terabytes of data, equal to about 25 percent of the information stored in the Library of Congress. Each day the orbiting observatory generates about 10 gigabytes of data, enough information to fill the hard drive of a typical home computer in two weeks. The Hubble archive sends about 66 gigabytes of data each day to astronomers throughout the world.

Astronomers using Hubble data have published nearly 7,000 scientific papers, making it one of the most productive scientific instruments ever built.

Posted by on 2007-04-28 02:29:00

Tagged: , nasa , space , stars , hubble , telescope , Launch , Anniversary , heritage , hubble space telescope , panorama , panoramic , carina , nebula , astronomer , light-year , pingnews , , royalty-free , stock , photo , foto , archive , library , digital , image , archival , news , stockphoto , astronomy , public , public domain , , media , space for all , stockfoto , creative_commons , via pingnews , cc , stock photography

3D Mouse Pad – Ooooo!

3D Mouse Pad - Ooooo!

When I was a kid I thought one of the coolest things was having a custom mouse pad. It was like being the most elite rich person in the universe if you had a unique pad to rest your mouse upon. Those standard black mouse pads or the ones that looked like a weird pool table just were not for me, I had to have my own unique one.

Over the years I have been through many but they have always been there. I can’t stand not using a mouse pad. It drove me freaking bonkers when I would work places that, a. did not have a mouse pad, or b. have ball style mice left over from 1992. For crying out loud, upgrade your gear! It’s a red flag if a media company does not have at least gaming mice to work with. So check that out on your job interviews. It irks me so much that I often bring my own mouse with me to work – especially if I’m doing a lot of computer work.

Currently and for the past 5 years I have been using a Star Wars Death Star mouse pad. It’s pretty cool, round and in the shape of said ‘Star. Why is it called a star though? Does it create its own energy? It must since it can hold over 1 million people!

A picture of the Star Wars pad might be more exciting than looking at this one even though mine is covered in dust and it’s hard to make out the Death Star anymore. I made this first from a crappy pastel quick landscape sketch. Then I scanned it into the computer and made it into a 3D mouse pad. Pretty easy stuff, I even made a pen but I think the scale is too small. I tried to make the edges not completely straight either and add some discoloring with texture effects. It looks like a pen for a tablet not to write with unless you are an elf.

Well, that’s all for now. Long live the mouse pad!

Posted by STINKY CRAYONS on 2014-01-11 08:56:36

Tagged: , 1990’s , mouse pad , mice , can’t use trackball , collecting mouse pads. Star wars death star mouse pad , 3D modeling , 3D studio max , gaming , objects , scenery , Stinky crayons , bad art , funny , humor , artist , drawing , painting , digital , weird , horrible , blog , post , update , art , media , collecting , mouse , pads , star , wars , death , pad

Data Recovery

Data Recovery

Posted by Deflaut on 2008-07-08 22:20:25

Tagged: , CD , DVD , disc , compact disc , data , water , optical , clean , cleaning , security , protection , recovery , computers , tips , tricks , tips & tricks , dust , remove , media

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

I have to admire Frank Delano, the man who took the photos I used for these first three paintings (and more). This photo would stand out if the others weren’t also so fine; the details he’s able to capture and the expressions on these women’s faces—it’s all gold. Frank’s photographs became quite famous over the years, iconic even. My painting of Irene is his composition with no real changes except I cut off the bottom few inches. Again, I wanted more emphasis on the face.

Irene has an open and earnest face. I can’t tell if that’s sunlight shining down on her or a photographer’s lighting. Irene is sweating and flushed, stray wisps of hair plaster to her forehead, which seems to bulge a bit while she tucks her chin in, doubling it and giving her the impression of a straight-backed, sober and serious young woman. She also despises her situation, but prefers not to dwell on it. Her situation is the same as the rest: children at home (probably with mother or neighbors or friends or at school?), man at war. 1943 was a tough year.

Why did I paint Irene? When I searched for things to paint, I’d sift through thousands of old photos for something to catch my eye. Often when I’d find a photographer I admired, I would paint many of his or her photos, as you’ll see. This is the beginning of my artistic process: searching for what I want to paint. Learning to “see” as an artist is something I’ve had to develop. Often, I will paint something or someone because I already painted it in my head—or in other words, I already solved all the painting’s problems. Putting the paint down after that is just sort of the cake. Other times, I’ll begin with a color or an emotion I want to portray…. and other things.

I think I ended up painting strong women because they were what I wanted to look at. They were what I wanted to see and to be.

Part of my process for painting ladies was to project the photo wall sized so I could see all the details. When I’m able to see a photo as large as that, I see things a small photo on a computer screen doesn’t reveal. My discoveries are usually delightful, sometimes disturbing, and once made me quit painting it altogether…. but I’ll get to those ladies….

What did I discover gazing into the face of Irene Bracker? Her false eyelashes. In this world where she is literally surrounded with soot and filth and black coal dust everywhere, there are few opportunities for self-expression. I measured her eyelashes, and there was no way they were natural. I mean, what a place to wear false eyelashes. They must have brushed her goggles, they were that long.

This is why in my painting I emphasized the false eyelashes—so you could see what’s actually there but couldn’t see in the photo. And actually, it’s difficult to paint make-up on a painting of a face. Make-up is meant to augment certain features and seeks to trick the eye in various ways. Painting works in much the same way, so painting make-up is a bit like painting someone else’s painting—or like applying make up to any face.

Back to Irene. In my painting, I made the eyelashes and lipsticks more visible. Her rigid demeanor comes off as a slightly more Frankensteinish. Also, I did not do a very good job of blending the lines around her nostrils. But if you can ignore all that, I suppose I get my point across…. This may be another case where I think the photo displays more interesting complexity than I was able to capture in my version, but my painting also emphasizes certain features to make my own point—the way a director can interpret a script. Her make-up makes her look more feminine, that’s for sure. Though everything else about her is manly—including her frank stare.

One big change between photo and painting is that I did not use black in this one—though black dominates the photo. I wonder how my photo would change if I inked out the trains and gray mist to her side—made it all black coal and iron? If I did that, Irene would glow in her shaft of noonday sun, like a goddess on fire. Might be interesting to try….

I like Irene’s yellow scarf wrapped around her head. The goggles never get old. And then those false eyelashes and ubiquitous lipstick. In my painting, I wanted to emphasize the disparity of the details—to show the woman’s social norms of beauty observed amidst this degree of filth and manual labor. Her make up contrasts the simple lines of her sweater and rough denim work shirt. I like how the shadow of her goggles falls across her chest and forehead and her grip on that wooden handle—like it’s holding her up—her hand revealing the wedding ring and her commitment to America’s institutions.

I’m aware that the photo Frank Delano took of Irene is already art. I don’t seek to replace his photo, but to use it as a vehicle by which I can express her emotion and my own emotion and agendas. I use the details of Irene that Frank recorded with his camera. I am literally seeing Irene through his eyes. And when I paint her, we are all seeing his Irene through my eyes and down my arm and onto my paint brush. In this way, I am her—I suppose in the same way a novelist is each of his characters but not really.

When I paint a lady, I translate her. I think that’s why I always felt that these ladies are mine.

Source: Flickr / library_of_congress

Posted by xinem on 2010-08-26 20:17:23

Tagged: , artprize , 2010 , haiku , original , art , ladies , mixed , media , watercolor , gouache , ink , acrylic , oil , downtown

Video cables

Video cables

Video and sound cables on telestudio in plugs, blue toned

Posted by First Security on 2012-10-17 03:26:50

Tagged: , black , business , cable , close-up , communications , computer , connection , construction , control , cord , data , datacenter , digital , dust , electrical , equipment , global , indoors , industry , jackplug , line , machine , media , movie , node , number , object , optic , outlet , pin , plug , power , professional , slot , steel , studio , switchboard , system , technician , technology , telecommunications , television , tv , video

HTPC build in a SilverStone ITX case.

HTPC build in a SilverStone ITX case.

What a pain in the butt to build with this.

If you have fat fingers ask your wife or girlfriend to help.
First of all if you are installing a 140mm fan in this case say goodbye to placing a mechanical hard drive in this build. It doesn’t say it in the manual. I’m not even sure if you can have two SSDS with a 140mm fan.

No dust filter for your PSU. I need to add a filter to the PSU fan.

Use a SFX PSU! I have an ATX PSU and the wires are taking so much space I’m having a hard time placing a reference 780 card in it.

Overall it is small and makes a great HTPC, but be warned of the limitations.

Posted by E_milTakesPics on 2015-11-27 09:32:17

Tagged: , HTPC , Silverstone , ITX , PC , Media , Case , Computer , Eletronics , Corsair , Home , Rig , Desktop , SG13B

Nokia E6 Clear Screen Protector

Nokia E6 Clear Screen Protector

Package Includes:
Anti-glare fingerprint Screen Protector for Nokia E6
Cleaning Clothes

Type:Anti-glare Screen Protector
Specially design for cell phone model:Nokia E6
100% quality guaranteed; Brand New
Anti-Scratch; Anti-Dust
Easy to apply
leaves no residue when removed
cell phone is not included

Every item in original box/packaging from Manufacturer & perfect condition !!!

Or Buy direct

Posted by OnTheCase2012 on 2012-01-26 08:08:39

Tagged: , apple , background , black , business , cell , cellphone , cellular , communication , computer , concept , design , device , display , electronic , equipment , gadget , icon , illustration , information , internet , isolated , laptop , lcd , media , mobile , modern , multimedia , notebook , object , iPad , page , pc , pda , phone , portable , screen , single , smart , tablet , technology , touch , touchpad , touchscreen , web , website , white , wifi , wireless , iPhone , speck cases , protective , nokia , screen protector , cases , accessories , chargers , travel plugs , adaptors

The 22 Magazine Vol 1: Joseba Eskubi

The 22 Magazine Vol 1: Joseba Eskubi

Joseba Eskubi lives and works in Bilbao (Spain).
He currently teaches at the Faculty of Fine Arts of the University of the Basque Country (Leioa).
His work is gestural and organic, a kind of still life where the matter is in a process of continuous metamorphosis.He also manipulates images of some classic artists, considering the painting as something alive and open. His work has appeared in Dust & Dessert (Issue no 3) and in Mental Shoes (issue no 18). He has shown extensively in group and solo shows throughout Spain.

Posted by The22 Magazine on 2011-04-24 20:03:48

Tagged: , 22 , magazine , brooklyn , new , york , NY , NYC , art , artists , underground , independent , painting , drawing , pen , and ink , media , computer , flash , Joseba , Eskubi

PR Software ? Present a United Front to Media from Stakeholders

PR Software ? Present a United Front to Media from Stakeholders

The fragmented, quote-hungry and headline-grabbing media of this second decade of the 21st century are vastly different than they were a mere two decades ago. Prior to the advent of the Internet, news gathering and presentation was made via the TV news or daily national newspapers. However, the rulebook over the past couple of decades of Web growth and expansion has been completely re-written. Indeed, the more cynical would probably say, ”Rulebook? What rulebook?” — considering the way in which the rules have been discarded and journalism anarchy is the new god.

Well, if anarchy rules in news gathering and its presentation — as has been seen to be true with a certain English newspaper folding after nearly two centuries of continuous publication — the only thing that can be done is raise the drawbridge; protect, as much as possible your fiefdom or kingdom, and place sentries at every vulnerable defensive position.

To do this — in the modern parlance — PR and publicity departments in any organization or company which has a well-honed reputation and doesn’t want to see it all come crashing down because a journo or editor decides to run a story based on the flimsiest of comments or remarks made by someone within the organization, should seriously consider investing in PR software.

Because journalists are driven by editors who constantly require new and fresh copy to fill space and keep sponsors or advertisers happy, they are no longer content to merely talk to a spokesman or woman as they would have done twenty — or, indeed, even ten — years ago. The reality is they will ferret and sniff out a story (real or imagined) merely by talking to anyone: employees and trade union representatives, government ministers and civil servants, and most importantly, those stakeholders who are also investors within the business or organization. A dropped comment in an unguarded moment can do immense damage to a reputation built up over time.

Media relations software, developed to recognize this situation and assist PR department personnel to interact with the changing face of media, can be of immense assistance in enabling companies protect their reputations by more effective management of stakeholder relationships.


If your business leaders, owners, or investors recognise that the value of a good name and honest, open interaction with all stakeholders is the bedrock of a solid future, perhaps now is the time to invest in a secure, server-based PR software package that offers best media relations practices. For more information, contact AIMedia Comms today at