In due time, I can see [Strava and Ride with GPS] making apps for the Apple Watch, just as they do for iPhone and other smartphones. Their smartwatch apps could communicate with an iPhone, securely stored in a Ziploc bag and safely tucked away in a jersey pockets. In fact, I’ll bet dollars to donuts that both of these companies have at least considered developing for the Apple Watch.
While I don’t use Strava, I learned earlier this week that Ride with GPS’s Apple Watch app can now display alerts for navigation. While I still rely on a Garmin Edge bike-mounted computer for navigation and to record my rides, this helps bring the smartwatch closer to what I saw as its potential. In fact, if you have an Apple Watch Series 2 (the one with a built-in GPS), you can leave your phone at home: the Apple Watch will navigate and record your ride all on its own.
Ride with GPS Apple Watch app gives you navigation cues.
Ride with GPS Apple Watch app alerts you when you’re off-course.
I’ve said it before, but it might bear repeating. Sorry, Garmin. The days of the dedicated GPS bike computer appear to be numbered.
Fifty years ago today, on June 1, 1967, the Beatles’s Sgt. Pepper’s Lonely Hearts Club Band was released in the United States. (The UK release was a few days earlier on May 26.)
You will no doubt hear a lot about this anniversary in the coming days, if you haven’t done so already. As a kid, I vividly remember the twentieth anniversary being a big deal, partly because because the opening lyric to the album’s title song is “It was twenty years ago today / Sgt. Pepper taught his band to play,” and because Capitol-EMI had released a digitally remastered CD of the album. CD was state-of-the-art in 1987. In that same spirit, CapitolEMIUniversal Music Group released a newly remixed and remastered super-deluxe edition of Sgt. Pepper’s that includes a bunch of extras, such as some studio takes, a video documentary and a mono mix of the album. (There’s also a mere anniversary edition that won’t set you back $120.)
A reproduction of the 20th anniversary CD of Sgt. Pepper’s Lonely Hearts Club Band released in 1987.
I first listened to Sgt. Pepper’s in the aftermath of the twentieth anniversary in 1987. One of the songs that always stuck out to me was “Being for the Benefit of Mr. Kite.” The song might not be the best one on the album, but with its circus-like atmosphere, achieved through a variety of archaic musical instruments and through innovative multitrack recording and mixing, it was a song that transported me to altogether different time and place. Curiously, the song also features the Andalusian Cadence, although I did not know that at the time.
The fiftieth anniversary remixed-and-remastered recordings are available on streaming services, such as Amazon, Spotify, and Apple Music, and after listening to the remixes, which do in fact sound richer than what was previously available on CD and digital formats, I revisited “Being for the Benefit of Mr. Kite.” What on earth is John Lennon signing about in this song?
In case you need a refresher, here’s the lyrics that open the song:
For the benefit of Mr. Kite
There will be a show tonight on trampoline
The Hendersons will all be there
Late of Pablo Fanque’s Fair—what a scene
Over men and horses, hoops and garters
Lastly through a hogshead of real fire!
In this way Mr. K. will challenge the world!
Writing in Smithsonian Magazine in 2011, Mike Dash wrote explains many of the references in this song, especially “Pablo Fanque’s Fair”. He explains how the song lyrics were based on an antique poster than John Lennon bought in Kent. The poster was “to benefit” a circus performance in 1843 run by Pablo Fanque, who was not only a very successful circus performer but was, in the golden age of the circus in Victorian England, a black man who owned his own circus(!).
A reproduction of the 1843 poster that inspired John Lennon to write “Being for the Benefit of Mr. Kite” in 1967.
Looking at the poster, you can see how Lennon assimilated the various elements of the poster into his song. There’s of course Pablo Fanque’s Cirus Royal, the Hendersons, Henry the Horse dancing the waltz, the “somersets” (somersaults) and trampoline, and, of course, Mr. Kite himself.
But beyond the connection to the song, the article provides a deep and engaging historical account of Pablo Fanque and his circus. It’s worth a read to learn about the circus and the “entertainment industry” in Victorian England.
Last month, the longest running and last remaining American circus of the Victorian era closed. But the atmosphere of the circus, in general, and the story of a black circus entrepreneur, specifically, might not be entirely forgotten. Perhaps, because of the anniversary reissue of Sgt. Pepper’s, some curious listeners will hear “Being for the Benefit of Mr. Kite,” we will remember this odd Victorian-era entertainment and wonder what it was like to see Pablo Fanque’s Fair.
Bicycling on Long Island has a questionable reputation among New York City-area cyclists. One reason, I think, is because the terrain is a lot more challenging and varied in places like Westchester County and across the Hudson in New Jersey and the not-quite-upstate New York counties of Rockland and Orange. Also, let’s not forget that most of Long Island is in Suffolk County, an area regarded as the worst in the USA for bicycling. But Long Island is also suboptimal for long-distance cyclists because one can only ride so far on Long Island before reaching the end of either fork. Nevertheless, there are plenty of good routes available, and a common way to expand the riding options is to ride along both forks of Long Island.
Over the last two weekends, I rode along the south fork to Montauk and along the north fork to Greenport, on two separate rides. The first was the annual Ride to Montauk, which I have ridden in some form or other since 2008, except for 2011. The second was what’s becoming a standard ride from Huntington to Greenport. Since I’ve done these rides—and recounted them on this site—so many times now, I won’t cover all the details, except for a few notes that were novel and stick out after the fact.
South Fork to Montauk
For the second year in a row, I skipped the full 150-mile route and opted instead for the 108-mile route that starts in Babylon. This year, I took advantage of the check-in in Brooklyn, at Atlantic Terminal, since that would spare me having to travel to Manhattan at 3:00 in the morning. However, that does not spare me from riding past bars at 3:00 AM when people are still out from the night before.
It never fails to amuse me that as I am about to start the Montauk ride, there are people still out from the night before.
As I arrived, I met a first-time rider who was doing her first century. Almost immediately, she admitted to being nervous to ride her first century. She said she trained with the New York Cycle Club, doing the C-SIG program, and that her longest ride was 70 miles in the hilly Bergen and Rockland counties region that seemingly every NYCC ride goes to every weekend. A few other riders and I advised her that the Babylon to Montauk route is significantly easier than what she rode on those club rides. However, Long Island can present one unique challenge that doesn’t factor as much as other rides in the area: the wind.
The headwind on this year’s ride was as bad as it was in 2014. We tried pace-lining to mitigate the effects, but I couldn’t keep up with my riding partners. I had a 16 MPH average speed for most of the first 50 miles, but once we got to Dune Road, the unrelenting headwind pushed that average way down. I was pedaling at almost full strength and the fastest I could manage was a meager 11 MPH.
Once I knew I couldn’t set a personal best for this ride and that we would be taking the 5:30 PM train home, I took it easy and kept a manageable pace to enjoy the scenery.
And to savor multiple slices of pie.
I finished the ride about fifty minutes slower than last year’s effort and managed a 15.1 MPH average speed, almost two full miles-per-hour slower than last year and about the same as what I did in 2014. However, because I took it easy, I wasn’t as exhausted afterward as I was in 2014. I told my friend Andre that I had another twenty miles in me. But aside from going to the lighthouse and back, I couldn’t go any further. I had really reached the end of the road. Besides, I really wanted to eat and have a beer.
North Fork to Greenport
This past weekend, I went with a small group from Huntington to Greenport, a ride that I’ve done a number of times now. Although you’re ever only about fifteen or so miles from the Montauk route, this is a significantly different ride. There are a few rolling hills on this ride, and Belle Terre east of Port Jefferson is certainly a noteworthy climb. Another way that this ride was different from last week’s Montauk ride was the wind on the Greenport ride was “favorable.” It was mostly from the north but later in the day, the wind began pushing us east. It was a welcome respite from the Montauk ride the week before.
The easy riding conditions made it so that we weren’t too hungry. Instead of eating at the crowded and expensive deli in Miller Place, we instead used the opportunity for a brief rest. A shaded porch welcomed us, but some big-city skepticism made us resist the temptation. We continued eastward.
As we usually do on these rides, we stopped for pie. Another group of cyclists also arrived at Briermere Farms in Riverhead at the same time as us. Their aim was to eat a strawberry rhubarb while we set our sights on a blueberry crisp.
When I asked where they were riding, one rider told me they were headed to Orient to catch a ferry. Their ultimate destination was Boston over a four-day period. It so happened that one of my friends was doing that same ride and, as soon as that thought crossed my mind, he rolls up to the pie stand. Hello Harry L!
About eleven miles later, partly on my insistence, we stopped at Lieb Cellars, a winery in Cutchogue. I had been there in January on a day trip, and I really enjoyed the dry sparkling cider. We split a bottle before heading out on our final eleven-mile stretch to Greenport.
Is there liquor in cider (“inside ‘er”)?
After a few sandwiches and a few beers, and yes, that pie, we were on our way to the train.
The pie after riding in my backpack for 22 miles from Riverhead to Greenport.
The only thing that is a big minus about these rides is the amount of time one spends on a train at the end of the rides. Each ride, from Montauk or from Greenport, takes about three hours to return to New York. Doing this on consecutive weekends can test your patience.
It might be time to ride somewhere else this coming weekend.
One of my former students at Queens College has been producing something really valuable lately. Forward Nation Radio launched in March as a videocast and podcast that the producer refers to as a “progressive show with ‘bite.'” The program arose as a response to what I would call the “fake news” echo chamber. This is where the commercial press publishes something critical about the president and then he and his surrogates cry “fake news.” The commercial press responds with “no, you’re fake news!” And on it goes…
The latest episode starts with a skit of a childlike Donald Trump character inviting his pal Sergey, presumably Sergey Kislyak, to come over to his White House for play. He entices him with a few secrets that he wants to tell him. It reminded me of what Harry Shearer does on Le Show, voicing several characters in humorous but chilling skits about current political topics.
The episode continues with a news summary, responding to listener feedback, and interjecting a healthy dose of political opinion. The host, David Leventhal, is undoubtedly a political progressive but offers well-reasoned and critical counter arguments to what you normally hear on commercial print and television media. And it is certainly a lot more thoughtful and educated what you get on right-wing propaganda outlets.
Leventhal’s finest moment in the episode came when he responded to an op-ed about the “lack of diversity” on campus, apparently written by one of Leventhal’s colleagues at Queens College. (Departmental infighting, anyone?) He immediately deconstructs the questions, noting that it is not referring to ethnic, gender, religious, or even income diversity. He quick identifies that the question is referring to ideological diversity: a balance between liberals and conservatives on campus. Leventhal draws on his professional experience to debunk this question: this was “bullshit” and “propaganda” thirty years ago, and it is “bullshit” and “propaganda” today, he says.
Leventhal take a long view about the purpose of labelling college campuses as liberal havens to undermine the value of education. He correctly identifies that what passes as conservative media is actually propaganda. The only way to counter propaganda is through education, he says. When quote-unquote conservative media rally against liberal bias in the media and in education, they are really trying to undermine the professional investigative methods of journalism to uncover truth and, at the same time, undermine the research methods and expertise of academics. In other words, quote-unquote conservatives aren’t represented on campus because those quote-unquote conservatives are actually propagandists who spread “alternate facts,” and Leventhal concludes, those “alternate facts…are not what should be peddled on college campuses.”
Of course, this is an extremely partisan series, but honestly, it was refreshing to listen someone use a balance of fact, reason, and emotion to argue against the attacks on journalism, academia, democracy, and even our own government that the right-wing is seeking to dismantle.
A little over a week ago, I learned from Marco Arment that a number of news organizations erroneously reported that the MP3 format was dead. (NPR, d’oh!) The real news, however, was lot more complex and a lot less dramatic.
Technicolor and Fraunhofer, which owned and licensed the patents used to make MP3 work, had terminated the licensing program for software developers and hardware manufacturers to encode and playback MP3 files. Technicolor and Fraunhofer terminated the program because the patents they held and were used for MP3 had expired. Technicolor nor Fraunhofer no longer had a legal right to charge to license those patents. Thus, MP3 is now freely available for anyone to use: software developers and hardware manufacturers need not pay royalties to support MP3.
But that does not make for a dramatic story. Instead, either unintentionally or through sheer negligence, the story was that “MP3 was dead.” One writer even concluded his article with a eulogy of sorts, embedding the Susan Vega song that was the first to be encoded in MP3, in part to test the fidelity of the compression algorithm. Pour one out for MP3 while reciting “Tom’s Diner.”
MP3 is Free, Buy AAC
However, MP3 is not dead. The storyline that MP3 is dead seems to come from the former patent holders themselves. They likely pushed this storyline to gain support for a newer format that is still patent-protected, AAC. AAC is, by many measures, a better compression format. But as Marco Arment points out, MP3 is still overwhelming supported for most applications, including podcasts, because it’s a de-facto standard. And because it’s so widely supported and because a lot more people recognize “MP3” than those who know what “AAC” is, it’s unlikely that MP3 will disappear, especially now that it is free.
Because Technicolor and Fraunhofer could no longer profit from MP3, it meant they would have to find a new way to earn royalties on another audio codec. Declaring MP3 dead was a way to move users from the now-free MP3 codec to the patent-protected AAC.
The Techdirt podcast covered this subject in depth this week. They seemed unsympathetic to the former patent holders, and I can’t blame them. The patent holders could have announced something like “starting today, we’re suspending our MP3 licensing program and now anyone can use MP3 for free. This will give us a chance to focus on promoting new compression technologies, such as AAC, to become the newer and better successor to MP3.”
MP3 is dead, but only to Fraunhofer because they can’t make money from it.
In 2009, the FCC required almost all broadcast TV stations to turn off their analog over-the-air (OTA) signals. The most immediate effect was that, for people with older, analog-only TV receivers, they would have to get a digital-to-analog TV converter box or subscribe to a cable or satellite TV to continue to watch TV. Those with newer digital TV receivers would have to take no significant action to continue watching TV.
A profit motive seemed to drive the story that there would be no more “rabbit ears.” In the case of the the digital TV transition in 2009, I wrote that “cable and satellite companies took this as an opportunity to sign up new customers thinking that those that received over-the-air television would be doomed. Instead, they were just duped.”
Neither OTA nor MP3 is dead. In fact, both are very much alive and, best of all, they are both free!
American Apparel Warehouse in Downtown Los Angeles, circa 2012
Although American Apparel earned a tarnished reputation for its racy ads and the repeated sexual harassment lawsuits filed against its founder, the company produced the best available shirts for screen printers. This is not to mention its commitment to manufacturing in the United States, specifically southern California, and some innovative designs. As one printer mentioned on a website I can’t find in my bookmarks, before American Apparel, it was virtually impossible to find 40-single, lightweight ring-spun cotton shirts. After American Apparel, this became an industry standard. In other words, that soft cotton t-shirt you’re wearing right now wasn’t widely available before American Apparel.
The company as we knew it no longer exists. American Apparel filed for bankruptcy in 2016 and, earlier this year, it was acquired by Gildan, a leading manufacturer of imprintables that manufactures most of its products outside the US and its home country of Canada, for $88 million.
For someone who preferred to use American Apparel for printing, I found that I have three options going forward:
Source from the new American Apparel. Earlier this year, Gildan revived the brand and its made-in-USA offerings, but the selection is extremely limited. Gone, for example, are the poly-cotton neon heather pink shirts that my Ball Busters team wore last year. Pricing seems to be about the same as it was with the old company, but, given that Gildan intends to recover its $88 million investment in the company, it seems reasonable to presume that there must be some differences in manufacturing.
Source from another mill. Since I knew that I wasn’t going to reliably source American Apparel shirts forever, I started to look for some alternatives. I used a few Gildan cotton shirts, particularly the ring-spun Soft Style, and a few other shirts from Bella and Canvas and Next Level Apparel. But I found that for the price, the best shirts I’ve printed come from Tultex. The shirts are made overseas, but they work almost as well for water-based printing as American Apparel shirts. The innovations of American Apparel have indeed become “industry standard.”
Source from Los Angeles Apparel. American Apparel founder, Dov Charney, returned with a new company. Los Angeles Apparel manufactures its shirts in South Central Los Angeles, with the seemingly identical business model that he used for American Apparel. The company’s offerings are very limited, but the first ones are similar to the best-selling products from American Apparel: a ringspun cotton jersey shirt, a 50/50 poly-cotton t-shirt, and a poly-rayon-cotton triblend t-shirt, for example. The colors are also similar to the American Apparel line, but they by no means match the old or current American Apparel line.
American Apparel Tri-Blend T-Shirt in Tri-Black
Los Angeles Apparel Tri-Blend T-Shirt in Tri-Black
While the old American Apparel is gone, the seem to be some choices for us. Each of them offers some advantages. There seems to be some continuity between new and old American Apparel products and, for those cases where I want to match the look of an older style (and where such stock exists), this seems to be a good option. I’ve been using the Tultex shirts, and those shirts have been well-received. Finally, Los Angeles Apparel seems to be a good option for a new look with a manufacturing process that we liked with the old American Apparel and to support manufacturing in Los Angeles, and I plan to these these shirts for upcoming projects.
Readers and personal acquaintances know that I’ve generally been supportive of the craft beer movement that has exploded over the years. After all, craft breweries provide an ideal destination after a long bike ride.
One of the more puzzling aspects of this movement is the obsession with cans. Many craft breweries have been canning beer for a while now, and while I certainly appreciate that this allows breweries to offer their beers beyond their own taprooms and a few nearby bars, there’s a bothersome subculture that has emerged to buy cases-upon-cases of these cans to trade them with other beer aficionados. This was on display yesterday at LIC Beer Project, in Long Island City.
The brewery released cans of their Pile of Crowns IPA on a rainy Saturday, beginning at noon, and by one account, they sold out within a half hour.
Although I wasn’t set on buying cans, I was disappointed to find out they were out of Pile of Crowns IPA. Except they weren’t out of this beer at all! They were serving it on tap, for on-premises consumption and for take-home growler fills. You bet that I got a pint.
The taproom at LIC Beer Project has draft beers, even after they sell out of cans.
Having savored the tasty, fruity, juicy beer, I wondered about the hype behind the craft beer cans. No doubt, the can artwork is one of my favorite aspects of these cans. Because they print on a wrap-around label, rather than on the can itself, the artwork adorning the can is more akin to a poster or an album cover than the bland labels or printed cans we’ve seen forever.
I really like the artwork on these cans, as you can see in this ad for the Pile of Crowns IPA can release at LIC Beer Project.
However, these can releases and the euphoria surrounding them seem to be a way of introducing scarcity to the craft beer movement. Buying a can of craft beer is getting a precious object that you can trade like a valuable commodity. It reminds of those subcultures that buy and trade sneakers, limited-edition 180-gram vinyl records, or, going back to my youth, baseball cards. While there’s nothing precious about having someone spill some beer into your glass or growler, there’s an authenticity to that exchange. In essence, you’re buying the beer for the beer, as if you’re buying a record for the music or the baseball card because you’re a fan of the player. Being a collector is not necessarily the same as being a fanatic.
As I’ve written before on the site, I have become a fan of discharge screen printing, but sometimes the results can be unpredictable. For example, I printed a whole batch of American Apparel jersey cotton t-shirts. Most of them came out to a light brown color, but some came out blue.
Discharge printing works by removing the dye from the fabric, and it really works only on all-cotton shirts. It sometimes works on poly-cotton blends, but you might not get the results you wanted. I was tasked with printing some more shirts for the softball team sponsored by Bar Matchless in Brooklyn.
They didn’t have any specific instructions in terms of print color. I was allowed to do what I wanted. At first, white seemed like a good choice, but I didn’t like the result. It looked like I had printed on top of the shirt, instead of printing in the shirt. Also, black seemed to fade away into a low contrast color. (Please excuse the poor white balance.)
I tried a series of different colors, including clear discharge. This “ink” removed the dye from the fabric but does not add any color. I was concerned whether this would work with a poly-cotton shirts that was dyed blue, but the results looked great.
You can see that the natural color of the fabric complements the heather blue denim color really well, certainly much better than what I saw in my tests using white ink or black ink.
Here’s a look at the whole print on the shirt:
This example reinforces something I’ve learned over the years. Order a bunch of extra blank shirts to run test prints. You might be surprised how well one combination might work.
John Oliver did it again. Two nights ago, on Last Week Tonight, he covered net neutrality, explaining it in an accessible way, and advocating everyone to visit the FCC’s website to comment on the proposed rules.
While Oliver explains a lot of reasons why net neutrality is important, it might be better to see this from the perspective of Title I vs. Title II. Oliver offered to contrast it, but the explanation comparing the difference between the two didn’t materialize. Nevertheless, it might be helpful to think about Title I vs. Title II in these terms:
Title I is an information service. A cable company operates under Title I because the cable company curates the channel lineup and offers a package of television channels. Users have little choice in what channels they get, aside from choosing a tier of channels.
Title II is a common carrier utility. A landline telephone company operates under Title II because it doesn’t not select or curate your phone calls. It simply connects one telephone to another.
Most of us think of our Internet service provider as a common carrier. We subscribe to one ISP versus another based on a few factors: upload and download speeds, reliability, and price. We don’t do so because of “exclusive content” or any synergistic nonsense like that. With any ISP, we expect to reach any website, connect any device, and run almost any application.
On the other hand, we think of major platforms on the Internet, such as Facebook or Google, as an information service. However, no one relies on only one of these platforms. Remember when Facebook partnered with HTC to make a “Facebook Phone?” It was a disaster because no one wants to live in this walled garden, even if we might spend a lot of time there.
We have only had net neutrality for two years, but we must keep it because we don’t want our Internet service providers to become an information service.
When an ISP acts like an information service, we get something like we had with America Online (AOL). Today, most people shudder when I mention AOL because think of slow dialup connections and the shrieking modem-handshake sound. But honestly, what made AOL so bad was that it was your internet service provider and your content provider, and while it was easy to use, it was really bad. It was not only a walled garden, like Facebook today, but unlike Facebook, you paid by-the-hour while you were on AOL. I don’t think any consumer wants to go back to these days.
You don’t want to know how much you had to pay after AOL’s free 700 hours.
The same is true for wireless. The iPhone was revolutionary, not only as a mobile computing device, but because Apple insisted that it have complete control over the hardware: the wireless carrier could not install any software nor brand the phone. The iPhone was a success in part because Apple relegated AT&T to the role of a wireless common carrier, keeping them from acting like an information service.
I certainly remember this was not the case with some of my old phones, such as a Sprint-branded phone that I got in 2001, that came with the “wireless web.” It was basically an AOL-like service provided by Sprint that had local weather, news, and sports scores. It sucked. The only redeeming feature of this service was that it allowed you to enter a URL, and there were a handful of sites that offered mobile WAP sites, largely because of the success of Palm handhelds.
This was the Web on a Sprint PCS Wireless Phone, circa 2001.
The one thing that Pai gets right about “net neutrality” is that is a confusing term. But in this case, let there be no confusion. Internet service providers are by their very nature common carriers. That’s how they market themselves, that’s why consumers subscribe to one ISP versus another, and that’s how the Internet as we know it has flourished in the last decade and a half. Moving ISPs to Title I—as information services—will invite those ISPs to become gatekeepers and walled gardens that stymie innovation. Let’s not go back to the days when “surfing the web” meant scrolling through a mobile “wireless web” browser’s menu or, heaven forbid, entering AOL keywords.
Less than an hour ago, I received an email saying that a former student has invited me to view a Google Docs document. I hovered over the link and saw that URL was one at Google, beginning with https://accounts.google.com/o/oauth2/auth.
I followed the link and went to a Google login page. My Google accounts were listed there. But a suspicious feeling gave me pause, and I closed the “Google accounts” window.
The “Open in Docs” link is to a google.com domain.
You are taken to a Google accounts page, where you grant access to the fake “Google Docs” app.
The scam is “well designed” in that it doesn’t try to steal your credentials—username and password—but instead gets you to authorize the scammers complete access to your Google account. Even a strong unique password and two-step authentication won’t protect you.
I alerted a few colleagues earlier today, and as I did so, I felt like I was forwarding some chain mail–type warning that would have circulated twenty-odd years ago.
Home | TripMode | Your mobile data savior.2017/03/01 MacSparky suggested this to help you save data transfer when tethering. Looks reasonable for those of us considering switching to an unlimited plan with tethering.
The Jobs Americans Do - NYTimes.com2017/02/24 An enlightening set of portrayals of nine job Americans do now. An old college chum, Eric Steuer, penned on of the portraits in the series.
Underground New York2017/02/22 "A rare behind-the-scenes view of the exploding New York “underground” in the late sixties, a turbulent time and place that was to change American culture forever. A German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the “New American Cinema,” that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in “underground film,” including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself."
– Scott Hammen