Monthly Archives: March 2011

This is the final part of my Rollins interview. I should thank my friend, Mike Popek for the last question about Black Flag. He introduced me to Black Flag when I was 15; songs like “Rise Above,” “Gimme Gimme Gimme,” and “Depression I” were exactly what my angst-ridden teenage-self needed. I also would like to thank Mike Magnuson, Rollins’ PR representative for all his help. Also, Chapman Baehler for his fantastic photos. This part’s the best (Rollins sort of yelled at me for a second–it was awesome), so I hope you enjoy it!
AHG: Is your political anger similar to that which you felt toward the “elitist hipster trust-fund kids” from the Youtube video that made its rounds on the internet? The consumerist youth?That kid was just de-marking her territory, which I guess she thought we were intruding on. I guess she thought we shouldn’t have shot our little thing in the record store–even though we did work it out with the owner (who’s very a nice guy). She was a wise-ass, so I was a wise-ass back.

AHG: I was surprised to see that video because I think that “hipster kids” love you. Did you hear The Dirty Projectors’ “reimaging” of Damaged, Rise Above? What did you think of it?

It’s not my record. I didn’t write anything on the Damaged record. I don’t think I was apart of that topic. I think you lose a little bit of traction when you make blanket statements like, “Don’t hipster kids like you?” I don’t know. Do you? No, you don’t. Watch yourself, unless you get caught out there.

Whoever likes me, I guess, are the ones showing up at the shows…Things change, real quick. All of a sudden, your roof leaks and it’s a $30,000 repair bill, or your girlfriend gets in a car wreck and she’s dead. Shit happens real fast. I tend to live my life with that “Chaos Factor.” On the road, I’ve been living 30 years with it never being a sure thing. I’ve been doing an improvised bongo riff for three decades. I don’t have a job at the bank. I have obligations, certainly (I have a tour), but I have to hope every night that people show up. There’s no guarantee. If they don’t show up, there’s nothing for me. There’s no buy out; no bail out; no nothing. There’s: “Sucks to be you.” And that’s fine! I knew all this walking in; I left the straight world for all of this. So, you swing from vines and hope that there’s another one waiting for your hand as you extend it. I don’t know who my audience is, but I hope to find them night to night.

AHG: You mentioned that you don’t consider the music on Damaged to be yours, what do you mean by that?

Well I didn’t write any of it. I sing on the record, but I didn’t write any of the lyrics. All of that music had already been written a long time before I joined the band. I was the fourth singer; all of Black Flag’s really great music had already been realized before I joined. I was there for the version that toured internationally and got noticed, but all the real groundwork had been done by the band and the three singers before me.

AHG: Is it weird to have that legacy of being in Black Flag when you didn’t write the music that people know the best?

No, because I’m very honest about it. They needed a singer, I auditioned for it, I got it. I was in the version that did all the road work–the touring–year after year. I was in the version that took it internationally. I was the one guy in the band who got all the “stuff” thrown at him–being the singer. I was the one who got hit all the time. Got cigars and cigarettes ground out into his legs; got his ballsack lit up by butane lighters. I’m the one who has that. But I’m not the one who wrote “Six Pack”–that’s Greg and Chuck.

The reason why you might like Black Flag is not the songs that I’m on–usually it’s all the stuff before me. I do my best, for clarity, to tell people this. When someone says, “Black Flag is cool!” I say, “Thanks! I was a fan too.” I never felt like all that much a member of the band; it was Greg’s band. You always knew. It was never your band. Greg went out of his way to really remind you who the boss was. I got it; it’s cool; it’s a job. I gave it everything I had, truly. All of us–every member of that band–really gave what he or she could give for as long as they could. There were times when I felt like I didn’t want anymore of it, but I had nothing to return to except minimum wage. While I would have made more money in the minimum wage working world, I would have had more security, that’s not really interesting to me. Black Flag was more interesting, so I went for it!

AHG: That was a really good answer

It’s the only one I’ve got.

Again, photo credit to Chapman Baehler (this picture’s my favorite)

Here’s Part Two! I talked to Mr. Rollins about politics, his place in the political landscape, and a man who ejects snake venom directly into his veins.

AHG: Do you consider yourself a talking head like Jon Stewart, then? Are you trying to change people’s minds? No. I just open my mouth and tell you what I think. I don’t think any of my ideas are of any great intellectual weight, nor do I think that anyone who is like minded couldn’t have come to on their own. I don’t think I’m anything special. I just assign time to working through what I read in the newspaper–cross referencing, looking through history, and trying to understand motivation.Like in Egypt’s recent uprising: there’s people in America who are saying, “No! This is a bad thing!’ Why would you be against democracy really moving–people taking their country back? These are people [corporations, governments, privileged elites] who have an investment in war. Murbaric was a thug, but he was our thug.Maybe the new regime, in Egypt, would not be ready to buy huge amount of weapons without subsidy. Basically, it’s just laundering money. It goes from you, the taxpayer, to Egypt in forms of subsidy, and it comes back to Bechtel or Bowing or whoever is selling them ordinance. Egypt needs more weapons? I’m sure they have quite enough–enough to blow things up a whole lot of time. But those people have invested in war. The only thing that threatens them is peace; is democracy. The threat for these people is that democracy does spread across the Middle East–they can’t invade a democratic country, it’s just not done. When Middle Eastern nations are sitting down as a democratic country at the UN, they can no longer demonize Islam; marginalize it. They lose their War on Terror allusion: the paper tiger completely falls apart. You lose traction on demonizing liberals and democrats for being soft on terror–or whatever.

If you’ve noticed, in Cario, no one was yelling, “Jihad! Jihad!” (as Fox News would have loved to have happened). It wasn’t that: it was people yelling for freedom. It was relatively peaceful–most of the causalities were wracked up by Mubarik’s Elite Gaurd by firing into crowds and beating up on “rebel” types. It wasn’t an attack on America; it was “Get off our backs!” I think that’s the same spirit you see in Yemen, and India, and other places…The thing you have to wonder about is, “What is America’s real role in this?” We have this perception of what we’re supposed to do–like, have a military presence in 150 countries in the world (which we do). I don’t think we need to have that; I think it inspires a hatred toward America.

AHG: How do you like doing shows in college towns? Is today’s youth aware of this stuff? Do they agree with you?

I don’t know if they agree with me or not. But, when I say these things, people cheer. I would take that as agreement. So far, no one’s shot me post-show. I don’t think I say anything that’s all that inflammatory. I’m not calling for Sarah Palin’s head on a stick–I’d like her to have a long and prosperous life. I’m just not a fan. I don’t think I’m going to say anything that makes people that mad…

Maybe we should try ten years of this libertarian, sissy bullshit. Fine! No helmets for your motorcycle. Take all the tax off cigarettes. Smoke up a storm! When your lungs keel over and die in the emergency room and you don’t have insurance or a credit card that works, then get your dying ass out of the emergency room! I’d be fine with that! Let’s see what that’s really like.

If a guy’s bleeding out on the emergency room floor, but no money? No money, no bandage, pal! Bootstraps! Pull yourself up on them or die by them! Let’s see how that party looks. I’m set. I don’t need your money. I’ve got tons of money. I could be one of those selfish, shitty Americans who say, “I’ve got mine.” Because honestly, I do!

But I’m not a moral coward.

I can’t adopt that world view; that point of view. You wanna play that game? All these Tea Party douche-bags: let’s see how it looks. Ok, South Carolina, let’s see how that looks. When the toxic water from deregulation and no EPA is making all your kids have light bulbs coming out of their heads, and goiters on their neck. No money? Well then take your shotgun and shoot the kid in the back yard! Bury it next to the family dog! Or eat it! Because you might miss your government then. On some days I’m just like, “Fine! You’re treating the place like a shit-house; here’s some gasoline. Just torch it and take it the rest of the way. Take it to its logical conclusion. Let the Coke Brothers run your lives!”

But I can’t do that; that’s not the way to go, as far as I’m concerned. It is a way to go, and what some people want,. Maybe that will be the rock bottom that America collectively hits. Go full on into Corporatocracy! Mit Romney as president, running America like Walmart. See how you like it!

AHG: You’re doing a show for National Geographic called Snake Underworld. Do you like snakes?

Yeah; I’ve had my hands on snakes since I was about eleven. We went around to snake vendors, breeding facilities, and private owners in America and got their take on snakes. It’s kind of a rarefied pet, less common than a dog. We tried to look at all aspects of the repitile trade: those who breed in bend, those who breed for zoos, or experimental breeders (like, can we make this animal go albino?) One fella, named Tim, from Wisconsin has been self-envenomating with Black Mamba Venom for a long time…He shot up enough venom to kill, well, several people. We watched him sit there, sweating for a minute. His heart rate went up; it went back down. The wound swoll up; the swelling went back down. And that was it! It was really intense; amazing to watch. He’s one of a dozen people in the world who practices self-envenomating.

AHG: How does one even start self-envenomating?

Basically, you put enough venom that you could fit on the head of a pin into some warm saline. Then, upload that into your veins, realizing you could have an aniphlectic reaction to that–it could very well kill you. You don’t know how you’re going to react to snake venom until you get bit. It can go very badly for you. At some point, he must have rolled the dice and said, “Ok, here goes nothing.”

He’s a really nice guy (Tim). Extermely normal; nice family. He shoots up Black Mamba venom, rattlesnake venom and water-cobra venom once a week, every six weeks, for a really long time. I asked him, “Any superpowers?” And he told me, “Nah, I get colds, all the normal stuff.” I guess his blood has built up enough anti-bodies to make a resistance that would go away if he stopped taking venom. If he stopped, and came back six months later, the venom would probably kill him.

AHG: That is an interesting hobby.

I’ve only met one guy in the world who does it; my friend Tim. He saw the footage, and he’s very happy with it. He didn’t want it to get taken out of context or made to look like a weirdo.

Photo Credit: Chapman Baehler

Henry Rollins is an activist, musician, actor, writer and genuine badass. He is a modern day Renaissance man — except instead of painting churches or drawing schematics for flying machines, he calls attention to the genocide in Sudan and helps 16-year-olds feel less lonely while getting through high school. Rollins talked to Art House Goon over the phone about how he writes, why he’s angry and what he thinks about Black Flag. Per usual, Rollins was very verbose, so I split this interview into three posts for the sake of aesthetics. On April 1, Rollins will be preforming his one-man show 50 at The Canopy Club.

AHG: How do you approach writing a one man show? Do you perfect material before you perform it?I don’t write it. I just go up there and tell you stories and editorialize. I don’t write it out.

AHG: So you never even write the stories down?

No; you can tell me pretty accurately what you did this morning. Whether you can do it in a compelling way–that’s where the artistry lies. Whatever I use on stage, story-wise, is usually somewhere I went; something I saw. While I’m in those places, I’ll be writing and taking photographs daily. If I have to bring in anything factual–like a fact, figure, or a passage of text–I’ll commit it to memory; contextualize it. So, when I walk onstage, I have it in my head. It’s not like a written monologue.

It turns into one after a few nights. You tell the story, and it being what it is, it kind of finds itself. On night 10 and night 40, if you tell the story it will be kind of the same (well, truth-wise anyway). It almost turns into a lyric. Over several nights you do a live edit and you refine it and it becomes–not for route–but something you just have. You just have it.

AHG: I read an interview with you in Paul Provenza’s Satiristas and I listened to you on Marc Marron’s WTF Podcast. As a monologist, do you consider yourself member of the world comedy?

No I don’t; maybe its for someone else to define. I just go out and do these “Talking Shows.” I’ve never called it anything but that. Promoters call it “Spoken Word,” but I just get up there and spcheal. Sometimes it’s funny; there’s funny elements. The truth can be funny, and I can report on it accurately, but I don’t sit down and write funny patter…

Humor is something that follows me home–like a dog. I’d rather it be more spontaneous…

AHG: So you wouldn’t file “Comedian” on your taxes then?

If I did I’d have to go out on stage and every 5.7 seconds–or whatever it is–to make people laugh. I don’t need that kind of pressure. I think you screw the performance by putting it through that box.

AHG: On WTF you mentioned that you still get angry letters. How do you respond to critics that say bullshit like, “Henry Rollins hates America” or “Get out of my country” What do you say to that?

I try to default to a level they understand: I just say, “Make me”. Get me out; do something. What American hates America? I don’t think I’ve ever met that person. But, to not be able to look at your country critically: how would you ever be able to improve it? That’s where I find myself somewhat similar with comedians, because they rip on America–but very accurately–with a great deal of patriotic love for the country…They’re not saying, “Let’s all go make bombs and blow up schools”–I’ve never heard any comedian say that; I’m not sure I’d want to share a country with that person. But when you say, “George W. Bush put us into an illegal war,” (which is, obvious) this is usually relegated to comics. CNN doesn’t have the balls to say it; Fox will never say it–they have too much money invested in war and continuing conflict; Anything that’s sponsored by GE; even the New York Times is going to pull short! Where do you get your information? Jon Stewart.

With the vehicle of comedy, Stewart can look at his audience and say, “Are you fucking kidding me?” They have to bleep it out, but that’s what you’ve been saying all day when you read that editorial. That was your sentiment, exactly. Jon can get to it in half-an-hour while these guys [mainstream media] are never even going to hit it from a distance!

Photo Credit: Chapman Baehler

Here’s Part 2 and Part 3!

The 21st century has seen radical advancements in art’s most noble and respected medium: the adult-oriented cartoon.*

Unfortunately, not enough people are watching these cartoons.

My excitement for Superjail! Season 2 (premiering on Sunday, April 3, 11PM Central) has been met with an overwhelming chorus of “I don’t know what that is.” Wait: ultra-violent, TV-MA, 15 minute cartoons–the ones that feature an eccentric/sociopath prison Warden, an ambiguously transsexual prison guard, and millions of murderous robots–those kinds of shows aren’t mainstream entertainment? Why the hell not!?

I don’t know why not! I think they should be. So, reader: whether you already know about Superjail! or have yet to see it, let me convince you that this rainbow-massacre-bloodbath is worth your time.

At risk of sounding pretentious, Superjail! is a show of hyperbolic contrasts**. It juxtaposes dark subjects–like infanticide, child molestation, murder, murder, and murder–with a fun, breezy, tone. The animation is colorful and kinetic; however, the pictures themselves are stark and almost-scary. Last season, disembowelment and decapitation happened almost every week. The madness and mayhem is orchestrated by a strange, aptly-named warden–The Warden–a psychopath dressed in purple. The Warden has no regard for the safety of others and capriciously kills inmates, perhaps only because it’s something to do. Yet, he is voiced by alternative comedy veteran, and likely-not-a-psychopath, David Wain (The State, Stella, Wet Hot American Summer).

So: it’s pretty weird TV.

I think, though, that these heightened contrasts are what make Superjail! so funny. It’s violent, but it’s a cartoon–there’s no consequences. Its world is a surrealist adventure, innocently asking, “How much stuff can we kill this week?” It’s also strangely accessible: blood will be shed, laughs will be had, etc. If you like dark humor, you’ll like Superjail! It’s an R rated version of The Itchy and Scratchy Show.

In the season opener, a super-genius named Lord Stingray crash lands on Superjail island; after The Warden’s failed attempts befriend the cape-wearer, Stingray reveals that his intention is to steal Superjail. A parody of GI Joe and Friends also trying to stop Stingray, and eventually an ultra-violent fight ensues between the three groups. Superjail! sticks to a reliable formula: something strange happens, The Warden reacts inappropriately, a bloodbath occurs. A normal episode summary doesn’t do Superjail! justice. You have to see the big-breasted Central European woman decapitate someone with a metal claw, then watch as she gets ripped in half by a transsexual prison-guard to really understand the hilarity. It’s subtle (it’s not).

So, tune into Adult Swim this Sunday at 11 and feast upon an orgy of strange hand-drawn violence. Remember: adult cartoons are a lot more nuanced then they seem upon first glance–but then again, it’s fine if you just want to laugh at the flamboyant robot that crushes people. That’s what I intend to do, anyway.

*Please read this sentence with tongue placed firmly in cheek.
**Risk rewarded! I sound very pretentious!

This is also on The 217. Thanks to Elliott Niespodziani for the press screener!

This is a hybrid interview/review of Abraham Lincoln Vampire Hunter. This was published previously in buzz Magazine. Hope you like it!

Is there anything Abraham Lincoln can’t do? He rose from poverty to president, he freed the slaves, and as it turns out, he killed a whole bunch of vampires.

Seth Grahame-Smith, author of Pride & Prejudice & Zombies, takes a trip back to the occult with Abraham Lincoln Vampire Hunter. Just like in P&P&Z, Grahame-Smith takes an academic subject and adds campy, monster-movie goodness.

ALVH intersperses fact with fiction to present an exciting vampire story and a fitting portrait of our country’s greatest president. Smith doesn’t shoehorn vampires in Abe’s life capriciously—instead, he hides them in darkest parts of Abe’s past. Abe is still born in a log cabin in Kentucky, but in ALVH, the American frontier is populated by “Servants of the Night”.  At nine Abe’s mother is killed by a vampire (in reality, tainted milk killed her): this sparked Abe’s lifetime hatred of the undead. Lincoln’s first love, Ann Rutledge, died in 1835 from Typhoid Fever—except in ALVH, an angry vampire paramour murdered Rutledge. The line between what actually happened and what’s fictional is deliberately blurred. Historian’s aren’t sure what Lincoln felt during these dark times–but wouldn’t it be neat if he thought about vampires?

Seth Grahame-Smith had a conversation with me to explain his novel. “I got the idea for the book last year when I walked into bookstores. I saw all Lincoln biographies being featured for the bicentennial, and right next to that I saw vampire books like Twilight. I realized people must love both, and they go together well, like peanut butter and chocolate.”

“I grew up watching horror movies and reading Steven King” Grahame-Smith explained. His amateur-expertise shows. The book spends a lot of time showing Abe’s progression from a novice hunter, to a skilled expert. Lincoln utilizes stakes and martial arts to fight the undead, but he relies most on his trademark axe.

Grahame-Smith has a keen eye for history as well. The first British colony of Roanoke Island makes a brief appearance in the book. History scholars still aren’t sure what caused the mysterious disappearance of the Roanoke settlers, but ALVH suggests vampires might be responsible.

It’s hard to avoid talking about Lincoln without bringing up slavery, but ALVH handles this tastefully. Vampires and slavery have an eerie dependence on one another. Grahame-Smith explains, “African Americans are slaves, but Vampires are also slaves to eternity and their unrelenting need to feast. Abe is a slave to his cause of ridding the world of vampires, and all this slavery is a way to show how it completely consumes one’s life. Vampires need slaves for a reason—they’re literally stealing someone’s life away.” If vampires are a mythic personification of pure darkness and evil, it seems fair to connect them with perhaps the most immoral legacy of mankind. Ideas like these make ALVH not just a gimmick, but a book that keeps you reading and makes you think.

When asked about the success of Pride & Prejudice & Zombies and the wave of spin-offs following its release, Grahame-Smith said this, “I’m glad that there’s books that get people excited about reading. I hope people who like my books will go back to the source material and learn more. Maybe my books will convince someone to read Jane Austin, or pick up and Abraham Lincoln biography.”

If you’re looking for a good read that’s entertaining, and thought provoking you can’t go wrong with Abraham Lincoln Vampire Hunter. It’s got action, history, and most of all, the guy from the five dollar bill decapitating vampires

This is a reprint of a story first published in buzz Magazine. I had a chance to interview UIUC alum, popular author, and all-around cool dude, Dave Eggers because he spoke at my university. My friend Joe Lewis helped contribute some questions. Hope you like it!

Dave Eggers used to work for the Daily Illini. Now, he is one of the leading voices in contemporary fiction. His memoir, A Heartbreaking Work of Staggering Genius, was shortlisted for the Pulitzer Prize and added a breath of fresh air to the way post-modernists use metafiction. His literary magazine/publishing house, McSweeney’s, highlights fresh voices in all mediums of writing. His outreach writing center project, 826 Valencia, helps inner-city students write and learn better; it is established in cities across America, including Chicago. He’s also written screenplays, novels, short stories, flash fiction (for the non-English major reader, that’s a REALLY short story) and even children’s books. In sum: the dude is pretty prolific. Keep in mind, he went to the same school you do. (Unless you’re not a U of I student, which is fine. Just ignore that last sentence.) Remember: you don’t need to be from New York or L.A.: It’s entirely possible for someone who lives in the Midwest to add their voice to the literary landscape.

AHG: You were an Illini Media alumnus. What department did you work for? Any special Illini Media memories?

Dave Eggers: I started out my freshman year as a photographer, shooting during the day and developing in an actual darkroom at night. It was a pretty great gig, actually. One of my jobs was to go to Illini basketball games — this was the year we went to the Final Four — and sit under the basket and get dunk shots. I don’t know if I ever got anything published, but it was a nice place to watch the games. From there I did illustrations for the op-ed page for a while, then I went into feature writing, record reviews, art reviews. My junior year I edited the section called Directory (that’s what buzz used to be called) and my senior year I edited the monthly magazine, InPrint, that featured long form journalism. I think I did just about every job at the DI, short of ad sales.

AHG: Did you live in Champaign or Urbana? Where did you hang out?

DE: The DI was at First Street and Green at that time and I lived about four blocks away on First Street. I slept at the DI a lot, too, in the old Illio offices. They never knew that, though. Not until now, at least.

AHG: On Zeitoun: I noticed you were able to ask a lot of intimate, personal questions, like on page 40 when Kathy describes her weight troubles. How long did it take to develop relationships with this sort of confiding to develop?

DE: It was different for the two of them. Kathy is very quick to warm up to people — she’s very talkative and unguarded. So with Kathy, the relationship was almost immediately very open. She’s also a great storyteller with an incredible eye for detail, so she really made the book possible. With Zeitoun, it took a little longer for that same rapport to develop. But after we had shared a number of meals together it felt very familial, very trusting. Pretty early on he started telling me things he hadn’t even told Kathy. This happens a lot when someone decides to tell their story: they tend to open up and go into far greater detail to the reporter than anyone else. But it takes time. Many of the most crucial parts of the book came out of times we just spent driving around together, rather than in formal interviews.

AHG: When did you decide to incorporate the extended Zeitoun family (Kathy, as well as Zeitoun’s family in Syria) into the book? It worked nicely thematically. How did you realize that you wanted to extend the story?

DE: The very first time I met the Zeitouns, we spent most of the time talking about Abdulrahman’s life in Syria. Even in that first meeting it was obvious his upbringing and extended family would play a large role in the story. And then when I went to Syria and Spain, the role of his family grew even more. I was able to see the effect of Abdulrahman’s disappearance on his brothers and sisters and cousins, and see their side of it. It was important to be able to show the impact of this kind of injustice on not just the man victimized but on all those who care about him.

AHG: Without spoiling the end, the book details American government officials in an embarrassing and controversial light. Have you personally received any feedback about this from any government officials?

DE: There’s been no official response, and I didn’t expect anything like that. There’s no chance of any official representing New Orleans or FEMA of commenting or apologizing without risking liability. Then again, it’s hard to find any officials associated with the response to Katrina that felt like they did a good job, or who deny their many failures and missteps. Even Bush, in his new autobiography, admits that the response was deeply flawed.

AHG: It seems lately you’ve been writing a lot of non-fiction books, yet your prose style is still very lyrical. How did you progress from fiction to non-fiction?

DE: I spent my twenties writing almost exclusively non-fiction: features, travel writing, criticism, op-eds. I was probably about thirty before I got serious about fiction. These last few books are really just going back into my journalistic training.

AHG: How is 826 Valencia project going? Any new updates?

DE: We just opened a new center in Washington, D.C., and that’s been pretty incredible to see grow from an idea, a few years ago, to a thriving center with a pretty great storefront. So we have eight centers now, and I’m not entirely sure how many more we’ll add. There are a lot of centers based on our model that are popping up, in places like Alabama and London and Dublin, and that’s good to see. They don’t have to be affiliated with us directly to do the same kind of work.

AHG: After writing two movies, do you feel famous? Do people recognize you on the street anymore frequently?

DE: Very few people know much about the people who write movies. I don’t think I knew what the word screenwriter meant until I was in my mid-twenties. So no, it hasn’t changed anything. The guy at the video store once thought he’d heard my name somewhere, but he couldn’t place it. That’s as close as I’ve come.

AHG: What’s your next project?

DE: The Voice of Witness series has been really active this fall — we have two books coming out very soon: one called Hope Deferred: Narratives of Zimbabwe Lives, and one called Nowhere To Be Home: Narratives from Survivors of Burma’s Military Regime. Otherwise, I’m working very slowly on a novel and enjoying the freedom that comes with writing fiction


Glad you’re reading. My name is Nick Martin. I’m a student at the University of Illinois. I study History and English. I live in Urbana. I work at the university’s entertainment newspaper, buzz Magazine. I’m the Movies and TV editor.

This is my first blog and it’s going to be my general blog. I’ll use it to collect things I’ve written to show them to my Mom. I hope to update it at least occasionally. Maybe one day, I can curate my ideas for theme blogs.

I have so many ideas for theme blogs.