Joshua Ellis : Work

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The work blog of Joshua Ellis

Growing Up In Public

(Apologies for the lack of posting here — real life, as always, intrudes, and unlike my personal blog, I’d rather keep simple linkage and minimal posts to…well, to a minimum here.)

Michael Arrington of TechCrunch is taking a break. Apparently, someone walked up to him yesterday at a conference in Munich and quite deliberately spit in his face. He also discloses that, last summer, he and his family were the target of serious death threats.

Seeing my parents fear for their lives and not understand how or why their son was in this position changed me, made me a much less forgiving person in general.

I write about technology startups and news. In any sane world that shouldn’t make me someone who has to deal with death threats and being spat on. It shouldn’t require me to absorb more verbal abuse than a human being can realistically deal with.

The problem is that I love what I do when I’m not hiding from some crazy fucker who wants to kill me or being spat on by some unhappy European entrepreneur we didn’t write about.

I’ve dealt with this as well — several years ago, my family received a series of phone calls from an unhinged individual who claimed to have read my CityLife column and driven out from California to “deal with me”. Though I never spoke to the person myself, my mother did, and it frightened her enough that we contacted the police, who — as in Arrington’s situation — couldn’t do anything unless the person actively did something. The calls, it turned out, were coming from a motel in downtown Las Vegas, which suggests that it wasn’t just someone I know pulling a prank on me.

The person never materialized, but I remember being afraid — not for myself, particularly, but for my family. I’ve always believed in taking responsibility for one’s actions and what one puts out into the world; if my writing has made someone want to kill me, that’s incredibly wrong-headed and stupid and awful, but it’s my choice to put my opinions out into the world. My family shouldn’t have to bear that responsibility.

Arrington can be an arrogant guy, and I don’t always agree with his analysis, but there is absolutely no reason that anyone should ever spit in his face for his work, much less try to kill him. If you disagree with someone, prove them wrong. Attacking them personally — or physically — for their words or beliefs is the act of a pathetic, desperate person who is not capable of defending their own words and beliefs and ideas and work.

I wouldn’t blame Arrington if he decides to walk away from TechCrunch because of this. Cool as the site is, the fact is that it’s not worth his life or his sanity. But I personally hope he goes off, enjoys a break, comes back, and refuses to let the bastards grind him down.

What Newspapers Are For

The BBC newsroom, circa the day.

New media blogger/guru Seth Godin has this to say in a post entitled “When newspapers are gone, what will you miss?“:

What’s left is local news, investigative journalism and intelligent coverage of national news. Perhaps 2% of the cost of a typical paper. I worry about the quality of a democracy when the the state government or the local government can do what it wants without intelligent coverage. I worry about the abuse of power when the only thing a corrupt official needs to worry about is the TV news. I worry about the quality of legislation when there isn’t a passionate, unbiased reporter there to explain it to us.

[...]Punchline: if we really care about the investigation and the analysis, we’ll pay for it one way or another. Maybe it’s a public good, a non profit function. Maybe a philanthropist puts up money for prizes. Maybe the Woodward and Bernstein of 2017 make so much money from breaking a story that it leads to a whole new generation of journalists.

The reality is that this sort of journalism is relatively cheap (compared to everything else the newspaper had to do in order to bring it to us.) Newspapers took two cents of journalism and wrapped in ninety-eight cents of overhead and distraction. The magic of the web, the reason you should care about this even if you don’t care about the news, is that when the marginal cost of something is free and when the time to deliver it is zero, the economics become magical. It’s like 6 divided by zero. Infinity.

Having been a print journalist for a pretty long time now (13 years! Jesus!), I’m gonna go ahead and disagree with Godin here. The heavy stuff — investigative journalism, maintaining a Washington bureau, local news — is way more than 2% of the cost of running a paper. Non-feature sections of a newspaper — arts and entertainment, opinion/editorial, advice columns, et cetera — are not that expensive to maintain. Trust me on this — most columnists and reviewers aren’t making the big bucks, unless their work is regularly and widely syndicated. (This is not a function of the Web’s advent, by the way. This is how things have always been, as far as I can tell.)

Until the current crunch, most of this work was handed off to freelancers, who were paid flat fees (like $50 for a CD review) or word rates (like 15 cents per word). For example, when I wrote a weekly column for the Las Vegas CityLife, I was paid the same amount every week for a column that was expected to run between 750-850 words.

“Real” journalism — investigative, in-depth journalism — is usually done by full-time salaried newspaper staff. Why? Because it takes a hell of a lot of time and effort and resources, and it’s rarely worth it for freelance writers, who are almost always paid by the word for features.

To put this in perspective: the first story that Bob Woodward and Carl Bernstein wrote as staff writers for the Washington Post about the Watergate scandal runs to 1558 words. If that story were being published today, and Woodward and Bernstein were freelancers, they could expect to make somewhere between 20 - 50 cents per word. That’s $311.60 - $779.00, split two ways, in 2009 money. (Split more ways if you count the contributing writers listed at the end of the piece.)

Do you think that amount is commensurate with the amount of time and effort Woodward and Bernstein spent researching that piece? Of course not. It probably took them weeks if not months to do the footwork to put that piece down on paper and make it stick. That’s real work, real hours, real expenses. (Unless you think Woodward’s car ran on good will.)

What newspapers have that blogs don’t — and can’t, and won’t for the foreseeable future — is full-time staff, who are paid a (presumably) living wage to do the kind of in-depth work that blogs don’t, can’t, and won’t for the foreseeable future. A staff writer can spend the hours in the library or the paper’s morgue and on the street interviewing sources, doing interviews and getting background.

Newspapers also still provide identity and legitimacy functions for journalists, particularly in the world of politics. Don’t believe me? Try to get White House press credentials for your blog. Call up your Senator and ask their press secretary to provide you with background and an official statement for a blog post you’re doing.

I think the key here is in the last paragraph of Godin’s post. The statement that “the reality is that this sort of journalism is relatively cheap (compared to everything else the newspaper had to do in order to bring it to us.)” is simply untrue. Having a staff of journalists costs the same as having any other kind of staff: salaries, real estate, equipment, insurance, utilities, the whole nine yards.

If having a staff was somehow cheaper than hiring freelancers, why do technology companies send their programming work to Bangalore? The answer: it’s not. Journalists don’t make as much money as programmers do, by and large, but the economies of scale are the same. Paying people to do work full-time is much more expensive than paying freelancers. This is simple fact. And I’ve already explained why freelancers don’t do investigative journalism, as a general rule.

Godin also says “The magic of the web, the reason you should care about this even if you don’t care about the news, is that when the marginal cost of something is free and when the time to deliver it is zero, the economics become magical.”

But it’s not free. I can’t understand why people don’t see this. Writing an article about corruption in local or national politics is not free. It takes time and money to make it happen — more time and money than this blog post took, or Godin’s post took, enough time and money that most people can’t afford to do it simply for whuffie or blogerati status. Delivering it may be free and instantaneous, but that doesn’t mean making it is free and instantaneous. In this sense, the economics truly are magical, in the sense that most of the people attempting to practice them are making an extremely artful show out of smoke and mirrors. And the miracles are just as illusory.

Just because you make an elephant vanish from a stage doesn’t mean the elephant’s really disappeared. It’s still around, somewhere…unlike, unfortunately, the prospect of having real, in-depth, sophisticated investigative journalism in an era where people seem to genuinely believe you can get something for nothing.

The Goatherder

[This is a prelude to my novel, which I've restarted, but I think it works as a small stand-alone story as well. I think I'll stick with this. It works. I like it. This is obviously a first draft.]

Germania, a couple of thousand years ago.

The forest is immense, stretching for hundreds of miles in every direction. For most of the people and the creatures who live in it, the forest is the world; there is no place that is not absolutely thick with trees. Much of it is completely impassable to anything larger than a mid-sized boar or an extremely nimble and clever deer.

Most of the people stick to the valleys and the riversides, where the forest thins out a bit and there are actually open spaces more than three or four feet on a side. This is where they build their villages, which usually consist of a couple dozen family units, some passably-constructed huts, and a hell of a lot of goats. Absolutely mad for goats, are the Germanians, and to a lesser degree, cows and pigs.

Sigrid Ulnuf has six goats of his own, but he makes his living by tending the goats of the others in his village, which does not have a name. Most people are concerned with the business of tending to their small gardens or grain fields, and so they entrust their goats to Sigrid, who takes them out to the marshes south of the village where they graze. In return, he receives portions of grain and vegetables and bread from everyone else.

Frankly, most of his tribesmen are quite happy to have Sigrid off somewhere else most of the time. He is a big man with an impressive blonde beard and handsome features, and under most circumstances he would be a respected member of the tribe with a thick-waisted wife and half a dozen children to worry him.

But since childhood Sigrid has had some sort of strange demon in him that causes him to screw up his face in hideous, contorted poses, and also to shout and swear for no apparent reason. In spite of this — or perhaps because of it — Sigrid is gentle as a lamb and possessed of a sweet, almost childlike disposition. But he’s still creepy, and so he spends his days in the marshes with the goats, who don’t take offense at his bizarre tics and extremely crude language. They’ve become accustomed to him.

Today, Sigrid is sitting on a rock, holding a tiny black and white kid in his huge arms and stroking its ears and horns. The poor thing made the mistake of sticking its nose into a badger’s hole while the owner was at home; its bleating cries drew Sigrid, who kicked the badger in the hindquarters and sent it grumbling back into its hole before it could give the kid more than a few scrapes and scratches. Now he’s calming the trembling animal. He does not notice that his tics have abated — not entirely, but they register as twitches, not spasms.

“Shhh,” he says to the goat. “You’re okay now. Umm. Uh. That old badger didn’t want you. You just — motherfucker! — you just surprised him.”

He continues soothing the goat, whispering quietly except for the occasional outburst. The creature’s tiny heart, which he can feel beating through its ribcage against his hand, begins to slow down, and its cries become more infrequent. Soon it is silent in the marshy field, save for the occasional low baa-a-a-a of a goat and Sigrid’s soft, erratic grunting.

And then something quite unexpected happens: three men come out of the dense underbrush, hacking their way through the tangles of branches and leaves with short, stubby swords. One of the men is small and chubby, fair-haired; another is big and dark-skinned; the third is somewhere in between, pale but with black hair cropped close to his skull. This third man has a wolfskin wrapped over his shoulders, held on with a thick wooden peg.

They wear gray cloaks with red tunics beneath, and sandals with heavy woolen socks beneath them. Each man, in addition to his sword, has a bundle over his shoulder and a short spear.

They’re not from his village, and they’re not from any village he’s ever been in (which would, roughly, be the village nine miles south, and the other village fifteen miles east, where he went once as a small boy with his father to trade goats). They don’t look like anyone he’s ever seen before, either. Hell, Sigrid isn’t sure they’re even Thuringians.

Sigrid stands up, still holding the goat. His entire attention is focused on the swords the men carry, and their spears.

After a moment, they notice him. The big one taps the pale one on the shoulder and they stop. The men and Sigrid regard one another across the field for what seems like an hour.

Finally, the pale one raises a hand. He says something in a strange, liquid tongue that is utterly unfamiliar to Sigrid.

Sigrid just stares at him, his face spasming. The pale man frowns at this and says something to his colleagues.

“Um…hello. Friend.” the pale man says haltingly. Sigrid can barely understand him — he’s speaking Thuringian, but it sounds the way Sigrid’s grandfather might speak it, and with an almost unintelligible accent.

“Friend,” the man says, pointing at himself. “Friend,” he repeats, pointing at the others. Then he points at Sigrid. “Friend. Er…merda. Friend?”

Sigrid nods. “Yes,” he says. “Friend. Umm. Ufff. Mmmm. Cunt! Cunt! Cuntlicker!

The man blinks at this. “You…you angry. Not friend?”

Sigrid ponders this. Then he understands. “No. Friend. Not angry.” How could he explain his demon to this strange man?

But the chubby small stranger says something quietly. He pantomimes an eerily accurate impression of Sigrid’s affliction. The other men nod. Apparently the same demon curses these men’s tribe as well.

“We…many. We come here. You…not fight. We not fight. Yes?”

“I won’t fight you,” Sigrid says. “But you…mmm! Ummm! Uh! Uh! You probably want to talk to our chief. He’s in the village.” He points behind him, to the path that leads to the village.

The pale man frowns, perplexed. He and the others confer. Then he points at the path. “You…home? People?” he says.

Sigrid nods. “People. Yes.”

The pale man nods, smiling, as if he’s figured this out. He jabbers at the big man, who turns around and heads back into the forest. He turns back to Sigrid.

“You wait. Yes?”

Sigrid nods. He is completely mystified by all of this.

The pale man and the chubby man sheath their swords and approach Sigrid, who gently puts the kid down. It runs up to the strange men, bleats, drops a pellet of shit, and runs away.

The pale man points at the goats. “What this?”

“These? Um. Um. These are goats.”

The man nods and points at one of the goats. “Goats?”

“Goat,” Sigrid says, pointing at the goat. Then he waves his hand at the whole herd. “Goats.”

“Goats.” The man nods again. He repeats the word, and the chubby one does as well.

The chubby man reaches into his pocket and pulls out a fist-sized chunk of hardtack bread. He offers it to Sigrid, who politely takes a small piece. It’s roughly the consistency of granite, and he has trouble chewing it. But he finally swallows it down.

The men laugh. The pale man says “Good, not. Yes?”

Sigrid smiles. They know how bad their bread is.

The goatherder and the strange men sit in silence for about a half hour. Finally, there is more rustling in the trees, and the big man appears. He calls something out, and the other men rise. The pale one turns to Sigrid.

“Us. Many. You not fight,” he repeats. Sigrid nods.

The pale man nods. He calls to the big man, who disappears into the trees again.

Suddenly there is a much bigger sound from the forest, a great rustling, and Sigrid hears voices.

And men begin to pour out of the forest. Most of them are dressed identically to the men that Sigrid thinks of as his strangers. Others wear ragged, alien clothing that looks too cold for this place. Some of them have axes and begin to hack at the smaller trees, while the ragged men begin pulling the felled lumber down and piling it up at the edge of the trees.

Sigrid is getting nervous. There are a lot of men here — maybe sixty or more, at least as many as are in the village, and all of them armed. What is all of this?

But nobody’s made a threatening move at him, or done anything particularly malicious, other than chop down the trees, and Sigrid doesn’t especially care about the trees. So he sits back on his rock to watch. This is the strangest thing he’s ever seen, even more strange than the two-headed goat he saw when his father took him to the other village, all those years ago.

After about an hour, the men seem to have cleared some sort of pathway through the forest, which slopes down on the other side. One of them calls out to another one, who calls to another further back, who calls to another man further back down the new path.

The pale man nods at Sigrid and grins, slightly nervously. He says something in his liquid tongue.

More men appear. And then more. They walk in columns filling the path, five men abreast. These new men not only carry swords and spears, but shields. At the front of the column, two men carry large iron poles with some sort of statue of a bird at the top and some kind of geometric diagram beneath it. (Sigrid’s people have not yet quite figured out the whole written language thing, and he does not recognize that the diagram are in fact letters, four of them.)

They keep coming and coming and coming, filling the field. On the far side, behind where Sigrid stands, they’ve begun their trick with the axes on the trees that line the goatherder’s path back to his village, widening it to accommodate the column of men.

“Holy shit,” Sigrid says, and for once it’s not his demon talking. He takes his crook and herds his goats out of the way of the men.

It occurs to him that he probably should run to the village and let everyone know that this river of men has begun to flow towards them, but it’s too late now; the men are already going down the newly-widened path to the village, filling it up, and he would have to squeeze past them. They’ll be there in a few minutes anyway.

And still the warriors — which these men obviously are — come. There must be hundreds of them, Sigrid thinks. (His people have also not created words for numbers larger than one hundred.) They are tall and short, thin and bulky (though none of them are actually fat), pale-skinned and dark-skinned and hairy and hairless, but all wear the near-identical red tunics, sandals and gray cloaks.

Occasionally, one of them will stare curiously at Sigrid, whose face has begun to twist and turn itself around quite badly. But most of them simply ignore him. They don’t speak. They just walk.

This goes on for a very long time — long enough that, after a while, Sigrid notices that the shadows are beginning to grow longer on the ground. It must be at least two hours after midday now, and these men showed up at — what, mid-morning?

Finally, the river of warriors trickles and dries up. Sigrid stands up to follow them…and then he sees more people coming into the field. These are not warriors, though — there are men with wagons that roll along unsteadily on the ground, and men with hand carts, and even women, though they look like no women Sigrid has ever seen.

He decides that this is his moment to return to the village, this narrow gap between the warriors and the people who follow them, and so he begins to walk slowly, maybe twenty yards behind the last warriors in the column and forty yards ahead of the new people. He keeps the distance up, and so he walks slowly; the warriors don’t seem to be particularly in any hurry. His goats trail along behind him, occasionally bleating.

As Sigrid gets closer to the village, he becomes aware of the smell of smoke.

Something begins rising in his stomach.

By the time he actually gets to the village, most of the huts are already just ashes on the ground. He sees his neighbor, Kredda, lying in the mud, his eyes staring up into the evening sky, a pool of blood congealing underneath him. A few of the other men lie scattered around the perimeter of the village.

The rest of his tribe are all sitting in a rough circle in the common area at the center of where the buildings used to stand. They are surrounded by soldiers.

Sigrid notices that a couple of the soldiers are eyeing him intently, their hands on their swords. He deliberately drops his crook on the ground and does not move.

He spies the pale soldier he’d spoken to earlier. The man sees him at the same time, and walks quickly towards him.

“What…uh! Uh! What the hell Um! did you do?” Sigrid asks him, his face twitching and roiling to the point where it looks as if his head is going to explode.

The man gestures to him to keep quiet. “They..they fight. You not fight. They fight. I tell friends you…” His own face screws up, as he tries to think of the word. Finally, he twirls his finger next to his temple, stick his tongue out, and rolls his eyes.

“Friends not fight you. Friends…say…not you. You stay.” He points at the ground.

Sigrid shakes his head, tears beginning to run down his face. “What’s going to…um! Um! What’s going um to uh happen hmmm cocksucker to them?” he says, pointing at the rest of his tribe. Some of them are also crying, and some of the children — the newly orphaned ones — are screaming and sobbing, but most of them simply sit stone-faced. None of them seem to have spied him.

The man shrugs. “They come us. You stay.”

“What?”

“You stay.” The man points. “They go. You stay.”

“Stay here?” Sigrid says. “What for? You’ve um you’ve destroyed my fucking village.”

The man shrugs. “You come, then. Not fight.”

Sigrid looks at his people. Most of them despise him, fear him. None of them are particularly friendly to him. They wouldn’t notice, he thinks, if he died; they certainly would not mourn him.

But they are his people. They are all he knows.

“I hope you um um ummmm rot in hell, motherfucker,” he says to the pale man, and goes to join his people in the circle.

The pale man watches him, shrugs, and walks away.

Sigrid steps between the soldiers, who regard him impassively, as do his tribesmen, who regard him with no surprise. He pulls his cloak around himself, sits down in the mud, and waits for something else to happen.

Song: “Divine Intervention”

Here’s a song that will be appearing on Red State Soundsystem’s forthcoming debut EP and on our full-length Ghosts In A Burning City. It’s called “Divine Intervention”.

Sonically, I think it falls between Bloc Party, the Smithereens, and The National. The original version of the song as I envisioned it sounded a lot like The Pixies, but somewhere along the line I came up with the idea for the stabbing, off-beat guitar that turns it almost into fast ska.

This is probably the most pop, dance-oriented rock song I’ve ever written.

And check out Archer’s sexy ass guitar work — particularly the slide solo.

Personnel:

Joshua Ellis: Lead vocals, synth, drums, sonic treatments
Aaron Archer: Guitars, bass, background vocals
Rosalie Miletich, Thom Chrastka: Background vocals

Red State Soundsystem, “Divine Intervention” [192kbps mp3]

Tentacle test

tentacletest

I’m working on a Flash animation that procedurally generates “tribal” tattoos that animate. This is a test of the algorithm. It’s extremely creepy.

The state of things

Happy 2009! As I work on a long post about the value of creators, distributors and curators in the online content cycle food chain, here’s this thought: the most irritating thing about having an amazing idea is not having the money to devote oneself to it full-time…even if one knows that, eventually, it’s going to be incredibly profitable.

(Ahem.)

Benoit Mandelbrot and Nassim Nicholas Taleb on the financial crisis

This video was embedded using the YouTuber plugin by Roy Tanck. Adobe Flash Player is required to view the video.

Okay, this is really interesting — Benoit Mandelbrot and Nassim Nicholas Taleb weigh in on the financial crisis. (Well, Taleb weighs in. Mandelbrot does his best to stay neutral and not make any reaching statements.) [via Technoccult]

I haven’t read The Black Swan, but I’ve read a lot of Taleb’s essays and weigh-ins before the book came out and since, and I think he’s probably correct in his assumption that the financial crisis is going to be much worse than people think, primarily due to the network effect of globalization — where localized disasters would once remain localized, now they can travel much further and have far more impact.

I think that the question hinges on the relative autonomy of the various global markets — the EU, the Asian markets, etc. — and their ability to weather the American credit crisis. And things don’t look especially good in that department. Britain is having its own crisis, Iceland is burning its own money for heat (not really, but you get what I mean), and I imagine the EU economic policy wonks are running around like chickens with their heads cut off, trying to figure out how to limit the damage.

Unfortunately, I’m not an economic theory person — I understand the generalities, but I’m not well-versed in the specific nuances. I know enough to know that a lot of people were gambling very heavily and over-extending themselves, and that their markers are being called in, and that everyone with any real stake in the system is sweating bullets, hoping and praying that the world economic infrastructure will self-correct.

I don’t know if it will. My suspicion is that it won’t, and that things are going to get worse. The real question then becomes: who loses the most? Who benefits? I suspect that the winners will be those who have the least stake in the game, who have the least to lose in any section of the market — people whose net worth isn’t based upon credit or investments, developing nations. Probably China, though I couldn’t tell you precisely why, it’s just a hunch I have.

But I think we’re about to see a shift in the balance of economic power unlike anything we’ve seen in the world since the Industrial Revolution.

“Dark Miracle” in Coilhouse issue 2

Dark Miracle

My essay “Dark Miracle” — the successful result of my first micropatronage experiment — is seeing print in issue number 2 of Coilhouse. (That’s an image of the first two pages, courtesy of Coilhouse madam Nadya Lev.) Coilhouse is a really smart magazine that is, as its founders say, a “love letter to the counterculture”. It’s interesting: reading the first issue of Coilhouse reminded me that there still is such a thing as the counterculture — that it’s not all been subsumed in the monoculture.

This is one of the better pieces I’ve written; I’m very proud of it. If you absolutely cannot wait to buy your issue of Coilhouse (you are going to buy it, aren’t you?) you can read the piece here online. But you’d be missing out on my Q&A with my old friend R.U. Sirius, and I know you couldn’t stand that.

How do you prototype web pages?

This is for the few of you whom I know for sure read Zenarchery and also do web design/layout. (I’m looking at you coders, too, since this is part of your duties sometimes as well.) How do you prototype layouts? Do you do Photoshop m0ckups and then recreate them in HTML? Do you use Dreamweaver? Or do you just hop into your text editor and hit refresh a lot?

I do the latter, and I’d like to find a more elegant way. I suspect Dreamweaver is what I want, but the markup it puts out is never as clean as what I do myself, and I’m not sure if the time saved on layout gets lost on markup.

Lemme know in the comments, please. If you have a particular useful tool, let me know.

Rene Ricard, “The Radiant Child”

Image of Rene Ricard via a href=

I found a link to one of my favorite pieces of art criticism ever, Rene Ricard’s 1981 Artforum essay “The Radiant Child“, on Jean-Michel Basquiat and Keith Haring.

My experience has shown me that the artist is a person much respected by the poor because they have circumvented the need to exert the body, even of time, to live off what appears to be the simplest bodily act. This is an honest way to rise out of the slum, using one’s sheer self as the medium, the money earned rather a proof pure and simple of the value of that individual, The Artist. This is a basic class distinction in the perception of art where a picture your son did in jail hangs on your wall as a proof that beauty is possible even in the most wretched; that someone who can make a beautiful thing can’t be all bad; and that beauty has an ability to lift people as a Vermeer copy done in a tenement is surely the same as the greatest mural by some MFA. An object of art is an honest way of making a living, and this is much a different idea from the fancier notion that art is a scam and a ripoff. The bourgeoisie have, after all, made it a scam. But you could never explain to someone who uses God’s gift to enslave that you have used God’s gift to be free.

This is impassioned, honest, beautiful writing about art. Like a lot of people of my generation, I discovered Basquiat primarily through Julian Schnabel’s eponymous 1996 biographical film, which uses bits of Ricard’s essay as voiceover. I love much of Basquiat’s work — particularly the piece To Repel Ghosts — but you don’t need to be a fan of his work to appreciate what Ricard is saying here.

About Me


My name is Joshua Ellis. I'm a writer, web designer/developer, new media specialist and professional futurist, based out of the Las Vegas area.


For eight years, I was a syndicated technology/culture op-ed writer for the Las Vegas CityLife alternative weekly newspaper. I was also the co-founder and creative director for Mperia.com, a pioneering online music store that allowed artists to distribute and sell their work directly to their fans.


I am currently the content director and lead blogger for Mojo Republik, an online music news/community site, and I'm also an infrequent blogger for The Unofficial Apple Weblog and Worldchanging.


I am primarily publicly known for my work on Mperia, my writing on technology, politics and futurism, and my work in the field of micropatronage.


This site serves as my professional conduit to the Internet -- a home for my work, resume, and work-related blogging.


You can find my personal blog here.

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