BOL 1076: You got served, through Twitter Video

Video description: In the UK you don't have to be in the presence of someone to serve them with legal papers. So now Twitter has become a way to get served. We also are happy that the US government is taking cybersecurity seriously but maybe they could lay off with the cyber prefix a little. And we try to care more about the Palm Pixi. We really do.

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Ep. 957: Tweetza Hut!!!!

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Palm Pixi: Cute overload!

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BOL 1059: Nano Goes Retro with FM

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BOL 1044: Back that app up

Palm's adding more apps to a commercialized app store. They call it the app catalog. Which got us thinking about all the different names we could have for app stores. We also get a little excited about the new Sony PS3 slim. Does it herald the resurgence of the PS3? Probably not. Will it help Blu-ray? Maybe a little.

What's your view on cybersecurity?

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Ep. 972: New Zune in June?

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Buzz Out Loud 939: Blue Brain and buckyballs

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Corrosion of Conformity: "Stone Breaker"

We really try hard to be true to what our hearts tell us to do," says New Orleans-bred Pepper Keenan, guitarist and songwriter for the band. "We do what we feel and we don't want to get caught up in any '90s-style production bullshit, 'cause when we look back at what we've done we want it to sound timeless. So many bands are gonna laugh at themselves in ten years. We don't want that." COC has been hurtling towards a "timeless" rock sound since their humble-but-turbulent beginning as a hardcore band way back in 1982. Back then, the band -- guitarist Woody Weatherman, bassist Mike Dean and drummer Reed Mullin (Keenan didn't join until 1990) -- searched desperately for a voice, an identifiable way to vent the spleen that has continued to haunt them through a full six records: 1983's vociferous Eye For An Eye, '85's phlegmatic rant Animosity, '87's drop D-tuned barrage Technocracy, '91's awesome, menacing Blind, and the album that serves as WISEBLOOD's most direct sonic ancestor: '94's breakthrough platter, Deliverance. "We began carving our niche with Deliverance," says Keenan with a hint of the South in his voice. "Now that we have that niche we should stay in it. I often wonder what makes good bands take sudden left turns. Why would you work hard to develop a sound and then just abandon it? It makes no sense." "We've always tried to make albums that have highs and lows and midpoints," says Keenan, "records that you can listen to from beginning to end. We've got no interest in ramming ten songs in the same key down your throat.