Searchers still on James Kim's trail Video
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Searchers: We will find James Kim
Oregon search and rescue officials talk about clues left by CNET Editor James Kim. Searchers continue moving slowly through wooded, rugged canyon.
Wilderness search for CNET editor continues
Four helicopters and ground crews are searching for CNET editor James Kim after following his footprints into a remote mountain canyon in southwestern Oregon. Kim left on foot toward that area Saturday; his wife and daughters were rescued next to their Saab station wagon Monday afternoon.
James Kim search update Tuesday 10AM
Four helicopters and ground crews are searching for CNET editor James Kim after following his footprints into a remote mountain canyon in southwestern Oregon. Kim left on foot toward that area Saturday; his wife and daughters were rescued by their Saab st
Tuesday search for Kim finds clues, not target
CNET Editor James Kim is still alive even after 10 days in the mountain wilderness near the Rogue River, the Oregon search team assumes.
"Die Traurigen Deutschen": Episode One
This is the first episode of a four part series. It is about a pair of sad, sad Germans. They are Klaus and Fritz, and they have a few things to say about the state of American beirs. And pants, this show has a lot to do with pants as well.
Medical report on James Kim released
Oregon State Police Lt. Gregg Hastings presents the medical examiner's findings in the death of James Kim, a CNET editor, citing hypothermia.\r\n
Buzz Report: Sony Gaming Phone. Or not.
HTC's Touch smells like an iPhone, Apple's Safari left panting in the veldt, and Sony talks to the Church of England.
Rescuers find Kim family members; search continues for editor
Josephine County Under-sheriff Brian Anderson told reporters Monday afternoon that a helicopter had airlifted Kati Kim and her two young daughters to an area hospital. CNET Editor James Kim apparently left his family two days ago on snowshoes to seek help. Video courtesy of KGO-TV (ABC).
New multi-purpose digital camera
CNET's James Kim looks at new digital camera that creates files in multiple formats, takes both stills and video.\r\n
The Juan Maclean: "Give Me Every Little Thing"
"It's been a bit of a sore spot," laughs Juan Maclean, "sitting on this album and seeing this robot stuff pop up all over the place. I have serious robot credentials that go back years and years. Like, a decade! But Daft Punk beat me to the punch." He may be joking, but the man's right. If anyone's earned the right to call their debut album "Less Than Human" and imagine a love triangle consisting of a man, a woman and the man's gay robot friend (as in "Shining Skinned Friend"), it's Maclean. He was guitarist and synth player with acclaimed but obscure, gonzo electro-punk band Six Finger Satellite, who began formulating their blend of rigidly mechanised disco beats, oddly sumptuous synth melodies and razor-shredded guitar work in the early 90s. The brutish but groovy result suggested a cross between Devo, Kraftwerk and Big Black. Then, America was mired in grunge, the famous French robots were still in short pants and the "punk-funk revival" was in the unimaginable future. Six Finger Satellite were just too far ahead of their time and perished accordingly. With "Less Than Human" Maclean has created a precision-tuned rekindling of his love affair with everything from Kraftwerk to Juan Atkins and Derrick May, Funkadelic to Giorgio Moroder and Lipps Inc, DAF to Talking Heads and Frankie Goes To Hollywood. It's full of tics (sin drums, cow bells, Bootsy Collins bass lines, Moog Liberation motifs) borrowed from dance music history, but refuses to engage with retroism, nostalgia or any notion of "the classic." Opener "AD2003" tracks back to Kraftwerk via Orbital, buoyed up by bubbles of percolating glitch. "Give Me Every Little Thing" rewinds through Underworld and Talking Heads en route to Studio 54. "Tito's Way" contrasts acid-house synth squelches and rave whistles with clattering, tribal percussion. There's a constant, though. Even the LP's euphoric epic "Dance With Me," is poignantly subdued, touched by a melancholy that reflects Maclean's own world view. "It doesn't seem incongruous to me to have a lot of that stuff in there," he says of the album's sadness, "because I made a big effort to make an album, rather than a collection of tunes with just one good track that everybody knows. So I never really set out to say, "this is a song that will played for the dance floor," or whatever. "When I started on it, I don't think I had any pre-conceived notions at all, except that I knew I'd always be operating under the same aesthetic principles that I'd held in making music my whole life."
