The multiplicity and sequencing of the the sampled imagery and sound of The Truth Channel’s (now LSD49) jam at the Grande Lux, rendered the everyday, as filtered through popular media, strange. Loops sampled from the spectacular cacophony of popular media: news casts, pop music; old films and city streets, conflated the distant past and the just occurred. History’s construction is reflected, contextualized and refuted in periods of seconds. The volume and rapidity of imagery replicated the incessant production and endless consumption of capital. Presented in a stacatto rhythm of loops, it pricks up the ears when combined with their own imagery. Their own looped footage — a travelogue of India; contemplative friends or lovers — contrast the media bite aural-visual assault: aptly reflecting the aggressive relationship (and illusory nature) of sampled news reel/tv images to the passive viewer. The passively absorbed and numbing minutiae of commodity aesthetics; disparate, collectively revealing details of overlooked routines; and habitually followed social conventions were made apparent through repetition.