Sunday, 27 December 2009

Dubstep hits the big time in US


Newcomer Ke$ha takes her first solo chart single "TiK ToK" to the top of the Billboard Hot 100 (2-1), released on Billboard.com Thursday (Dec. 24). Ke$ha is the first female vocalist to rise to No. 1 with her debut single since Lady Gaga stormed the list with "Just Dance" in January 2009.

There are two remixes from Untold for this single,first time in history we have some dubstep remixes for nr.1 single USA, so this is the biggest success for Untold and dubstep scene so far.

Ke$ha "TiK ToK"(untold remixes)

The Art of Drawing

isoHunt guilty of inducing copyright infringement


A U.S. federal court has ruled against torrent indexer isoHunt today, ruling the site is guilty of inducing copyright infringement. Claiming the case is so similar to that of Napster and Grokster in the 1990s, the case will not get a full trial and was given summary judgment.
The case, which began in 2006 when Columbia, Disney, Tristar, Twentieth Century Fox, Universal and Warner Bros issued a complaint against the site and owner Gary Fung, seems to be finally over, with the site seemingly going the way of Mininova, which removed all illegal torrents in November, at least in the U.S. It should continue to run full steam in Canada.
The ruling says Fung ran the site with “purposeful, culpable expression and conduct, aimed at promoting infringing uses of the websites.”
In their case, the defendants pointed out many cases in which users of the site were encouraged to pirate, including torrent categories such as "top 20 movies," or the ‘Box Office Movies’ section of the site which encouraged users to upload the top 20 highest-grossing movies of all time.
Staff and moderators of the site's official forum were also shown giving advice on how to download copyright films, how to rip DVDs, and how to use PeerGuardian to block IP addresses from the MPAA and other groups.

Saturday, 26 December 2009

The Wire is an urbanistic enquiry too

They say “It’s not television, it’s Hbo”, but when you talk about The Wire is more like “It’s not Hbo, it’s even better”. Considering the quality of the writing, the value of the drama, the strenght of the plot, the series seems more like a vivid and grimey painting – near to literature – of the US society of the last decade, from the “post 9/11″ period to the financial crack of 2008.
But if this TV show is mostly a portrait of a society, it is also a map of an urban environment: in his case, the city of Baltimore (notably put for the first time on the once So-Cal-dominated series map, much like The Sopranos did with New Jersey).
Just like the characters are connected to each other and every action, as in the ancient epic or tragedy, has a cost for everybody, so are the locations.
baltimore-downtown-aerial-photo
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The first season of the show starts at the Pit: a square, located in Baltimore’s suburbia, where a new organization of young and black drug dealers is pushing cocaine and crack, while sitting on a sofa literally placed in the middle of the square.
From there, the screenplay drives us through a lot of different locations, all connected by The (same) Wire. From the Pit to the Grand Jury, from the student buildings to TV and media centers, from the harbour to the prisons, from the police department to greats lawyers’s offices, from the crack addicts squats to middle class flats: everything in The Wire seems shaded by the same corruption that makes hard to distinguish what right or wrong are.

But the point here is not merely a moral question, the point is that, in The Wire, the city appears clearly for what it is: an organic Social Network in which commercial, political, criminal informations and goods are passed through, like it happens in a DNA chain, making a difference not only for the single point, but for the whole chain.
As noted by James Harkin in his recent book Cyburbia: The Dangerous Idea That’s Changing How We Live and Who We are, The Wire is one of the most accurate enquiries over an urban environment – if you think at them as a network of exchanges. But it’s more than that, The Wire gives us a map to orientate ourselves in a modern city. And not in a prototype or just a city of the future, but the cities as we already know it: an urban conglomerate of chinese boxes where the money, their movements, their transfers, their rehabilitation from dirty money to clean and disposable money makes everything happen – from the planning of the instruction system to the renovation of urban areas, from transportations to media topics.
As a result of all these blind effects, The Wire shows his “omniscient” follower the daily reterritorialization of Baltimore’s “moral” geography.
As declared by screenwriter David Simon, the series’ deus ex machina, in a 2007 interview with The New Yorker: “The Wire was never a cop show. We were always planning to move further and further out, to build a whole city”.
For this and for several other reasons, we can say – along with a lot of other magazines and websites – that The Wire is not only the most outstanding TV show of the decade near to his end, but that it promises to become, even in the next years, an influential critical tool for social and urbanistic thought.
(Thanx Stan)

My steampunk wish


Should I ever get a MAC this is the one I want (combined with an old typewriter!)

*woof*


(Nervous) Rex AKA Fatboy Fat


Rex is about 17 and has been with us for 16 of those years. We got him through a newspaper ad. He had been found in the bush and we think had been hit by a car.
He initially was so nervous and cowered at the slightest movement and didn't bark for about the first year.
Now as he nears the end of his time with us he is very lame, very blind, very deaf, very smelly and still very loved.
The film above is a very moving account of the last days of Oden.

This one's for you Spacebubs

Image and video hosting by TinyPic
                                Via 'Mogadonia'

Page to donate money for Vic Chesnutt's family set up by the very wonderful Kristen Hersh

What this man was capable of was superhuman. Vic was brilliant, hilarious and necessary; his songs messages from the ether, uncensored. He developed a guitar style that allowed him to play bass, rhythm and lead in the same song — this with the movement of only two fingers. His fluid timing was inimitable, his poetry untainted by influences. He was my best friend. I never saw the wheelchair—it was invisible to me—but he did. When our dressing room was up a flight of stairs, he'd casually tell me that he'd meet me in the bar. When we both contracted the same illness, I told him it was the worst pain I'd ever felt. "I don't feel pain," he said. Of course. I'd forgotten. When I asked him to take a walk down the rain spattered sidewalk with me, he said his hands would get wet. Sitting on stage with him, I would request a song and he'd flip me off, which meant, "This finger won't work today." I saw him as unassailable—huge and wonderful, but I think Vic saw Vic as small, broken. And sad.
I don't know if I'll ever be able to listen to his music again, but I know how vital it is that others hear it. When I got the phone call I'd been dreading for the last fifteen years, I lost my balance. My whole being shifted to the left; I couldn't stand up without careening into the wall and I was freezing cold. I don't think I like this planet without Vic; I swore I would never live here without him. But what he left here is the sound of a life that pushed against its constraints, as all lives should. It's the sound of someone on fire. It makes this planet better.
And if I'm honest with myself, I admit that I still feel like he's here, but free of his constraints. Maybe now he really is huge. Unbroken. And happy.
Love,
Kristin

Vic Chesnutt - Supernatural

http://www.timesonline.co.uk/tol/news/world/middle_east/article6967927.ece

Neda Agha-Soltan is Times Person of the Year


Neda Soltan was not political. She did not vote in the Iranian presidential election on June 12. The young student was appalled, however, by the way that the regime shamelessly rigged the result and reinstalled Mahmoud Ahmadinejad. Ignoring the pleas of her family, she went with her music teacher eight days later to join a huge opposition demonstration in Tehran.
“Even if a bullet goes through my heart it’s not important,” she told Caspian Makan, her fiancé. “What we’re fighting for is more important. When it comes to taking our stolen rights back we should not hesitate. Everyone is responsible. Each person leaves a footprint in this world.”
Ms Soltan, 26, had no idea just how big a footprint she would leave. Hours after leaving home, she was indeed shot, by a government militiaman, as she and other demonstrators chanted: “Death to the dictator.”
Arash Hejazi, a doctor standing near by, remembers her looking down in surprise as blood gushed from her chest. She collapsed. More blood spewed from her mouth. As she lay dying on the pavement, her life ebbing out of her, “I felt she was trying to ask a question. Why?” said Dr Hejazi, who tried to save her life. Why had an election that generated so much excitement ended with a government that claims to champion the highest moral values, the finest Islamic principles, butchering its own youth?A 40-second telephone clip of Ms Soltan’s final moments flashed around the world. Overnight she became a global symbol of the regime’s brutality, and of the remarkable courage of Iran’s opposition in a region where other populations are all too easily suppressed by despotic governments.
Her name was invoked by Barack Obama, Gordon Brown and other world leaders. Outside Iranian embassies huge crowds of protesters staged candlelit vigils, held up her picture, or wore T-shirts proclaiming, “NEDA — Nothing Except Democracy Acceptable”. The internet was flooded with tributes, poems and songs. The exiled son of the Shah of Iran carried her photograph in his chest pocket.
She was no less of an icon inside Iran, whose Shia population is steeped in the mythology of martyrdom. Vigils were held. Her grave became something of a shrine, and the 40th day after her death — an important date in Shia mourning rituals — was marked by a big demonstration in Behesht-e Zahra cemetery in Tehran that riot police broke up.
It was not hard to see why Ms Soltan so quickly became the face of the opposition, the Iranian equivalent of the young man who confronted China’s tanks during the Tiananmen Square demonstrations 20 years earlier. She was young and pretty, innocent, brave and modern. She wore make-up beneath her mandatory headscarf, jeans and trainers beneath her long, black coat, and liked to travel. She transcended the narrow confines of religion, nationality and ideology. She evoked almost universal empathy.
The story of her death was so potent that the regime went to extraordinary lengths to suppress it. It banned a mourning ceremony, tore down black banners outside her home, and insisted that her funeral be private. It ordered her family to stay silent.
In the subsequent weeks any number of leading officials, ayatollahs included, sought to blame her death on British and American intelligence agencies, the opposition, and even the BBC — accusing its soon-to-beexpelled Tehran correspondent, Jon Leyne, of arranging her death so that he could get good pictures.
The regime announced investigations that, to no one’s surprise, exonerated it and all its agents. It managed to coerce Ms Soltan’s music teacher into changing his story, but it failed to do the same with Mr Makan, despite imprisoning him for 65 days — many of them in solitary confinement. Released on bail, he fled the country — making a five-day overland journey to escape.
Dr Hejazi also fled, back to Oxford where he had been taking a postgraduate course in publishing. There he confirmed in an interview in The Times that Ms Soltan was shot by a Basij militiaman on a motorcycle. But the regime still hounds him. It has harassed his family in Tehran, is trying to close his publishing company in the capital, and has accused him of helping British agents to kill Ms Soltan. It stages demonstrations outside the British Embassy demanding his extradition. He would be arrested the moment he returned to Tehran, meaning that he, his wife and infant son are now exiles.
When The Queen’s College, Oxford, established a scholarship in Ms Soltan’s name the regime sent the university a furious letter of complaint.
Back in Tehran, the regime tried to buy off Ms Soltan’s parents by promising them a pension if they agreed that their daughter was a “martyr” killed by foreign agents.
Her mother, Hajar Rostami Motlagh, was outraged. “Neda died for her country, not so that I could get a monthly income from the Martyr Foundation,” she said. “If these officials say Neda was a martyr, why do they keep wiping off the word ‘martyr’ in red which people write on her gravestone? ... Even if they give the world to me I will never accept the offer.”
Soon afterwards, government supporters desecrated her grave. The regime has not arrested or investigated Abbas Kargar Javid, who was caught by demonstrators seconds after he shot Ms Soltan. The crowd, unwilling to use violence, and with the police the enemy, let him go — but not before they had taken his identity card.
Six months on, it is obvious that Ms Soltan did not die in vain. The manner of her death, and the regime’s response, has shredded what little legitimacy it had left. She helped to inspire an opposition movement that is now led by her generation, which a systematic campaign of arrests, show trials, beatings, torture and security force violence has failed to crush, and whose courage and defiance has won the admiration of the world.
As the new year approaches, the so-called Green Movement appears to be gaining confidence and momentum. It no longer seems impossible that the regime could fall in 2010. If and when it does, Ms Soltan will be remembered as the pre-eminent martyr of the second Iranian revolution.

Vic Chesnutt RIP

Vic Chesnutt, a singer-songwriter whose music dealt with mortality and black humor, died on Friday in a hospital in Athens, Ga., a spokesman for his family said. He was 45 and lived in Athens.
He had been in a coma after taking an overdose of muscle relaxants earlier this week, said the family spokesman, Jem Cohen.
In a two-decade career, Mr. Chesnutt sang darkly comic and often disarmingly candid songs about death, vulnerability, and life’s simple joys. A car accident when he was 18 left him a quadriplegic, but he has said that the accident focused him as a musician and a poet.
“It was only after I broke my neck and even like maybe a year later that I really started realizing that I had something to say,” he said in a recent radio interview with Terry Gross.
Discovered in the late 1980s by Michael Stipe of R.E.M., who produced his first two albums, Mr. Chesnutt has been a mainstay in independent music, collaborating with the bands Lambchop and Widespread Panic.
In 1996 his songs were performed by Madonna, the Indigo Girls, Smashing Pumpkins, R.E.M. and others for “Sweet Relief II: The Gravity of the Situation,” an album that benefited the Sweet Relief Musicians Fund, a nonprofit group that offers medical support for musicians.
His survivors include his wife, Tina Whatley Chesnutt; a sister, Lorinda Crane; and nine nieces and nephews.
Recently Mr. Chesnutt had had a burst of creativity, releasing two 2009 albums, “At the Cut” and “Skitter on Take-Off.” In the song, “Flirted With You All My Life,” from “At the Cut,” Mr. Chesnutt sings about suicide, which he had attempted several times. Written as a breakup song with death, it expresses a wish to live:
“When you touched a friend of mine I thought I would lose my mind
But I found out with time that really, I was not ready, no no, cold death
Oh death, I’m really not ready.”
@'NY Times'

Vic Chesnutt RIP


he's gone...so much to go away in a moment

Flying Lotus - A Decade of Flying Lotus (Mixed by The Gaslight Killer)


Merry Christmas and happy holidays to everyone
as we’re approaching this new year, I felt it was time to let go of some things that have been gathering dust. Some old things, and some new things, I tried to pick out tracks that I know yall haven’t heard yet so there should be surprises around every turn.
can’t believe i’ve been making tracks for over 10 years now..That said, there’s so much to learn still.
I hope you all enjoy this mix. Thanks to the Gaslamp Killer for doing an incredible job on this.
Can’t wait for you all to hear my album ‘Cosmogramma’ coming out April 20th 2010 on Warp Records.
Enjoy
s

icon for podpress  A Decade of Flying Lotus (mixed by GLK)

Brendon Moeller - Process part 179

     
More superb mixes @'Modyfier'