Monday, 23 August 2010

Mexican Police To Patrol NY?

In a series of events which has caused wide notice and a storm of protests, the government of Mexico, through its consulate in New York in the United Nations, has announced it will begin patrolling the New York City borough of Staten Island to “safeguard” its nationals there.
The actions of Mexico come after a series of incidents the Mexican government terms “bias attacks.”
Ironically, these so-called “hate crimes” have been perpetrated by blacks and Asians, indicative of rising tensions between various ethnic groups in the U.S. The Catholic Examiner and NBC New York both reported the Mexican government’s intention to mount surveillance, patrol and police in and around the Staten Island community of Port Richmond, which in recent years has seen a large influx of Mexican illegal immigrants.
Since the Examiner’s coverage, however, councilor officials, city hall and the local press have begun to carefully de-emphasize any possible role of Mexican law enforcement or military in efforts to secure the neighborhood.
Mexican officials have set up a neighborhood office and a local phone hot line for their nationals to report “bias incidents”—regardless as to whether they are in the United States legally.
New York City police had been monitoring the situation and investigating the reported assaults as local crimes. The actions of the Mexican government have caused Mayor Michael Bloomberg and Police Commissioner Raymond Kelly to order what many observers say is the most concentrated police mobilization since the World Trade Center disaster.
The main street of Port Richmond was swiftly transformed into what the New York Times described as a war zone like atmosphere with over 120 newly assigned officers, high-intensity night lighting, two huge “sky tower” police observation posts, frequent helicopter overflights and 20 police cars to watch the center of the relatively small neighborhood. Several long-term residents described it as a constant hornet’s nest of activity.
Both published reports and residents say that reports of fights between Mexicans and other groups began years ago, in the late 1990s or early 2000s. Many charge the present round of incidents started in 2003 with one loss of life in 2006, which might not even be connected to the present series of events.
At a major community gathering held at the historic St. Phillips Baptist Church, speakers addressed the current situation in the neighborhood and the borough, while Mexican councilor officials looked on.
But while the Richmond anti-violence organization and assorted left-leaning journalists who attended may have been expecting a mea culpa from local residents, what they got instead was a blast of community push-back. Speaker after speaker from the black community told of horrendous conditions the largely illegal immigrants had brought to their community. Speakers described the pattern in communities affected by an influx of illegals.
Community residents, many of whom are black first-time homeowners, told of constant disputes, alcohol and drug sales, late night disruptions, trespassing and public urination.
Others in the audience, who declined to testify, spoke of men wearing clothes bearing symbols of La Raza, Aztlan and other militant pro-Mexican groups.
They also spoke of repeated attempts to summon the state liquor authority’s enforcement agency to deal with the surging illegal liquor sales in the area, with little in the way of a response.

WARNING! Very Graphic

Proms 2010: Cornelius Cardew interview - what does a bun sound like?

Ear to the ground: Cornelius Cardew in search of inspiration

This year’s Proms season offers plenty of interesting premieres. But none has aroused such puzzled curiosity as Bun No 1, which is being performed by the BBC Scottish Symphony Orchestra next Friday. Titles normally offer some clue, but what on earth would a musical bun be like? Sweet and sticky, perhaps, or circular? Its composer Cornelius Cardew offered a few clues. “It’s filling but not substantial … it’s a stone bun soaked in milk … I thought of it as a nice present to an orchestra, the way one gives a bun to an elephant.”
This might suggest Cardew was one of those amiable musical jokers like Gerard Hoffnung, but far from it. Cardew had a sharp sense of humour, but it’s hard to think of any composer more serious and piercingly self-critical. He was a kind of Wittgenstein of music, constantly setting out reasons in his diary for acting in a certain way, testing his convictions against reality, and then adjusting or even rejecting them outright.
That intimidating poise and total self-possession showed itself young. By the mid-Fifties, when he was a student at the Royal College of Music, Cardew was already alarming his professors with his passion for European avant-garde composers such as Stockhausen. He was phenomenally gifted musically, and once learnt the guitar from scratch in two weeks so he could take part in the UK premiere of Pierre Boulez’s Le Marteau san Maître, which has one of the hardest guitar parts ever written.
Then an encounter with the more freewheeling avant-gardism of American composers sent him off in a new direction. He spent much of the early Sixties working on a vast graphic score entitled Treatise, as beautiful to look at as it is puzzling to hear (graphic art was another of Cardew’s talents, which provided him with a living for several years).
But even before he finished Treatise, Cardew was chaffing at the self-enclosed, airless quality of modernism, and hankering for a form of music-making that would be more communal and democratic. With a few comrades-in-arms he founded the Scratch Orchestra, a determinedly amateur group dedicated to creating its own repertoire and ethos, often through improvisation. Cardew’s biggest piece for the group was The Great Learning, a large-scale setting for chorus and players of writings by Confucius.
It was The Great Learning that led to Cardew’s first encounter with the Proms. It was not a happy one. In 1972 he and the Scratch Orchestra were invited by William Glock, a great champion of the avant-garde, to perform part of The Great Learning in that year’s Prom season.
Glock naturally imagined he was going to get the original version, but Cardew had moved on yet again. He was now a convinced Maoist, with a scorn for anything that smacked of bourgeois individualism. He’d drastically revised The Great Learning, spicing the Confucian sentiments of the original with new slogans, such as “Revolution is the Great Learning of the present. A revolution is not a dinner party; it is an insurrection, an act of violence by which one class overthrows another”.
Glock politely declined the new version and asked for the original, but Cardew refused point-bank. Eventually a compromise was reached. But the episode was a turning point for Cardew. From then until his untimely death (caused by a hit-and-run driver in 1981) he turned his back on the “normal” musical world and devoted himself to writing revolutionary songs and organising political rallies.
So which Cardew will we hear in Bun No 1? The free-form graphic composer or the advocate of democratic improvisation? Bun No 1 dates from 1965, a period when Cardew was still in thrall to European modernism. According to Cardew’s biographer John Tilbury, it’s well worth reviving. “The piece was written in Rome when Cardew was studying orchestration,” he says, “and there’s never a dull moment. It’s like a series of very strong, vivid images, not connected to each other, and it has a strong granitic quality, with piercing woodwind lines somewhat like Varese.” So not sweet and sticky, but not insubstantial either.
Cornelius Cardew’s Bun No 1 will be performed by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, with music by John Cage, Howard Skempton and Morton Feldman, at the BBC Proms on August 20 at the Royal Albert Hall and on BBC Radio 3
Ivan Hewett @'The Telegraph'

'They got one thing right: Ground Zero is being desecrated. Just not by Muslims.'

Rocketnumbernine - Matthew and Toby

   
Uploaded by Four Tet

Gorillaz live @ Morning Becomes Eclectic

Ray Bradbury watching 'Fuck me, Ray Bradbury'



via ain't it cool

UCBcomedy.com

Massive Israeli manipulation of US media exposed

Don Letts - This much I know

Don Letts, musician
 
Don Letts: 'Music has become a soundtrack for consumerism. It feels like punk never happened'. Photograph: Eamonn Mccabe/Advert

The evolution of the Notting Hill Carnival traces the evolution of multiculturalism – it's a cultural barometer. But it's also in danger of losing its conscience. I want to remind people that it was something born of struggle.
For my parents Carnival was a reminder of home, and somewhere they perhaps wanted to return to.
The black British youth was confused when I was growing up. We'd try to emulate American blacks or our Jamaican brothers, but we were somewhere in between.
Everything I learned about my culture came through reggae. The first time I heard about [political activist] Marcus Garvey was through music, not school.
I met Malcolm McLaren in 1972. He dressed as a teddy boy then. He connected the counter-cultural dots for me – made me aware that I could be part of it, too.
There were two shops on the King's Road in the 70s that attracted disaffected youth: my shop, Acme Attractions, and Vivienne Westwood and Malcolm's shop, Sex. Friendships were made by people who were attracted by their differences.
When punk came along, everyone picked up guitars. I wanted to pick something up too, so I picked up a camera and reinvented myself as a film-maker.
The downside of affordable technology is mediocrity. Back in the 70s every three minutes of film cost £20. Now you can get a 90-minute digital tape for a fiver. The price used to weed out people who were just fucking about.
Youth culture in the west is increasingly conservative. Music has become a soundtrack for consumerism. It feels like punk never happened.
Racial problems are more complicated now. I've got mates who moan about Polish people stealing their work. I'm like, "You can't say that. That's what people said about our parents."
I gave a lecture last week and the kids in the audience said, "Don, you sound like an angry old man." I said, "It's because you kids aren't bloody angry enough."
I was never a herd person: I was always a freak. I just refused to be defined by my colour.
Gareth Grundy @'The Guardian'

Wyclef Jean to appeal against Haiti election ruling

Hanging by a thread: As Iraq war formally ends this month, country is still struggling for stability

Hitler reacts to the 2010 Australian Election result

Assange arrest warrant 'no mistake'

Sunday, 22 August 2010

the buzz feeling by OG kush


01 the jam- start!
02 the specials - nite klub
03 the selecter - too much pressure
04 the beat - whine & grine/stand down margaret
05 the bodysnatchers - easy life
06 the specials - too much too young
07 the selecter - my collie (not a dog)
08 the specials - a message to you rudy
09 the beat - ranking full stop
10 the police - voices inside my head
11 aswad - drum & bass line
12 ub40 - the buzz feeling
13 strictly rockers - blacka black dub

nice 2Tone mix
@ subnav

Julian Assange: WikiLeaks founder hits out at rape smears as Swedish warrant for his arrest is withdrawn

Julian Assange
 
WikiLeaks founder Julian Assange. Photograph: Andrew Winning/Reuters
Julian Assange, the secretive founder of WikiLeaks, the website behind the biggest leak of US military documents in history, was the subject of conspiracy theories last night after prosecutors withdrew a warrant for his arrest in connection with rape and molestation allegations.
On Friday a spokeswoman for the Swedish prosecutors' office in Stockholm confirmed an arrest warrant for Assange had been issued in absentia and urged him to "contact police so that he can be confronted with the suspicions".
According to Expressen, a Swedish newspaper, the 39-year-old Australian had been wanted in connection with two separate incidents. The first involved a woman from Stockholm who reportedly accused him of "molestation". The second involved a woman from Enköping, about an hour's drive west from Stockholm, who had apparently accused Assange of rape. The warrant was withdrawn yesterday afternoon.
Assange claimed he was the victim of a smear campaign. He denied the charges on WikiLeaks's Twitter page, saying they were "without basis and their issue at this moment is deeply disturbing".
It is believed that Assange, who has no known address and spends much of his time travelling to ensure a low profile, knew both women well. The pair had been reluctant to go to the police with their complaints, according to sources in Sweden. But the news that Swedish police were investigating the affair was leaked to Expressen, prompting further claims that a smear campaign had been orchestrated by foreign interests keen to discredit him.
Gavin MacFadyen, director of the Centre for Investigative Journalism, and a friend of Assange, said: "A lot of us who had any notion of what he was doing expected this sort of thing to happen at least a week ago. I'm amazed it has taken them this long to get it together. This is how smears work. The charges are made and then withdrawn and the damage is done."
WikiLeaks has courted controversy since July when it posted 77,000 Afghan War documents online, leading to claims it had put the lives of troops and security sources at risk.
Assange had been in Sweden, home to some of WikiLeaks's internet servers, to oversee the release of thousands more classified documents relating to US military operations.
Last week he announced at a press conference in Stockholm that his website was set to publish a final batch of 15,000 documents on the war in Afghanistan in "a couple of weeks".
"It seems an unusual time to embark on a career of multiple rape," said Guardian journalist David Leigh, who has worked closely with Assange over the recent WikiLeaks Afghanistan documents. "He certainly didn't come across as a violent man, not in the least. Julian was clearly preparing to release more sensitive documents."
There had been speculation that Assange's arrest would prompt WikiLeaks to post a secret code that would decrypt a massive "insurance file" on its site, the contents of which are the subject of frenzied speculation. The file dwarfs the size of all the other files on the WikiLeaks Afghanistan page combined, prompting claims that it contains a huge amount of top-secret material. But sceptics believe the file is simply an elaborate bluff and contains nothing revelatory.
Kristinn Hrafnsson, a colleague, of Assange's, said he had not known of the charges "until he read them in the rightwing tabloid Expressen". Hrafnsson said: "There are powerful organisations who want to do harm to WikiLeaks."
Last week Assange claimed the Pentagon was ready to talk to WikiLeaks about its unreleased documents. "We received contact through our lawyers that the General Counsel [of the Pentagon] says now they want to discuss the issue," he said.
A Pentagon spokesman said a phone call had been arranged with the WikiLeaks lawyer but no conversation had taken place. He denied the Pentagon was willing to co-operate with WikiLeaks. "These documents are property of the United States government," he said. "The unauthorised release of them threatens the lives of coalition forces as well as Afghan nationals."
Yesterday the Wall Street Journal claimed both the US Defence and Justice departments were exploring legal options for prosecuting Assange and others on grounds that they encouraged the theft of government property.
Jamie Doward and Tracy McVeigh@'The Guardian'