Wednesday, 2 March 2011
newsbrooke Heather Brooke
Julian Assange brought wikileaks into the world, it looks like he'll be responsible for its downfall too. Tragic. http://bit.ly/dX5G0Z
Modeselektor + Phon.O present “Tesa“ at WMF, Nov 29th 2009
MODESELEKTOR invited PHON.O to perform as their guest dj for their project called "Tesa". "Tesa" its a special live-performance based on 2 decks with locked grooves(controlled by phon.o)+2 decks with locked grooves and additional records(controlled by Gernot of Modeselektor) routed through a mixer with a bunch of effects(controlled by Szary of Modeselektor).
The performance of "Tesa" was the warmup for ANTI-POP CONSORTIUM at WMF on november 29th in 2009.
The performance of "Tesa" was the warmup for ANTI-POP CONSORTIUM at WMF on november 29th in 2009.
The Who - 8. Rockpalast Nacht 28.-29.März 1981
01 Substitute (2'43'')
02 I Can't Explain (2'20'')
03 Baba O'Reily (5'12'')
04 The Quit One (3'29'')
05 Don't Let Go The Coat (3'46'')
06 Sister Disco (5'11'')
07 You Better You Bet (4'56'')
08 Drowned (5'18'')
09 Behind Blue Eyes (3'26'')
10 Another Tricky Day (5'50'')
11 Pinball Wizard (3'15'')
12 Who Are You (6'23'')
13 5:15 (6'06'')
14 My Generation (3'40'')
15 Won't Get Fooled Again (9'10'')
16 Summertime Blues (3'14'')
17 Twist And Shout (3'12'')
18 See Me, Feel Me
Pete Townshend - g, voc
Roger Daltrey - voc, harm
John Entwistle - b, voc
Kenny Jones - dr
John "Rabbit" Bundrick - keyb, voc
Tuesday, 1 March 2011
Hear Five Seconds Of Every #1 Pop Single: 1956 to 1992
The concept and term “Chartsweep” both originated in the late 60s with a syndicated radio show called “The History of Rock ‘n’ Roll.” I listened to it on WOR-FM in New York and recorded portions of it on an old Wollensack reel-to-reel tape recorder. As you know, the ‘sweep presented segments of every Billboard #1 single starting with “Memories Are Made of This” (Jan 1956). I don’t recall where it stopped, but it was around 1968/69. Six years later I began teaching an American Studies course at the University of Maryland called “Popular Music in American Society.” To provide a setting for each class I dusted off the concept, took it back to January 1950, added a number of songs based on Joel Whitburn’s re-definition of #1 songs, and continued where the original had stopped. I added each new #1 until fall, 1991 when I stopped teaching the course.
Five Seconds Of Every #1 Pop Single Part 1
Five Seconds Of Every #1 Pop Single Part 2
photo: oemebamo
@'Shocklee'
JPBarlow John Perry Barlow
The problem with reality is that there's just too damned much of it to fit in everybody's head.
In 'Free Libya': Hey, Who, Exactly, Is in Charge Here?
Scores of newly minted revolutionary officials — middle-aged volunteers from the city's professional and business classes — have many meetings but appear to make few decisions. They hold press conferences in what used to be a courtroom, while about a dozen opposition spokesmen roam the halls trying to be helpful but often offering conflicting information. Trucks full of eggs and baby formula arrive at the courthouse doors without an apparent system for delivering them to the needy and without clear reports of shortages. And though spirits are high, especially among the young volunteers sporting Che Guevara–style berets, the institutional vibe is more like that of a steering committee of a future liberal-arts college than of a guerrilla movement gearing up for a long fight. "The problem is that we don't have anyone with any political experience whatsoever," says Iman Bugahaighis, a professor of dentistry now acting as an unofficial spokesperson. "We didn't have any institutions other than regime. That was part of Gaddafi's plan: to make everyone loyal only to him."...
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