Wednesday, 14 September 2011
E-petitions: MPs to debate riots and Hillsborough
MPs are to debate two e-petitions which have gathered the support of more than 100,000 people.
The first debate, on 13 October, will consider calls to remove benefits from people found guilty of taking part in this summer's riots.The second debate, four days later, is on a petition demanding the full release of documents relating to the 1989 Hillsborough Stadium disaster.
The government introduced the e-petitions website this summer.
Any petitions gaining the support of more than 100,000 people can be considered for a full debate, if an MP suggests it to the backbench business committee, which controls about 35 days a year of parliamentary time.
At Tuesday's committee meeting, Conservative MP Gavin Barwell proposed a wider debate on the government's response to the riots, after a petition calling for those involved to lose entitlement to benefits gathered more than 244,000 signatures.
'Maximum disclosure' Liverpool Walton MP Steve Rotheram suggested the petition calling for the release of government papers on the 1989 Hillsborough disaster, in which 96 Liverpool Football Club fans died.
In 2009, the then Labour government set up the Hillsborough Independent Panel, whose task was to "oversee the maximum possible public disclosure of governmental and other agency documentation relating to the Hillsborough tragedy and its aftermath".
The Information Commissioner Christopher Graham ruled in July this year that some files should be released, ahead of the usual 30-year rule, following a BBC freedom of information request, which was made before the panel was established.
'Process is working' However, the government is appealing against that ruling, and has said it wants the documents to be released to the panel first rather than all at once to the public.
It is understood the panel may put forward its recommendations on which papers should be released as early as the spring of next year.
The petitioners, however, are demanding that the information given out is not pre-filtered.
A third topic considered for debate - that of a referendum on the UK's membership of the European Union - was not selected by the backbench committee, which had set aside two time slots in October.
The EU referendum call had gathered 80,000 signatures on a paper petition, and more than 20,000 on an e-petition.
A spokesman for the House of Commons leader, Sir George Young, said: "We welcome the decision of the backbench business committee to propose debates in the House on the subjects of the first two eligible e-petitions through the new government website.
"This shows that the new e-petition process is working, and demonstrates that it can achieve the aim of better connecting the public with Parliament."
The government announced last week that MPs could get more time to debate issues raised on the e-petitions website.
@'BBC'
It's Not Plagiarism. In the Digital Age, It's 'Repurposing.'
It seems an appropriate response to a new condition in writing: With an unprecedented amount of available text, our problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, parse it, organize and distribute it—is what distinguishes my writing from yours.
The prominent literary critic Marjorie Perloff has recently begun using the term "unoriginal genius" to describe this tendency emerging in literature. Her idea is that, because of changes brought on by technology and the Internet, our notion of the genius—a romantic, isolated figure—is outdated. An updated notion of genius would have to center around one's mastery of information and its dissemination. Perloff has coined another term, "moving information," to signify both the act of pushing language around as well as the act of being emotionally moved by that process. She posits that today's writer resembles more a programmer than a tortured genius, brilliantly conceptualizing, constructing, executing, and maintaining a writing machine.
Perloff's notion of unoriginal genius should not be seen merely as a theoretical conceit but rather as a realized writing practice, one that dates back to the early part of the 20th century, embodying an ethos in which the construction or conception of a text is as important as what the text says or does. Think, for example, of the collated, note-taking practice of Walter Benjamin's Arcades Project or the mathematically driven constraint-based works by Oulipo, a group of writers and mathematicians.
Today technology has exacerbated these mechanistic tendencies in writing (there are, for instance, several Web-based versions of Raymond Queneau's 1961 laboriously hand-constructed Hundred Thousand Billion Poems), inciting younger writers to take their cues from the workings of technology and the Web as ways of constructing literature. As a result, writers are exploring ways of writing that have been thought, traditionally, to be outside the scope of literary practice: word processing, databasing, recycling, appropriation, intentional plagiarism, identity ciphering, and intensive programming, to name just a few...
Continue reading
Kenneth Goldsmith @'The Chronicle'
DRC Music - Kinshasa One Two
An album of Congolese music entitled Kinshasa One Two by DRC Music, a collective gathered by Damon Albarn, is released digitally by Warp Records on 3rd October 2011 with a CD/vinyl release to follow on 7th November, to benefit Oxfam. PREORDER NOW - PROFITS GO TO OXFAM'S WORK IN DRC & DRC MUSICIANS
http://bleep.com/index.php?page=dynamic&module=drc_kinshasa_one_two
Kinshasa One Two was made during 5 days of sessions in Kinshasa this summer when the DRC Music collective teamed up with the best of contemporary Congolese musicians and performers. The collective comprises the eclectic production talents of: T-E-E-D (Totally Enormous Extinct Dinosaurs), Dan The Automator, Jneiro Jarel, Richard Russell, Actress, Marc Antoine, Alwest, Remi Kabaka, Rodaidh McDonald and Kwes, with album artwork by Hardy Blechman and Aitor Throup.
http://drcmusic.org/
Return of the Man Who Used to Rock
But at a stage in life when many of his peers are content to live off past glories, Mr. Lowe, now 62, is enjoying a remarkable second wind. Originally a purveyor of witty subversions of Top 40 confections — his first United States solo album, released in 1978, was called “Pure Pop for Now People” — he has reinvented himself in recent years as a writer and performer of spare, reflective songs rooted in the American country music and rhythm ’n’ blues he imbibed as a child.
At the same time Mr. Lowe has remade his image to align it with the more mature content of his work, the latest example of which is “The Old Magic,” a CD released on Tuesday. Once the prototypical long-haired, insouciant rocker, he now affects an avuncular look, with a shock of snow white hair, à la the older Cary Grant, and a pair of black Buddy Holly specs. That way “I won’t have to continually be pretending, like a lot of my contemporaries sadly have to, that they’re still young and copping this act they used to do and are condemned to do,” Mr. Lowe said during an interview in New York last month. “It’s a sort of unseemly sight, and one which I wish to avoid.”
It’s a remarkable turnabout for Mr. Lowe, who was associated with three of the most important British pop movements of the 1970s: pub rock, punk and new wave. An early band of his, Brinsley Schwarz, was the anchor of pub rock, and as a producer, he shaped and supervised Mr. Costello’s influential first five albums, as well as recordings by Graham Parker, the Pretenders, the Damned and Dr. Feelgood.
“When the punk scene came along, Nick was in the right place at the right time,” said Will Birch, an English musician, songwriter and producer who is also the author of two books about 1970s British rock. “He was Mr. Fixit, the guy who could produce a record,” but also “a sort of headmaster who made sure everything was kept very to the point, short and snappy.” A subsequent rockabilly-inspired group, Rockpile, generated gems like “I Knew the Bride (When She Used to Rock ’n’ Roll)” and “When I Write the Book.” But Mr. Lowe also maintained a skeptical distance from what was going on around him. “I’ve never really liked being in somebody’s gang,” he said. “As soon as I feel like I’m being encouraged to join someone else’s gang, I react rather badly to that.”
What set Mr. Lowe on the path to his current sound was a run of bad luck in the early 1990s. His record label had dropped him; he was coming off what he described as “the disastrous end to a love affair”; and even a return to producing seem closed to him, since “the general public had become conditioned to hearing a record sound a certain way, with a certain sheen,” rather than with the “scruffy, homemade sound” he prefers.
But then he had an extraordinary stroke of good fortune. Curtis Stigers’s version of “Peace, Love and Understanding” was included on the soundtrack album of the movie “The Bodyguard” (1992), which went on to sell an estimated 44 million copies worldwide and earn Mr. Lowe a windfall in songwriter’s royalties.
“I didn’t buy racehorses or yachts or anything like that,” he recalled, “but it was a big, big payday, and it enabled me to make a break with the past. I didn’t have the pressure to play the game. I could turn stuff down and avoid the slippery slope of me being forever in a ‘Remember those fabulous punk rock days? Well here they are again!’ sort of thing.”
Instead Mr. Lowe followed the advice of two friends whose records he had produced, Mr. Costello and John Hiatt. Touring with Mr. Costello, he began performing solo, and when he got home to London, where he still lives with his wife and 6-year-old son, he emulated Mr. Hiatt’s habit of “going to work every day” to write songs in a sort of office at a performance space in a neighborhood pub.
What emerged from that process was a CD called “The Impossible Bird,” released in 1994, and a new stripped-down and rootsy sound. “The Beast in Me,” written specifically for Johnny Cash, Mr. Lowe’s former father-in-law, emerged from those sessions, and on subsequent recordings like “Dig My Mood,” “The Convincer” and “At My Age,” that approach has been refined.
” A lot of people overproduce records, and in the early days he and I both did the kitchen sink. But now he’s focused on what he really wants to be, and there is no dead wood at all,” the singer-songwriter Daryl Hall said.
In recent years Mr. Lowe’s virtues as a songwriter and performer have been garnering more recognition, especially among younger musicians. Two tribute albums featuring other artists interpreting his songs, “Lowe Profile” and “Labour of Love,” have been issued, and this year he was invited to do performances-cum-songwriting-workshops at both the Country Music Hall of Fame and Museum in Nashville and the Grammy Museum in Los Angeles.
“Nick Lowe is a major, major influence for me,” said the indie rock and alt-country singer Neko Case, who has recorded a pair of his songs. “He’s the most consistent artist I can think of, and there is something about the lyricism and gracefulness of his songs that I just love. Their cadences are unusual and addictive, and the way he sings them, his phrasing, it’s just beautiful.”
This fall Mr. Lowe will tour with Wilco, which just recorded his tongue-in-cheek late-’70s composition “I Love My Label.” But Mr. Lowe will undoubtedly be doing things in his own understated way, even if it costs him: Huey Lewis, a friend for 30 years who credits Mr. Lowe for jump-starting his career, recalls inviting him to join him onstage for “I Knew the Bride” a few years ago, only to be told “Huey, I don’t rock anymore.”
“Obviously success is crowned with some sort of financial reward, that’s what puts the stamp on it,” Mr. Lowe said of his current trajectory. “That sort of stuff comes along, but that’s not really what I’m after. I’m not a greedy man. I’ve lived well, but I’m not really interested in that. I’m more interested in seeing what happens next, what the end of the movie is.”
Larry Richter @'NY Times'
Tuesday, 13 September 2011
James Murdoch recalled by MPs
Murdoch, who oversees News International as deputy chief operating officer of News Corporation, will face fresh questions about whether he knew that phone-hacking at the News of the World went wider than one "rogue reporter".
The date of his appearance has not yet been finalised, but it is understood that he could appear in November.
Murdoch insists he was not told about the existence of an email sent by a News of the World reporter marked "for Neville", which is understood to have been a reference to Neville Thurlbeck, who was the paper's chief reporter. That suggested phone hacking was not the work of a single reporter, as the company claimed until recently.
Colin Myler, the former editor of the paper, and Tom Crone, its head of legal, told MPs last week that they told Murdoch about the email and said that is why he approved an out-of-court settlement of £700,000 including costs to Gordon Taylor, the former chief executive of the PFA.
Murdoch told MPs in July that he did not know about the email and was not shown it or informed of its existence. In a statment last week he reiterated that was the case.
A News Corp spokeswoman said: "We await details of the commitee's request, however James Murdoch is happy to appear in front of the committee again to answer any further questions members might have."
James Robinson @'The Guardian'
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