Thursday, 22 September 2011
Thanks
R.E.M. breaks up
“To our Fans and Friends: As R.E.M., and as lifelong friends and co-conspirators, we have decided to call it a day as a band. We walk away with a great sense of gratitude, of finality, and of astonishment at all we have accomplished. To anyone who ever felt touched by our music, our deepest thanks for listening.”Formed in Athens, Georgia in 1980 by singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills, and drummer Bill Berry (who left the band in 1997), R.E.M. was regarded as a pioneer of alternative rock. Following years of underground success in the early and mid-1980s, the band achieved mainstream status in 1987 with the single “The One I Love”. They spent much of the next decade atop the charts thanks to a string smash hit albums, including 1991′s Out of Time, 1992′s Automatic for the People, and 1994′s Monster. The band continued their dominance into the next century, especially with the release of 2008′s critically acclaimed Accelerate and their most recent LP, 2011′s Collapse Into Now.
Alex Young @'CoS'
In their own words: The guys share their thoughts on why now.
MIKE
"During our last tour, and while making Collapse Into Now and putting together this greatest hits retrospective, we started asking ourselves, 'what next'? Working through our music and memories from over three decades was a hell of a journey. We realized that these songs seemed to draw a natural line under the last 31 years of our working together.
"We have always been a band in the truest sense of the word. Brothers who truly love, and respect, each other. We feel kind of like pioneers in this--there's no disharmony here, no falling-outs, no lawyers squaring-off. We've made this decision together, amicably and with each other's best interests at heart. The time just feels right."
MICHAEL
"A wise man once said--'the skill in attending a party is knowing when it's time to leave.' We built something extraordinary together. We did this thing. And now we're going to walk away from it.
"I hope our fans realize this wasn't an easy decision; but all things must end, and we wanted to do it right, to do it our way.
"We have to thank all the people who helped us be R.E.M. for these 31 years; our deepest gratitude to those who allowed us to do this. It's been amazing."
PETER
"One of the things that was always so great about being in R.E.M. was the fact that the records and the songs we wrote meant as much to our fans as they did to us. It was, and still is, important to us to do right by you. Being a part of your lives has been an unbelievable gift. Thank you.
"Mike, Michael, Bill, Bertis, and I walk away as great friends. I know I will be seeing them in the future, just as I know I will be seeing everyone who has followed us and supported us through the years. Even if it's only in the vinyl aisle of your local record store, or standing at the back of the club: watching a group of 19 year olds trying to change the world."
Via
REM: end of an era
J. Edgar (Trailer)
Warner Bros. Pictures has released the trailer for Clint Eastwood's latest biopic "J. Edgar" starring Leonardo DiCaprio, Naomi Watts, Armie Hammer, Judi Dench, Josh Lucas, and Jeffrey Donovan
Max Hattler: 1925 aka Hell
1923 aka Heaven + 1925 aka Hell won the Animate OPEN: Digitalis Audience Prize at animateprojects.org in 2011. 1925 aka Hell also won "Best Short Short" at St. Louis International Film Festival in 2010.
1925 aka Hell is one of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage. 1925 is based on Lesage's painting 'A symbolic Composition of the Spiritual World' from 1925.
The second loop, 1923 aka Heaven, is based on Lesage's painting 'A symbolic Composition of the Spiritual World' from 1923 and can be found here: vimeo.com/maxhattler/1923
The films were created during 5 days in February 2010 with students at The Animation Workshop in Viborg, Denmark.
facebook.com/maxhattler.artistpage
animwork.dk
maxhattler.com
maxhattler.com/1923
maxhattler.com/1925
Director: Max Hattler
Technical Director: Allan Lønskov
Sound: Adrian Dexter
Previz/Layout: Adrian Dexter
Modelling: Adrian Dexter, Allan Lønskov, Casper Wermuth, David Otzen, Jakob Kousholt, Kristoffer Mikkelsen
Animation: Adrian Dexter, Allan Lønskov, Casper Wermuth, David Otzen, Ditte Frandsen
Lighting: David Otzen
Rendering: Adrian Dexter, Allan Lønskov, David Otzen
Produced by maxhattler.com & The Animation Workshop
Year: 2010
Versions:
- 2 min. festival screening version
- forever-looping 1923/1925 double-projection installation ‘Heaven & Hell’
Taxes and the Wealthy
Well, sometimes I really do get tired of trying to reason with these people. Are we really back to the line that the rich are sorely oppressed, because their share of tax payments has risen — never mind how much their share of income has risen?
Let’s look at the tax data — the CBO estimates that separate the really rich from the only very rich only go up to 2005, but things probably haven’t changed much since then. And let me present what they say using one technique the Tax Policy Center uses routinely, asking what effect a change in taxes would have on after-tax income, other things equal. Here’s what I get for changes from 1979 to 2005:
Changes in tax rates have strongly favored the very, very rich.
Now, they’re only a fairly small part of the huge growth in the after-tax inequality of income. But tax policy has very much leaned into that growing inequality, not against it — and anyone who says otherwise should not be trusted on this issue, or any other.
Paul Krugman @'NY Times'
Let’s look at the tax data — the CBO estimates that separate the really rich from the only very rich only go up to 2005, but things probably haven’t changed much since then. And let me present what they say using one technique the Tax Policy Center uses routinely, asking what effect a change in taxes would have on after-tax income, other things equal. Here’s what I get for changes from 1979 to 2005:
Now, they’re only a fairly small part of the huge growth in the after-tax inequality of income. But tax policy has very much leaned into that growing inequality, not against it — and anyone who says otherwise should not be trusted on this issue, or any other.
Paul Krugman @'NY Times'
Wednesday, 21 September 2011
The Picture Editors' Guild Awards 2011
Newscast Young Photographer of the Year winner: – English Defence League supporters chant during a demonstration in Bradford city centre
Diego Stocco - Music From A Dry Cleaner
Almost everyday, on my way to a local bakery, I walk in front of a dry cleaners.
When they have the front door open, I hear a lot of interesting sounds coming from their work equipment. Eventually, the different mechanical and steam sounds sparked something in my mind, so one day I asked the owners if I could record a piece of music by using their machines as musical instruments.
I used a puff iron, press and dry cleaning machines, a washer, clothes hangers, and a bucket full of soap.
The bass and lead sounds were created from the buzzing tones coming from the conduits and engines.
There are no additional sounds from any traditional or electronic instruments. Enjoy!
More info and pictures are available at the Behance gallery: behance.net/gallery/Music-from-a-Dry-Cleaner/2161629
Music made entirely from a dry cleaner
Subscribe to:
Posts (Atom)
