♪♫ John Foxx - Crash and Burn

(For Kaggsy!)

Scotland Yard Report Finds British Citizen Was Tortured in Secret CIA Site

UK Finds That Detainee Was Tortured As Part Of American Interrogation . . . Obama Administration Threatens To Cut Off Intelligence

Baring the soul: Paul Bindrim, Abraham Maslow and 'Nude Psychotherapy'

Soul Coughing's Mike Doughty on sobriety and life as a solo artist

'...I don’t really know any addicts that don’t have trauma in their backgrounds. I think, to activate this thing, there is generally pain that needs to be numbed, or trauma that needs to be gotten away from. One of the things about the disease model is that so many people of the non-alky variety are just so indignant about it. I think we should just give it up. It’s maybe not worth the fight over the semantics of it. It’s like, addicts are killing themselves, they’re unable to stop using drugs, I would think that would be more important than what to call it."
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(Thanx Dirk!)

(21st 'Holy' Shroud (inna JG Ballard stylee!)

Testimonies disclosed that a 44-year-old pedestrian was struck head-on by a truck while she was roaming on the motorway; at the time of collision, the truck was travelling at a speed of about 90km/h. In the second phase of the collision, the pedestrian was projected about 100m before her body was run over by the truck and then by a car. The autopsy revealed extensive mutilations, making it impossible to verify the testimonies of witnesses to the collision as regards the pedestrian's position at the moment of the first impact. However, the reports produced by the technical expert and the forensic pathologist were able to confirm the testimonies, based on an impact zone on the front panel of the cab of the truck, where part of the pedestrian's face was reproduced like a "modern holy shroud".
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@vaughanbell
(Thanx Keith!)

Amy Winehouse - Live At Glastonbury Festival 29th June 2008 (Full Concert)

58 minutes

Rupert Murdoch’s Late Night SOPA Tweets

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The banner headline on today's Age saying 'The draw, the seeds, the Aussies' I thought was referring to Australia's placing in the world's drug consumption chart. 
Imagine my disgust when I see it is referring to fugn tennis :)

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What a tragic wasted opportunity to present a true portrait of the Iron Lady

llustration: David Foldvari

Robert Fisk: This is not about 'bad apples'. This is the horror of war

:)

Lee Ranaldo - Off The Wall

First taste from Lee Ranaldo’s upcoming solo full-length, Between The Times And Tides, out March 20th via Matador Records. More Ranaldo news/etc over on his the Sonic Youth page (keep an eye out for 2012 tour dates).
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Matthew Shipp On Piano Jazz

Critics and fans have used a host of words to describe the compositions of this week's guest, composer/pianist Matthew Shipp. The Wilmington, Del., native's music has been called inventive, free, challenging, rich, tapestry-like and playful. But the most common descriptor is "unique" — a great word to describe this session of Piano Jazz.
At the beginning of the session he tells Marian McPartland, "I like to be felt. If I'm successful ... it hits people on many different levels."
There are many different emotional strands in Shipp's music, and one can hear his roots quite clearly, ranging from his interest in the organ music played at the Episcopal Church of his youth, to the classical lessons he began at age five, the diverse jazz recordings his parents collected (which Shipp started devouring when he was 12) and his studies at the New England Conservatory of Music.
The session features three of Shipp's compositions. He solos on "Module," as well as "Patmos," a tune that paints a very clear scene for McPartland: "I actually get a picture of some people in a forest, walking through the trees." Their duet on "Gamma Ray" is something of a departure from Shipp's often dramatic style, with its playfulness and Thelonius Monk-like angularity.
When Shipp plays the standards he offers startling revelations. "Angel Eyes" expands with thick chords and rumbling arpeggios, creating dramatic tension and release. He inspires McPartland to take a page from his notebook when she plays Duke Ellington's "Warm Valley," her solid left hand often providing counterpoint to the melodic inventions she hangs on what Shipp calls Ellington's "rock-solid backbone."
McPartland's "Portrait of Matthew" also incorporates some of Shipp's style, painting a complex and thoughtful portrait of him. Afterwards, she tells him, "It's inspiring to hear someone like you play, because it does make me sort of think differently."
McPartland and Shipp play three other duets, including the Gershwin classic "Summertime," which transforms into a classically-inspired fantasia, as well as John Coltrane's "Naima." They close with an inspired "C-Jam Blues," an almost baroque, bluesy fugue that alternately walks, skips, strolls and struts.
Originally recorded March 7, 2006.
Alfred Turner @'npr' 

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