♪♫ Roxy Music - Love Is The Drug (Todd Terje Disco Dub)

Created and edited by Ferry Gouw
Additional sequences generated by Anna Boberg
Out now on Beatport:
http://www.beatport.com/release/love-is-the-drug-todd-terje-disco-dub/863889
And Deluxe Vinyl:
http://www.vfeditions.com/product/view/47
Video uploaded on Bryan Ferry's youtube channel on 15.02.2012
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RIAA: The Pirate Bay is The Worst of The Worst

Pirate Bay: The RIAA Is Delusional and Must Be Stopped

Secret documents lift lid on WWII mutiny by US troops in north Queensland

African American engineers unit of the US Army on parade during WWII

An Australian historian has uncovered hidden documents which reveal that African American troops used machine guns to attack their white officers in a siege on a US base in north Queensland in 1942.

Information about the Townsville mutiny has never been released to the public.
But the story began to come to light when James Cook University's Ray Holyoak first began researching why US congressman Lyndon B Johnson visited Townsville for three days back in 1942.
What he discovered was evidence detailing one of the biggest uprisings within the US military.
"For 70 years there's been a rumour in Townsville that there was a mutiny among African-American servicemen. In the last year and a half I've found the primary documentation evidence that that did occur in 1942," Mr Holyoak told AM.
During World War II, Townsville was a crucial base for campaigns into the Pacific, including the Battle of the Coral Sea.
About 600 African-American troops were brought to the city to help build airfields.
Mr Holyoak says these troops, from the 96th Battalion, US Army Corps of Engineers, were stationed at a base on the city's western outskirts known as Kelso.
This was the site for a large-scale siege lasting eight hours, which was sparked by racial taunts and violence.
"After some serial abuse by two white US officers, there was several ringleaders and they decided to machine gun the tents of the white officers," Mr Holyoak said.
He has uncovered several documents hidden in the archives of the Queensland Police and Townsville Brigade detailing what happened that night.
According to the findings, the soldiers took to the machine guns and anti-aircraft weapons and fired into tents where their white counterparts were drinking.
More than 700 rounds were fired.
At least one person was killed and dozens severely injured, and Australian troops were called in to roadblock the rioters.
Mr Holyoak also discovered a report written by Robert Sherrod, a US journalist who was embedded with the troops.
It never made it to the press, but was handed to Lyndon B Johnson at a Townsville hotel and eventually filed away into the National Archives and Records Administration.
"I think at the time, it was certainly suppressed. Both the Australian and the US government would not have wanted the details of this coming out. The racial policies at the time really discluded [sic] people of colour," Mr Holyoak says.
Both the Australian Defence Department and the Australian War Memorial say it could take months to research the incident, and say they have no details readily available for public release.
But Townsville historian Dr Dorothy Gibson-Wilde says the findings validate 70-year-old rumours.
"Anytime it was raised, people usually sort of said, 'Oh you know, no that can't be true. Nobody's heard about that', and in fact it must have been kept pretty quiet from the rest of the town," she said.
Mr Holyoak will spend the next two years researching the sentences handed out to both the officers and the mutineers involved, and why the information has been kept secret for so long.
Josh Bavas @'ABC'

 Audio: WWII mutiny uncovered by Qld historian (AM)

How companies sell you products before you know you want them

The Future?

Peter Garrett on Advertising (1987)

'Advertising: the last refuge in a sorry world for creative and ambitious people who don't mind manipulation in the guise of a profession and who profit greatly by the conundrum of our economic system. If we don't keep the big wheel turning and make sure that all that is produced is consumed, then as sure as night follows day, we'll all be ruined.'

I really am not the world's biggest fan of Peter Garrett (understatement) but he sure hit the nail on the head here...

The Clown's Truth

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Smoking # 120 (Ulrike Meinhof )

Ulrike Meinhof is without doubt one of the most famous female terrorists in history. She was a co-founder of the left wing German terrorist group the Red Army Faction (RAF) which also became known as the Baader-Meinhof gang after the two gang leaders despite the fact that Meinhof was not really a leader of the gang.
Ulrike was born on 7th October 1934 in Oldenburg, Germany, her father being a Doctor of Art History who became the head of the City of Jena’s museum when Ulrike was two years old. Both of her parents died of cancer, her father in 1940 and her mother in 1948. Ulrike and her older sister were then looked after by her mother’s former border Renate Riemack. Riemack was a committed socialist and his views were to have a big impact on the young and vulnerable Ulrike. In direct contrast to the ill educated Andreas Baader, Ulrike was well educated studying sociology, philosophy and German studies at Marburg. In 1957 she was studying at a University near Munster. Here she showed the radicalism that was to lead her to a path of violence, joining the Socialist Student Union and getting involved in anti rearmament protests and anti nuclear weapon protests. She also demonstrated her skill at article and report writing for the student newspapers which would be her future career. 
She joined the outlawed German communist party in 1957 and was the editor of the left wing magazine Konkret from 1962 until 1964.  During this time she married Klaus Rohl, the publisher of Konkret and gave birth to twins Regine and Bettina in 1962. In 1962 Ulrike had surgery to remove a brain tumour and some claim during the surgery her brain was damaged which lead to her future violent behaviour, a post mortem after her death did show that her brain had been damaged. The couple divorced in 1968 following a year of separation. Her writings were demonstrating a more radical view, and a move from protest to more violent methods. After writing an article about an arson attack she met up with Andreas Baader and his partner Gudrun Ensslin, it was meeting that was to directly lead to her becoming a terrorist and ultimately her death.  By 1969 she was committed to the life of a terrorist / guerrilla to the extent that the airing of a short film she produced ‘Bambule’ was delayed (in fact it was finally aired in 1997). Her transition from journalist to terrorist was completed in May 1970 when she helped Baader escape prison via a library he was studying in. The resulting gun battle left 3 people wounded and Meinhof with a 10,000 DM bounty on her capture.
From 1970 to 1972 Meinhof took part in a wide variety of terrorist activities including bombings, robbery, kidnapping and shootings. She also continued to be a prolific writer producing many articles and doctrines for the RAF; these include the most famous “The concept of the Urban Guerrilla”.  On 14th June 1972 following a tip off Ulrike Meinhof was arrested along with another member of the RAF, Gerhard Mueller. Like the other trials of the Baader-Meinhof gang, Ulrike’s trial was long and complex, after the first couple of years of hearings she was sentenced to 8 years while other charges were being considered. Two years into her 8 year sentence on 9th May 1976 Ulrike Meinhof was found hanged in her cell using a rope made from a towel. The official verdict was of suicide following her increasing isolation from other members of the gang who were imprisoned with her. Evidence indicates that they saw her as weak. Considering the suspicious manner of the deaths of the rest of the gang a year later it is not surprising that some claim Meinhof was in fact murdered by the German authorities, although this highly unlikely.
In a bizarre twist it was discovered that the brain of Ulrike had been removed for study before her burial six days after her death. Evidence shows that it was damaged during an earlier operation to remove a tumour. In 2002 the daughters of Ulrike Meinhof requested the brain be returned and buried with her and despite claims the brains had gone missing it was interred with her in December 2002. Ulrike Meinhof has become something of cult figure and is often given more credit and influence than she really had within the RAF. She was a contrasting figure to the violent , school drop out of Andreas Baader and fitted the classic profile of the well educated socialist reactionary that often were lured into terrorism due to their idealistic beliefs. She made a good focus for press attention and has had several quotes attributed to her including “Anti-Semitism is really a hatred of capitalism”, it was this comment which lead to some naming the RAF as ‘Hitler’s children” and on political action she is quoted as saying the much paraphrased quote “If one sets a car on fire, that is a criminal offence, if one sets hundreds of cars on fire , that is political action”.
Dugdale-Pointon, T. (20 August 2007), Ulrike Meinhof (1934-1976)
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Gerhard Richter from 'October 18, 1977' (Baader-Meinhof)

The three paintings entitled Dead [CR: 667/1-3] show close-ups of the head and upper body of a woman who has been laid down, her eyes closed. Her dark hair is almost indistinguishable from the black background, but the skin of her face and her light-coloured clothing stand out from the gloom. Looking again, one can discern a dark line around her neck, from which one can infer death by hanging.
The person depicted is the German terrorist Ulrike Meinhof, a founding member of the Red Army Faction (RAF). She hanged herself on 9th May 1976, on the bars of her cell in Stuttgart-Stammheim prison.
The paintings belong to Gerhard Richter’s series October 18, 1977: the title refers to the day on which RAF members Gudrun Ensslin, Andreas Baader and Jan-Carl Raspe were found dead in their prison cells. All the paintings in this cycle are based on photographs; the photographic source for Dead was also published in the German magazine Stern on 16th June 1976.
In addition to the varying formats, the paintings differ from each other in their painterly realisation and the layout of the subject on the canvas. Furthermore, the position of the subject’s head appears to be slightly different in each version. Richter’s typical method of blurring intensifies from picture to picture: whereas in Dead [CR: 667-1] Meinhof’s features are recognisable, by the last painting, Dead [CR: 667-3], they are indistinct and the demarcations between light and dark tones are less harshly elaborated as the deep black background becomes a soft grey.
The three paintings seem to illustrate the artist’s search for an appropriate manner of representation as he gradually works towards creating a fitting depiction of the death of this woman. The distinctive close-ups differentiate the paintings Dead from the other pictures of dead RAF members and raise the question “why has this happened?” – something they cannot answer. More than any other paintings of the October 18, 1977 series, they express “sorrow for the people who died so young and so crazy, for nothing.” (Interview with Gregorio Magnani, 1989 in: Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 222)
 Gerhard Richter’s cycle October 18, 1977 consists of 15 paintings and was created between March and November 1988. The paintings are the result of his fascination with terrorist group the Red Army Faction (RAF), which had been active in Germany since the beginning of the 1970s. The group tried to draw attention to their grievances about capitalist society by means of armed robberies and bomb attacks. The leading members of the first generation of the group were arrested in 1972. Their terrorist activities, their unparalleled pursuit by the police force and their joint suicides provoked heated discussion in Germany for a long time.
The title of the series, October 18, 1977, refers to the date on which Gudrun Ensslin, Andreas Baader and Jan-Carl Raspe were found dead in their cells in Stuttgart-Stammheim prison. More than ten years later, Gerhard Richter chose to approach the subject in his work, explaining his reasons as follows: “The deaths of the terrorists, and the related events both before and after, stand for a horror that distressed me and has haunted me as unfinished business ever since, despite all my efforts to suppress it”. (Notes for a press conference, November – December 1988 in: Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 202) The unveiling of the paintings in 1989 caused a stir that shows that the matter was not resolved in the eyes of the German general public either.
The exhibition, entitled October 18, 1977 and held at Museum Haus Esters in Krefeld, Germany, presented the paintings for the first time to the public. Following this exhibition the cycle was shown in different exhibitions worldwide for two years. After being on a ten-year loan to the Museum für Moderne Kunst in Frankfurt am Main the pictures were sold to the Museum of Modern Art, New York, in 1995, where they have been on display since 2000.
The paintings were created in different formats, but the consistent reduction to tones of grey underlines their conception as a series. The grisaille palette refers also to newspapers of that time, which were mostly printed in black and white. All paintings except Youth Portrait [CR: 672-1] are based on documentary photographs, including press photographs and pictures taken by the police. Richter’s examination of the photographs, which he took from newspaper archives, is reflected in his compendium Atlas [Sheets: 470–479] and in a separate study album. In addition to the actual source photographs, he collected more than 100 pictures related to the RAF in these two albums.
By using photographic source material and his painterly modification of these sources, Richter was revisiting a method that had dominated his early works. After choosing a section of the photograph, he depicts the subjects with accuracy but also using his discretion. Following this he blurs the imagery using a variety of techniques, thereby creating paintings that are reminiscent of out-of-focus black-and-white photographs.
Due to the extensive and continued presence of the RAF in the media it can be assumed that the audience who saw the works around the time they were created would easily have made a connection between Richter’s paintings and the activities of the RAF – despite the blurred imagery and neutral titles. As with this series of work, the artist often refers to images that have entered the collective memory, ensuring a renewed remembrance of past events and inviting new perspectives on them.
Notes prepared by Joe Hage
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Leaked Documents Describe Plan to Push Climate Change Denial in Schools

Absolutely fugn BRILLIANT!!!

Loop Geography as Defensive Tactic

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Reggae: The Story of Jamaican Music

Part 1 – Train to Skaville

Part 2 – Rebel Music

Part 3 – Inna Dancehall Style

'Reggae: The Story of Jamaican Music' was an impressive documentary made by director Mike Connolly for the BBC. It was originally shown in 2002 and the documentary traces the evolution of Reggae Music from Mento and Ska, all the way up to Roots, Dub, and Dancehall. The film traces the story of how Jamaica conquered the world through its music.
(Thanx SJX!)

ROFL!!!

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(Thanx Iain!)
BONUS:
Talking Heads - Entermedia Theatre - New York, NY (10th August 1978)

(Thanx SJX!)

Sharon Johnstone: Dew Drop Macro Photographs

Sharon Johnstone is a Birmingham, England based fine art nature photographer. She completed her Fine Arts degree at the University of Creative Arts in 1993, specializing in printmaking. Of her dew drop photographs, she writes:
‘With macro photography I escape to another little world. I love exploring the tiny details in nature that often get overlooked. I love finding beautiful colors and abstract compositions within nature. I think I am at my happiest when I am crawling around on my hands and knees exploring a small patch of moss dripping with sparkling dew in the early morning sun.’
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