A great thing about Nick Cave and the Bad Seeds is that each dude looks like a wizard from a different fantasy subgenre. pic.twitter.com/wfWWTTfLZM— Andrew Ihla (@AndrewIhla) February 8, 2017
AN HOUR OF…..THE FALL (2)
2 hours ago
Thursday, 9 February 2017
HA!
The Fix Is In Mix
Tracklist:
1 The Beginning of the End - Funky Nassau (Part II)
2 James Brown - The Payback
3 Charles Wright - You Gotta Know Watcha Doin'
4 The Fabulous Counts - Dirty Red
5 Jerry & The Medicine Men - The Medicine Man (Part II)
6 The Kinfolks - The Fly
7 Wilson Pickett - Get Me Back On Time, Engine Number 9
8 U.S. Warren - The Drop (Part II)
9 Charles Wright & The Watts 103rd St Rhythm Band - 65 Bars And A Taste of Soul
10 Black Heat - No Time To Burn
11 Kitty & The Haywoods - Take Me
12 Lyn Collins - Think About It
13 Bobby Womack - Across 110th Street
14 Esther Phillips - Home Is Where The Hatred Is
15 Dennis Coffey - Theme From Black Belt Jones
16 The Isley Brothers - Ohio Machine Gun
17 Shuggie Otis - Strawberry Letter 23
Wednesday, 8 February 2017
Turn The Heat Up Mix
Tracklist:
1 Parliament - Chocolate City
2 The Pharcyde - Runnin' (Can't Keep Running Away)
3 Syl Johnson - Is It Because I'm Black?
4 Stevie Wonder - Living For The City
5 The Sugarhill Gang - Bad News (Don't Bother Me)
6 Sonny Sharrock - Black Bottom
7 D'Angelo - Brown Sugar (Instrumental)
8 The Isley Brothers - Work To Do
9 Curtis Mayfield - Power To The People
10 Swamp Dogg - Sam Stone
11 The Meters - Cissy Strut
12 Sly & The Family Stone - You Better Help Yourself (Instrumental)
13 Trouble Funk - Good To Go
A funk/soul mix for the hot days and nights here in Australia
Tuesday, 7 February 2017
This Is Not A Fascist
From this weeks Nation pic.twitter.com/jVdwSIHqs9— Peter Kuper (@PKuperArt) February 4, 2017
Monday, 6 February 2017
Simon Holland: Apathy For The Devil (February 1978 at the Roxy Club London)
16mm Doc featuring, The Damned, Johney Moped with Chrisie Hynde, The Cortinas, The Drones, Charles Shaar Murray, Andrew Czezowski, Susan Carrington, Gun Rubber Fanzine Sheffield, Mick Jones of the Clash, Fans in the Roxy club dressing room. Featuring a very young Bruce Smith, Gareth Sagar and Mark Stewart
Sunday, 5 February 2017
Saturday, 4 February 2017
Fergus Kelly: Napalm Calypso (On the 10th anniversary of Paul Burwell's death)
'Napalm Calypso' was composed to commemorate the 10th anniversary of Paul Burwell's death. It was created with a mixture of his solo work and work with the Bow Gamelan, interview material and slices of some of his favourite music and exerpts from films and TV shows he enjoyed.
The solo extracts are taken from his 1979 album, 'A Mummified Person With A Pleasant Smile Is Kept In A Cupboard In The Vestry'. The Bow Gamelan material is taken from a documentary about the 'Offshore Rig' performance of 1987, made for Channel 4 arts programme Alter Image, some footage of them performing on the concrete barges at Rainham Marshes in 1986, and from my own bootleg of the 'In C And Air' performance at the ICA in 1986, some of which includes Paul talking to me afterwards.
It also includes my field recording of tidal wash at the Forty Foot in Sandycove, Co. Dublin in June 2016, with foghorns sounding. Dublin Bay as stand-in for Thames Estuary. The latter being a place where Paul & Bow Gamelan did various gigs. Water was also my means of transport between Ireland and England when working in London in the 1980s, as I used to travel by boat from Dunlaoghaire to Holyhead, so it forms part of my initial connection between Dublin and London and between Paul and myself. Before cheap air travel. Before internet and mobile phones. Less clutter, less distraction.
Paul loved Kung Fu movies and Westerns and was a big fan (like myself) of Apocalypse Now, which I've sprinkled liberally throughout the piece. The film soundtrack includes some great explosions, which are entirely in keeping with Bow Gamelan's penchant for using fireworks as a form of percussion. Someone once memorably described Bow Gamelan as 'like a cross between Turner and Apocalypse Now'. I like how the sound effects in the film creates a deep, widescreen sense of landscape, with the constant battering ram of near and distant shelling puncturing the air.
I only met Paul a couple of times, so I hardly knew him, but I took to him straight away. I liked the cut of his jib. His friendliness, openness and free-spirited nature was inspiring. When I re-watch Bow Gamelan footage for the nth time and see him interviewed I feel a great fondness for him. This piece is a tribute to that - my way of saying, 'Thanks Paul'.
Some of the elements in this piece are woven deep in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears.
Therefore, it must be heard connected to a proper amp/speaker set up or headphones (not computer speakers) with good stereo separation.
Thanks to Anne Bean and David Toop for suggesting the sources, which include:.
Film:
Apocalypse Now (1979)
The One-Armed Swordsman (1967)
Kwaidan (1964)
Woman In The Dunes (1964)
Bad Day At Blackrock (1955)
Rashomon (1950)
TV:
Hancock's Half Hour
Dad's Army
Music:
Baby Dodds drum improvisations
Buddy Rich drum solo
Jet Harris & Tony Meehan: Diamonds
One String Sam: I Need 100 Dollars
Screaming Jay Hawkins: I Put A Spell On You
Albert Ayler: Ghosts
Roderick MacLeod performing the Scottish piobaireachd, 'Old Men Of The Shells'
Radio:
Orson Welles narrating Joseph Conrad's 'Heart Of Darkness'.
The solo extracts are taken from his 1979 album, 'A Mummified Person With A Pleasant Smile Is Kept In A Cupboard In The Vestry'. The Bow Gamelan material is taken from a documentary about the 'Offshore Rig' performance of 1987, made for Channel 4 arts programme Alter Image, some footage of them performing on the concrete barges at Rainham Marshes in 1986, and from my own bootleg of the 'In C And Air' performance at the ICA in 1986, some of which includes Paul talking to me afterwards.
It also includes my field recording of tidal wash at the Forty Foot in Sandycove, Co. Dublin in June 2016, with foghorns sounding. Dublin Bay as stand-in for Thames Estuary. The latter being a place where Paul & Bow Gamelan did various gigs. Water was also my means of transport between Ireland and England when working in London in the 1980s, as I used to travel by boat from Dunlaoghaire to Holyhead, so it forms part of my initial connection between Dublin and London and between Paul and myself. Before cheap air travel. Before internet and mobile phones. Less clutter, less distraction.
Paul loved Kung Fu movies and Westerns and was a big fan (like myself) of Apocalypse Now, which I've sprinkled liberally throughout the piece. The film soundtrack includes some great explosions, which are entirely in keeping with Bow Gamelan's penchant for using fireworks as a form of percussion. Someone once memorably described Bow Gamelan as 'like a cross between Turner and Apocalypse Now'. I like how the sound effects in the film creates a deep, widescreen sense of landscape, with the constant battering ram of near and distant shelling puncturing the air.
I only met Paul a couple of times, so I hardly knew him, but I took to him straight away. I liked the cut of his jib. His friendliness, openness and free-spirited nature was inspiring. When I re-watch Bow Gamelan footage for the nth time and see him interviewed I feel a great fondness for him. This piece is a tribute to that - my way of saying, 'Thanks Paul'.
Some of the elements in this piece are woven deep in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears.
Therefore, it must be heard connected to a proper amp/speaker set up or headphones (not computer speakers) with good stereo separation.
Thanks to Anne Bean and David Toop for suggesting the sources, which include:.
Film:
Apocalypse Now (1979)
The One-Armed Swordsman (1967)
Kwaidan (1964)
Woman In The Dunes (1964)
Bad Day At Blackrock (1955)
Rashomon (1950)
TV:
Hancock's Half Hour
Dad's Army
Music:
Baby Dodds drum improvisations
Buddy Rich drum solo
Jet Harris & Tony Meehan: Diamonds
One String Sam: I Need 100 Dollars
Screaming Jay Hawkins: I Put A Spell On You
Albert Ayler: Ghosts
Roderick MacLeod performing the Scottish piobaireachd, 'Old Men Of The Shells'
Radio:
Orson Welles narrating Joseph Conrad's 'Heart Of Darkness'.
Thor Harris: How To Punch A Nazi
How to punch a Nazi pic.twitter.com/zakPz1RB0k— thor harris (@thorharris666) February 3, 2017
Friday, 3 February 2017
Thursday, 2 February 2017
REUTERS says
The first 12 days of the Trump presidency (yes, that’s all it’s been!) have been memorable for all – and especially challenging for us in the news business. It’s not every day that a U.S. president calls journalists “among the most dishonest human beings on earth” or that his chief strategist dubs the media “the opposition party.” It’s hardly surprising that the air is thick with questions and theories about how to cover the new Administration.
So what is the Reuters answer? To oppose the administration? To appease it? To boycott its briefings? To use our platform to rally support for the media? All these ideas are out there, and they may be right for some news operations, but they don’t make sense for Reuters. We already know what to do because we do it every day, and we do it all over the world.
To state the obvious, Reuters is a global news organization that reports independently and fairly in more than 100 countries, including many in which the media is unwelcome and frequently under attack. I am perpetually proud of our work in places such as Turkey, the Philippines, Egypt, Iraq, Yemen, Thailand, China, Zimbabwe, and Russia, nations in which we sometimes encounter some combination of censorship, legal prosecution, visa denials, and even physical threats to our journalists. We respond to all of these by doing our best to protect our journalists, by recommitting ourselves to reporting fairly and honestly, by doggedly gathering hard-to-get information – and by remaining impartial. We write very rarely about ourselves and our troubles and very often about the issues that will make a difference in the businesses and lives of our readers and viewers.
We don’t know yet how sharp the Trump administration’s attacks will be over time or to what extent those attacks will be accompanied by legal restrictions on our news-gathering. But we do know that we must follow the same rules that govern our work anywhere, namely:
Do’s:
--Cover what matters in people’s lives and provide them the facts they need to make better decisions.
--Become ever-more resourceful: If one door to information closes, open another one.
--Give up on hand-outs and worry less about official access. They were never all that valuable anyway. Our coverage of Iran has been outstanding, and we have virtually no official access. What we have are sources.
--Get out into the country and learn more about how people live, what they think, what helps and hurts them, and how the government and its actions appear to them, not to us.
--Keep the Thomson Reuters Trust Principles close at hand, remembering that “the integrity, independence and freedom from bias of Reuters shall at all times be fully preserved.”
Don’ts:
--Never be intimidated, but:
--Don’t pick unnecessary fights or make the story about us. We may care about the inside baseball but the public generally doesn’t and might not be on our side even if it did.
--Don’t vent publicly about what might be understandable day-to-day frustration. In countless other countries, we keep our own counsel so we can do our reporting without being suspected of personal animus. We need to do that in the U.S., too.
--Don’t take too dark a view of the reporting environment: It’s an opportunity for us to practice the skills we’ve learned in much tougher places around the world and to lead by example – and therefore to provide the freshest, most useful, and most illuminating information and insight of any news organization anywhere.
This is our mission, in the U.S. and everywhere. We make a difference in the world because we practice professional journalism that is both intrepid and unbiased. When we make mistakes, which we do, we correct them quickly and fully. When we don’t know something, we say so. When we hear rumors, we track them down and report them only when we are confident that they are factual. We value speed but not haste: When something needs more checking, we take the time to check it. We try to avoid “permanent exclusives” – first but wrong. We operate with calm integrity not just because it’s in our rulebook but because – over 165 years – it has enabled us to do the best work and the most good.
Media Contact:
Heather dot Carpenter at thomsonreuters dot com
[Reuters PR Blog Post]
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