Thursday, 16 July 2009
Israel soldiers speak out on Gaza
A group of soldiers who took part in Israel's assault in Gaza say widespread abuses were committed against civilians under "permissive" rules of engagement.
The troops said they had been urged to fire on any building or person that seemed suspicious and said Palestinians were sometimes used as human shields. Breaking the Silence, a campaign group made up of Israeli soldiers, gathered anonymous accounts from 26 soldiers. Israel denies breaking the laws of war and dismissed the report as hearsay. The report says testimonies show "the massive and unprecedented blow to the infrastructure and civilians" was a result of Israeli military policy, articulated by the rules of engagement, and encouraged by a belief "the reality of war requires them to shoot and not to ask questions".
Full story at the 'BBC' here.
US Man chokes on the cost of his cigarette habit
Josh Muszynski: 'I thought someone had bought Europe'A man in the United States popped out to his local petrol station to buy a pack of cigarettes - only to find his card charged $23,148,855,308,184,500.
That is $23 quadrillion (£14 quadrillion) - many times the US national debt.
"I thought somebody had bought Europe with my credit card," said Josh Muszynski, from New Hampshire.
Full story at the 'BBC' here.
Wednesday, 15 July 2009
Happy Birthday # 2 Spacebubs
Why did Piglet go to the toilet?He was looking for Pooh!
J - there's a bear in there -
in the 'com-pooh-ta'!
love
X
X
X
Tuesday, 14 July 2009
Monday, 13 July 2009
First we must deal with the light of nature then with the nature of light
trees found in saul levine's note to patti - 1969
title from stan brakhage's a moving picture giving and taking book
frontier press - 1971
An excerpt from another truly beautiful post from:
'The Art Of Memory'
Consistently one of the most beautiful blogs you will ever come across.
Currently reading: 'Scurvy' by Stephen R. Brown
I demand my money back (all $2 from the op-shop! No mention of the 'Bastard' anywhere!)Leonard Cohen: "I'm blessed with a certain amnesia" (The Guardian)
(Leonard Cohen photographed by TimN)After his comeback to performing and Hallelujah's unlikely chart domination, Leonard Cohen has had a remarkable year. He talks to Jian Ghomeshi about love, death and taking risks
What have you learned from being back on stage?
Leonard Cohen: I learned that it's hard to teach an old dog new tricks. I've been grateful that it's going well. You can't ever guarantee that it's going to continue doing well, because there's a component that you really don't command.
What component is that?
LC: Some sort of grace, some sort of luck. It's hard to put your finger on it - you don't really want to put your finger on it. But there is that mysterious component that makes for a memorable evening. You never really know whether you're going to be able to be the person you want to be or that the audience is going to be hospitable to the person that they perceive. So there's so many unknowns and so many mysteries connected - even when you've brought the show to a certain degree of excellence.
In 2001, you said to the Observer that you were at a stage of your life you refer to as the third act. You quoted Tennessee Williams saying: "Life is a fairly well-written play except for the third act." You were 67 when you said that, you're 74 now - does that ring more or less true for you still?
LC: Well, it's well written, the beginning of the third act seems to be very well written. But the end of the third act, of course, is when the hero dies. My friend Irving Layton said about death: it's not death that he's worried about, it's the preliminaries.
Are you worried about the preliminaries?
LC: Sure, every person ought to be.
Let me come back to the beginning of the first act. This was a brand new career for you that started in your 30s. How fearful were you of starting a second career?
LC: I've been generally fearful about everything, so this just fits in with the general sense of anxiety that I always experienced in my early life. When you say I had a career as a writer or a poet, that hardly begins to describe the modesty of the enterprise in Canada at that time - an edition of 200 was considered a bestseller in poems. At a certain point I realised that I'm going to have to buckle down and make a living. I'd written a couple of novels, and they'd been well received, but they'd sold about 3,000 copies. So I really had to do something, and the other thing I knew how to do was play guitar. So I was on my way down to Nashville - I thought maybe I could get a job. I love country music, maybe I'd get a job playing guitar. When I hit New York, I bumped into what later was called the folk-song renaissance. There were people like Dylan and Judy Collins and Joan Baez. And I hadn't heard their work. So that touched me very much. I'd always been writing little songs myself, too, but I never thought there was any marketplace for them.
Some people would think it's ironic to go into music to make money, given that it's not necessarily the most lucrative of professions for most artists.
LC: Yeah, I know. In hindsight it seems to be the height of folly. You had to resolve your economic crisis by becoming a folk singer. And I had not much of a voice. I didn't play that great guitar either. I don't know how these things happen in life - luck has so much to do with success and failure.
People talk about the fact that you've written songs that you've almost grown into as you get older. How did starting a career in your 30s inform what you were writing?
LC: I always had a notion that I had a tiny garden to cultivate. I never thought I was really one of the big guys. And so the work that was in front of me was just to cultivate this tiny corner of the field that I thought I knew something about, which was something to do with self-investigation without self-indulgence. Just pure confession I never felt was really interesting. But confession filtered through a tradition of skill and hard work is interesting to me. So that was my tiny corner, and I just started writing about the things that I thought I knew about or wanted to find out about. That was how it began. I wanted the songs to sound like everybody else's songs.
You say you've always been fearful of everything. When did you give yourself permission to think of yourself as, and call yourself, a legitimate singer and musician?
LC: You cycle through these feelings of anxiety and confidence. If something goes well in one's life, one feels the benefits of the success. When something doesn't go well, one feels remorse. So those activities persist in one's life right to this moment.
Have the women in your life been a source of your strength or weakness?
LC: Good question. It's not a level playing ground for either of us, for either the man or the woman. This is the most challenging activity that humans get into, which is love. You know, where we have the sense that we can't live without love. That life has very little meaning without love. So we're invited into this arena which is a very dangerous arena, where the possibilities of humiliation and failure are ample. So there's no fixed lesson that one can learn, because the heart is always opening and closing, it's always softening and hardening. We're always experiencing joy or sadness. But there are lots of people who've closed down. And there are times in one's life when one has to close down just to regroup.
Are there times when you've lamented the power that women have had over you?
LC: I never looked at it that way. There's times when I've lamented, there's times when I've rejoiced, there's times when I've been deeply indifferent. You run through the whole gamut of experience. And most people have a woman in their heart, most men have a woman in their heart and most women have a man in their heart. There are people that don't. But most of us cherish some sort of dream of surrender. But these are dreams and sometimes they're defeated and sometimes they're manifested.
Do you think love is empowering?
LC: It's a ferocious activity, where you experience defeat and you experience acceptance and you experience exultation. And the affixed idea about it will definitely cause you a great deal of suffering. If you have the feeling that it's going to be an easy ride, you're going to be disappointed. If you have a feeling that it's going to be hell all the way, you may be surprised.
Do you regret not having a lifelong partner?
LC: Non, je ne regrette rien. I'm blessed with a certain amount of amnesia and I really don't remember what went down. I don't review my life that way.
Even in the face of a very successful record that you made in 1992, The Future, do you think dealing with depression was an important part of your creative process?
LC: Well, it was a part of every process. The central activity of my days and nights was dealing with a prevailing sense of anxiety, anguish, distress. A background of anguish that prevailed.
How important was writing to your survival?
LC: It had a number of benefits. One was economic. It was not a luxury for me to write - it was a necessity. These times are very difficult to write in because the slogans are really jamming the airwaves - it's something that goes beyond what has been called political correctness. It's a kind of tyranny of posture. Those ideas are swarming through the air like locusts. And it's difficult for the writer to determine what he really thinks about things. So in my own case I have to write the verse, and then see if it's a slogan or not and then toss it. But I can't toss it until I've worked on it and seen what it really is.
What do you consider your darkest hour?
LC: Well I wouldn't tell you about it if I knew. Even to talk about oneself in a time like this is a kind of unwholesome luxury. I don't think I've had a darkest hour compared to the dark hours that so many people are involved in right now. Large numbers of people are dodging bombs, having their nails pulled out in dungeons, facing starvation, disease. I mean large numbers of people. So I think that we've really got to be circumspect about how seriously we take our own anxieties today.
How much do you reflect upon your own mortality?
LC: You get a sense of it, you know - the body sends a number of messages to you as you get older. So I don't know if it's a matter of reflection, I don't know that implies a kind of peaceful recognition of the situation.
Is there a way to prepare for death?
LC: Like with anything else, there's a certain degree of free will. You put in your best efforts to prepare for anything. There are whole religious and spiritual methodologies that invite you to prepare for death. And you can embark upon them and embrace them and give themselves to you. But I don't think there's any guarantee this could work, because nobody knows what's going to happen in the next moment.
Are you fearful of death?
LC: Everyone has to have a certain amount of anxiety about the conditions of one's death. The actual circumstances, the pain involved, the affect on your heirs. But there's so little that you can do about it. It's best to relegate those concerns to the appropriate compartments of the mind and not let them inform all your activities. We've got to live our lives as if they're not going to end immediately. So we have to live under those - some people might call them illusions.
Let me ask you about Hallelujah, because it's been an interesting year for Hallelujah - it took on a new energy. A song that you wrote in 1984, and it appeared at No 1 and No 2 on the UK charts, and your version was also in the top 40. What did you make of that?
LC: I was happy that the song was being used, of course. There were certain ironic and amusing sidebars, because the record that it came from which was called Various Positions - [a] record Sony wouldn't put out. They didn't think it was good enough. It had songs like Dancing to the End of Love, Hallelujah, If It Be Your Will. So there was a mild sense of revenge that arose in my heart. But I was just reading a review of a movie called Watchmen that uses it, and the reviewer said "Can we please have a moratorium on Hallelujah in movies and television shows?" And I kind of feel the same way. I think it's a good song, but I think too many people sing it.
• This is an edited transcript of an interview conducted for the Canadian broadcaster CBC.
(Via 'Micropsia')
Levon Helm - Tennessee Jed (the Grateful Dead song live on Letterman)
Been a while since we have had anything Dead related here, featuring Larry Campbell on slide.
(Thanx to a certain 'smegger' whose name keeps changing for the heads up for this!)
(Thanx to a certain 'smegger' whose name keeps changing for the heads up for this!)
New exclusive David Sylvian track free with US magazine
David Sylvian's 'Jacqueline' is the title of the (unreleased) track that has been released on the CD “FANTASTIC AND SPECTACULAR”, which is enclosed with the July/August issue of the US magazine The Believer 2009 Music Issue.
NB: This track will not be on the forthcoming album 'Manafon'
The CD is compiled by Daniel Handler, who is the author of three novels and many, many books for children.
TRACKLISTING
CD enclosed with the July/August 2009 print issue
NB: This track will not be on the forthcoming album 'Manafon'
The CD is compiled by Daniel Handler, who is the author of three novels and many, many books for children.
CD enclosed with the July/August 2009 print issue
1. Sam Phillips, “What It All Means”
2. Robert Scott, “From the Diary of an Early Settler”
3. Mike Scott (The Waterboys), “A Wild Holy Band”
4. Lloyd Cole, “Coattails”
5. Phil Wilson, “Found a Friend”
6. Stuart Moxham, “Warning Signs 2”
7. Dave Wakeling, “Never Die”
8. Lisa Germano, “It’s a Rainbow (Blame Me)”
9. Mark Robinson (Cotton Candy), “Fantastic & Spectacular”
10. Beth Sorrentino, “Such a Beautiful Day”
11. David Sylvian, “Jacqueline”
12. Stephen Duffy (The Lilac Time), “Memory and Desire”
13. Mary Margaret O’Hara, “40 Stories”
14. Wreckless Eric, “(Swimming Against) The Tide of Reason”
Extremely Secret Bonus Track: Haunted Love, “San Dominico”
"Back in April, we asked some of our all-time favorite songwriters, including a few who haven’t been recording new material lately, to send us acoustic versions of new songs. Surprisingly, they did so. We’re thrilled to be able to present a brilliant collection of new work from these masters of the form, available here and only here."
Steve Jansen / Anja Garbarek - Cancelled Pieces (Live)
'Cancelled Pieces' performed live in Japan by Steve Jansen with Anja on video screen behind.
Keith Rowe's hands
A very interesting piece written by Keith Rowe about the ErstLive 007 Festival held in Tokyo in Sepember 2008 at 'Erstwords'.Here
More from the pen of Keith Rowe here.
A young person's guide to Cornelius Cardew's 'Treatise'
Cornelius Cardew
These are excerpts of the musical notation of 'Treatise' by Cornelius Cardew.
Go HERE
for more info and follow the links, especially THIS one.
"Experimental music scores are enigmatic, opaque, demanding, irritating, humorous, childlike; the best, like Cardew's Treatise, are also inspiring, giving rise, on occasion, to a music of vitality, intelligence and elegance." - John Tilbury
"Graphic music or graphic notation came out of attempts by composers in the 50's to articulate a different relationship of music/sound to composer and musician. Composers like Brown, Cage, Feldman, Wolff and others were part of a sea change that enabled multiplicity to grow out of the modernist framework." - Kerry Andrews
"A Composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated."
- Cornelius Cardew
'Treatise' (Pages 82 - 84)
as performed by:
Keith Rowe: guitar, electronics
Tetuzi Akiyama: amplified acoustic guitar
Oren Ambarchi: guitar, electronics
Toshimaru Nakamura: electric guitar
Otomo Yoshihide: electric guitar
Burkhard Stangl: acoustic and electric guitars
Taku Sugimoto: electric guitar
(Many years ago I found some similar pieces in the basement of the LMC in Camden and like almost everything else I wish that I still had them (and my almost complete collection of 'Musics'.)
In fact I once sent off a bundle to Chuck Wood in New York who I had met when he was playing with Richard Hell, the idea being that he would send me a copy of Theresa Stern's book of poems 'Wanna Go Out?' of which at the time (early eighties) there were apparently lots of copies under Mr. Hell's bed...not going to ask how Chuck knew this! Anyway the outcome was that no copy of the book ever arrived and although I have since got a copy having bought it from Hell when he came to Melbourne in the early 90's but for that Mr. Wood, you get the first and probably last 'Exile - Cunt of a Lifetime Award' )
Go HERE
for more info and follow the links, especially THIS one.
"Experimental music scores are enigmatic, opaque, demanding, irritating, humorous, childlike; the best, like Cardew's Treatise, are also inspiring, giving rise, on occasion, to a music of vitality, intelligence and elegance." - John Tilbury
"Graphic music or graphic notation came out of attempts by composers in the 50's to articulate a different relationship of music/sound to composer and musician. Composers like Brown, Cage, Feldman, Wolff and others were part of a sea change that enabled multiplicity to grow out of the modernist framework." - Kerry Andrews
"A Composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated."
- Cornelius Cardew
'Treatise' (Pages 82 - 84)
as performed by:
Keith Rowe: guitar, electronics
Tetuzi Akiyama: amplified acoustic guitar
Oren Ambarchi: guitar, electronics
Toshimaru Nakamura: electric guitar
Otomo Yoshihide: electric guitar
Burkhard Stangl: acoustic and electric guitars
Taku Sugimoto: electric guitar
(Many years ago I found some similar pieces in the basement of the LMC in Camden and like almost everything else I wish that I still had them (and my almost complete collection of 'Musics'.)
In fact I once sent off a bundle to Chuck Wood in New York who I had met when he was playing with Richard Hell, the idea being that he would send me a copy of Theresa Stern's book of poems 'Wanna Go Out?' of which at the time (early eighties) there were apparently lots of copies under Mr. Hell's bed...not going to ask how Chuck knew this! Anyway the outcome was that no copy of the book ever arrived and although I have since got a copy having bought it from Hell when he came to Melbourne in the early 90's but for that Mr. Wood, you get the first and probably last 'Exile - Cunt of a Lifetime Award' )
Sunday, 12 July 2009
Quote of the day
"No business wants to invest in a place where the government skims 20 percent off the top, or the head of the port authority is corrupt. No person wants to live in a society where the rule of law gives way to the rule of brutality and bribery. That is not democracy, that is tyranny, and now is the time for it to end."
PRESIDENT OBAMA, on the need for reform in Africa.
PRESIDENT OBAMA, on the need for reform in Africa.
A Call to Jihad From Somalia, Answered in America
Some young Somali-Americans left their inner-city neighborhood in Minneapolis to fight in Somalia. At right, a drill by Shabaab fighters near Mogadishu.A fascinating read from the 'NY Times' here.
'The Pretendies: The art of the spoken interlude' by Paul Kelly
The spoken interlude has a long history in popular song. And takes a fair bit of nerve to pull off. The singer must step out from behind melody’s curtain and act. Elvis’s famous talking bit in ‘Are You Lonesome Tonight’ stretches Shakespeare’s actor-on-the-stage-of-life metaphor to breaking point. In later years even Elvis lost his nerve when reciting these bombastic lines. You can hear him on a live recording falter halfway through, giggle, then lapse into gibberish in a classic example of The Pretendies – the scourge of all performing artists.The Pretendies – a term first coined, to my knowledge, by the songwriter–guitarist Spencer P Jones in the back of the band Tarago after a gig in Geelong – can strike any time. One minute you’re putting a song over to the crowd, totally inside what you’re doing, everything meshing; then suddenly you’re adrift, floating above yourself and wondering what on Earth you’re doing. You feel like a complete fake, and the thought runs through your head: What made me think I could get away with this?
Anything can set The Pretendies off. Maybe a fluffed line or chord that jars you out of the moment. Looking at a pretty woman in the audience or glimpsing someone in the front row who reminds you of somebody you went to school with. You may be just a fraction over-tired. Or over-confident, perhaps having done a great show the night before. Without warning you’ve lost control of what you’re doing – like the kid on a bike who’s riding with no hands and going along fine until he calls out, “Look at me, Mum!”
The Pretendies can shudder through a band. You can almost see them ripple across the stage. The guitarist and the drummer sense that the singer’s got the metaphysical wobbles; everyone keeps their head down, not daring to look each other in the eye as they attempt to right the listing ship.
Elvis, though, on that night, once he takes his turn, doesn’t bother trying to come back. He’s broken right through the veil of illusion, exposed the working of the hitherto-unseen gears – and he’s taking the audience with him. It’s painful and thrilling to listen to. He sounds pilled off his head. Unmoored.
Circumventing the perils of the talking bit is mainly a simple matter of wheel alignment: you need to have the axles of sincerity and slyness in perfect counterweight. Too much overblown feeling on the one side, or too much smirk on the other, and you’re swerving all over the road. Lou Reed steers this course beautifully in ‘I Found A Reason’. You have to keep both hands firmly on the wheel to get away with a line like “I’ve walked down life’s lonely highways hand in hand with myself.”
The cadences of southern American speech are particularly suited to the spoken interlude. Old-time preaching straddles song and prose and goes naturally with country music’s solid pillars of sentiment, morality and religion. The Louvin Brothers serve it up straight in ‘Satan Is Real’ with not a whiff of The Pretendies. Likewise, Red Simpson in ‘Roll, Truck, Roll’, his tale of a trucker missing home, says:
Mama said little Danny’s not doing too good in school
Said he keeps talkin’ about his daddy that he hardly knows
Teacher said that he just sits at his desk and draws the pictures of trucks
I guess I know what that means and what it shows
Delivered without a shred of irony. And rightly so.
Rose Maddox and Buck Owens get a little more playful – talking back and forth to each other – on ‘Mental Cruelty’, despite the seriousness of the subject matter. Rose speaks in rhyme but Buck doesn’t. Many years later, on ‘Far Away Eyes’, Mick Jagger imitated Rose’s vowel-bending drawl, with his tongue firmly in his cheek. His reference to driving through Bakersfield, Buck’s hometown, listening to the gospel music station, is a sly wink to the aficionados.
The talking bit can turn a song into a nightmare – ‘The Leader of the Pack’, for example – or a dream. In ‘Green, Green Grass of Home’, Tom Jones wakes on the morning of his execution to realise he’ll never again touch the gold hair of Mary or kiss her cherry lips. The padre and the hangman are coming for him at daybreak. With the bleak spoken reality breaking in on his pastoral vision, this is the talking bit at its finest and most dramatic.
It’s not for everyone, though. You have to be a believer or, at least, prepared to suspend enough belief to allow the tears to flow and the goose bumps to pimple. There are those who are appalled or sneer. Others fancify their sneer by calling the talking bit “wonderful kitsch”.
The beauty and fascination of being human is the capacity to experience opposing emotions at once – to be cynical and moved in concert (crying during a schmaltzy movie) or to feel blessed and ridiculous simultaneously (sex!) – and to be able to float above them both, observing, testing out the one then the other, dancing the devilish dance of The Pretendies.
Written by Australian singer/songwriter
Paul Kelly
From 'The Monthly' (July 2009)
'Narcotized' (split release featuring Dhul-Qarnayn, Ayyur & Al Namrood)
CD-R: Salute Records (SALR-023)
MC: Salute Records (SALT-002)
Released in December 2008 as a limited edition of 40 cassettes & 60 CD-R's.
MC: Salute Records (SALT-002)
Released in December 2008 as a limited edition of 40 cassettes & 60 CD-R's.
| Al-Namrood | |||
| 1. | Barzakh | 05:25 | |
| Dhul-Qarnayn | |||
| 2. | Suqoot Allah | 08:16 | |
| Ayyur | |||
| 3. | The Queen of Awres (Narcotized version) | 04:19 | |
| 4. | Proud Slave | 05:17 | |
| Total playing time | 23:17 | ||
Get it here.
(Via 'Fuck Life')
Black metal from Saudi Arabia, Bahrain and Tunisia.
Download it for track 2 alone. It is an absolute killer!
(Via 'Fuck Life')
Black metal from Saudi Arabia, Bahrain and Tunisia.
Download it for track 2 alone. It is an absolute killer!
Al Namrood - Youm Tusaar Nar AlJaheem
Al Namrood are a Saudi Arabian black metal band that have been rocking my world these past days. They have to my knowledge released a self titled EP and an album 'Asthl Al Tha'r' which translates as 'Vengeance Intensified' which was released in May.
Their 'Myspace' page is here.
Do yourself a favour and do check them out.
UPDATE:
There was also a split release with Dhul-Qarnayn & Ayyur called 'Narcotized'
Their 'Myspace' page is here.
Do yourself a favour and do check them out.
UPDATE:
There was also a split release with Dhul-Qarnayn & Ayyur called 'Narcotized'
Sly Stone & George Clinton "Thank You For Letting Me Be Myself" Live Zanzibar Santa Monica 3/15/09
Sly Stone w/ a rare appearance playing guitar on the Sly and Family Stone classic w/ help from George Clinton and BabyStone during the Sly Stone Variety Show/ Birthday Party Celebration
Robot girlfriend for lonely men
She's big-busted, petite, very friendly and she runs on batteries.Sega, best known for its home video game consoles, has introduced a 15-inch tall robotic 'girlfriend' that kisses on command, with a target market of lonely adult men. The robot, named "EMA", which stands for Eternal Maiden Actualization, is designed to pucker up for nearby human heads, entering "love mode" using a series of infrared sensors powered by battery. "Strong, tough and battle-ready are some of the words often associated with robots, but we wanted to break that stereotype and provide a robot that's sweet and interactive," said Minako Sakanoue, a spokeswoman for the maker, Sega Toys to Reuters news agency. "She's very lovable and though she's not a human, she can act like a real girlfriend." EMA can also hand out business cards, sing and dance. Sega is hoping to sell 10,000 robotic girlfriends in it's first year and envisions a $10-billion market for artificial intelligence in a decade. The busty bot will be available in Japan in September for around $175.
(Via 'Fun-On')
Cheney Is Linked to C.I.A. Concealment of Terror Program
The Central Intelligence Agency withheld information about secret counter terrorism program from Congress for eight years on direct orders from former Vice President Dick Cheney, the
agency's director, Leon E. Panetta, has told the Senate and House intelligence committees, two people with direct knowledge of the matter said Saturday.
The report that Mr. Cheney was behind the decision to conceal the still-unidentified program from Congress deepened the mystery surrounding it, suggesting that the Bush administration had put a high priority on the program and its secrecy.
Mr. Panetta, who ended the program when he first learned of its existence from subordinates on June 23, briefed the two intelligence committees about it in separate closed sessions the next day.
More at 'NY Times' here.
agency's director, Leon E. Panetta, has told the Senate and House intelligence committees, two people with direct knowledge of the matter said Saturday.
The report that Mr. Cheney was behind the decision to conceal the still-unidentified program from Congress deepened the mystery surrounding it, suggesting that the Bush administration had put a high priority on the program and its secrecy.
Mr. Panetta, who ended the program when he first learned of its existence from subordinates on June 23, briefed the two intelligence committees about it in separate closed sessions the next day.
More at 'NY Times' here.
Bon Iver - The Wolves (Act I & II)
What might have been lost!
No apologies for this band again...
(Thanx to Heather @ 'I am fuel you are friends')
No apologies for this band again...
(Thanx to Heather @ 'I am fuel you are friends')
Saturday, 11 July 2009
U.S. Wiretaps Were of Limited Value, Officials Report
While the Bush administration had defended its program of wiretapping without warrants as a vital tool that saved lives, a new government review released Friday said the program’s effectiveness in fighting terrorism was unclear.
(Full story at 'NY Times')
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