Youth - Beginning Of The World Dub Set Pt 2 (The King Is Dead, Long Live The King)

(Downwards arrow to download)
1. Killing Joke - Requiem (A Floating Leaf Always Reaches The Sea Mix)
2. Mark Stewart - Method To The Madness Dub (Youth and Mark's Dub Mix)
3. Killing Joke - Labryrinth Dub
4. Youth vs Brother Culture - Final Push Dub Attack
5. Dahab Express (Youth's Special Edit)
6. The Orb Featuring David Gilmour - Metallic Spheres (Gaudi Remix)
7. White Rainbow - Awakening
8. Poly Styrene - Black Christmas (Khan Remix)
9. Mark Stewart - Attack Dogs (Featuring Primal Scream) (Youth and Mark's Dub Mix)
10. Killing Joke - Money Is Not Our God (Babylon Dub)
11. Killing Joke - Democracy (Russian Tundra Mix) (Orb Remix)
12. Brian Barritt vs Youth - Cosmic Courier
13. Killing Joke - Tomorrow's World (Urban Primitive Dub)
14. White Noise - Love Without Sound
15. Killing Joke - This World Hell (Cult Of Youth Ambient Samsara Dub Mix)
16. Mark Stewart - Apocalypse Dub (Feat. Daddy G) (Youth and Mark's Dub Mix)
17. Richard Thompson - The Calvary Cross (Intro) vs Refused - Refused Are Fucking Dead
18. Youth - Global Chant (Acapella Dub)
19. Suns Of Arqua - Raga 4 (Youth Ambient Mix)
Bonus:
Youth's End Of The World Dub Mix Set

The London Nobody Knows

In the wholly terrestrial 1980s, I would scour and dogear the Radio and TV Times the day they came out, looking for rare showings of great films and archive oddities. Channel 4 made life easy with Truffaut, British new wave, or Marx Brothers seasons. The real plums, though, could often be hidden in the ITV - or Thames, round our way - schedules, maybe at one in the morning, maybe at three in the afternoon.
It was the latter slot that broadcast The London Nobody Knows, a 1967 documentary stroll around the city with James Mason. No horseguards, no palaces, but Islington's Chapel Market, pie shops, and Spitalfields tenements. Carnaby chicks and chaps, the 1967 we have been led to remember, are shockingly juxtaposed with feral meths drinkers, filthy shoeless kids, squalid Victoriana. Camden Town still resembles the world of Walter Sickert. There is romance and adventure, but mostly there is malnourishment. London looks like a shithole.
The film was directed by Norman Cohen and based on a book by Geoffrey Fletcher. When our band, Saint Etienne, came to making our first film, Finisterre, Fletcher was our mentor, The London Nobody Knows our first point of reference. Fletcher is the great forgotten London writer. He went to the Slade School of Art and drew sketches for the Guardian and the Daily Telegraph, where he recorded the rapidly changing capital in a column called London Day by Day.
The London Nobody Knows was first printed in 1962, and he followed it with a string of books (London After Dark, Pearly Kingdom, The London Dickens Knew) which all covered similar ground. But being written in a style equal parts Max Beerbohm and Oscar Wilde, sharpness and melancholy, it hardly mattered. The only noticeable change was in his growing irascibility with the passing years.
It is hard to believe he hasn't been an influence on contemporary Londonographers. Like Iain Sinclair, he frequents areas where "the kids swarm like ants and there are dogs everywhere": Hoxton, Camberwell, Whitechapel. Yet he never plays the inverted snob and adores Hampstead. Once, at a fair on the Heath, he overheard a man saying that Hampstead wasn't thrilling enough. Fletcher reached over in the darkness and stuck an ice lolly down the back of his shirt.
Along with Peter Ackroyd, Fletcher shares a keen interest in public toilets, referring to himself as an "experienced conveniologist". Among his favourites are lavatories in Holborn where the attendant once kept goldfish in the water tank. And, like Ackroyd, he has an obsession with Hawksmoor: The London Nobody Knows was written at a time when one of his pentagram of churches - Christ Church, Spitalfields - was under threat of demolition. He relishes bad Gothic architecture and, again like Ackroyd, feels that London's past is ever-present - the spirit of Sherlock Holmes, Peter Pan, or Peter the Painter. Fact or fiction, or even just "the odour of London dinners". "In spite of the passage of time, one can feel a decided atmosphere," he reckons, in "mistressy Maida Vale" and in London's permanent "pleasing state of decay".
Fletcher was capturing London on the cusp, ordering his readers to look up as they walked along the street - because that "cardboard medievalism" or "early Oscar Wilde" (his shorthand for 1880s architecture) may be gone before long. And, thankfully, a lot of it has.
He is rarely sentimental ("the quick dull look of the true Londoner" sticks in the memory) but the music halls were a loss of particular sadness for him. In the film, James Mason walks around the ruins of the now-gone Bedford theatre in Camden, where Marie Lloyd was a regular performer and which Sickert frequently painted. Off the top of my head, the only music hall he mentions that is still standing is Harwood's Varieties on Pitfield Street, Hoxton - now some kind of warehouse. But it was the interiors that Fletcher found particularly enchanting and they are all gone. The remains are skeletons of "a vanished civilisation that will be as mysterious and incomprehensible in the coming time as Stonehenge".
Still, every so often you come across something that has survived into the 21st century. Cartwright Gardens, Bloomsbury, a down-at-heel crescent of lodgings and seedy hotels where Fletcher lived as an art student, has hardly changed since the 1940s. The view over to King's Cross and St Pancras from the brow of Pentonville Road still has an odd, windswept romanticism. James Smith's umbrella shop on New Oxford Street seemed a miraculous survivor in 1962, let alone 2003. And then there's Ely Place, ostensibly in Holborn but to this day officially part of Cambridgeshire.
Where Fletcher mourned the passing of the music halls, today it is the Italian caffs and milk bars of the 1950s and 1960s that are being wiped out in an unseemly rush. Eateries like the New Piccadilly on Denman Street (hanging on) and Presto on Old Compton Street (just expired) are central to the birth of British pop culture. Mimicking the author in his absence, I'll direct you to the wonderfully wooded Chalet on Grosvenor Street and the Copper Grill, near Liverpool Street, which has one of the most beautiful facades in London and is due to disappear next spring - relics as otherworldly now as Victorian oyster rooms must have seemed in the 1960s.
No question, Geoffrey Fletcher was obsessed with London, driven on by a mania for exploration. He considered it not in the least unhealthy, and compared it to Toulouse-Lautrec's obsession with Montmartre. It was his belief that "a man can do everything better in London - think better, eat and cheat better, even enjoy the country better". He desired a London of human proportions and worried that office blocks would wipe out the pie shops, Hawksmoor's churches, "the tawdry, extravagant and eccentric". Yet this hasn't happened and probably never will. He would always be able to find something to savour, something to sketch in a city that constantly evolves.
The GLC should have created a heritage job for him, to archive and catalogue the city's finest aberrations. Instead he has left us a stack of atmospheric, thrilling documents. "In England" he grumbled, "such things are almost always left to chance, and a few cranks." Geoffrey Fletcher would be pleased to know that the ambiguous melancholy of The London Nobody Knows has inspired a new generation of cranks.
Bob Stanley @'The Guardian' (2003)

Brion Gysin Permutations Software

I wrote the software "Permutations" for the exhibition Brion Gysin: Dream Machine on display at The New Museum for Contemporary Art between July 7th and October 3rd 2010. This software is a "version" of the program developed by Ian Sommerville and Gysin in 1960 to permute poems. The original program ran on a Honeywell Series 200 model 120 computer. The version I wrote uses a modern programming language and hardware. While the materials used to produce the original permutation poems are in many ways quite different from my own, I have attempted to create a realization of the work that is sensitive to the original and its process. At the same time, it is a new version, a collaboration done in the spirit of an artist whose work provides a critique of conventional notions of authorship.
I believe it is in the spirit of the work to share copies of the software I wrote under the GNU General Public License. This license allows gives anyone the ability to download, run, alter, and share the software. The one requirement is that all future versions must be released under the GPL as well. You may download the software here or on github.
In closing, I want to thank The New Museum and specifically Kraus Family Curator Laura Hoptman and Assistant Curator Amy Mackie for their trust and support in completing this project. Thanks also to Doron Ben-Avraham, Manager of Information Technology at The New Museum for his help and advocacy.
Joseph Moore 2010
Documentation of Permutations also available on ubu.com
Via
(Thanx SJX!)

The Hood Internet vs The Hype Machine - Best of 2012 Zeitgeist Mix

MORE MIXES:
hypem.com/zeitgeist

Pulp unveil new track 'After You' produced by James Murphy

Info

South Korean Kindergartners Sing The Ramones

The Insect's Christmas (1913)

Happy Hexmass!

Via

THEY WILL NEVER WALK ALONE

I very much doubt there's an Exile reader amongst us who's a fan of those godawful group hug style charity singles. And even though it's a bit on the sacharine side I still went to iTunes and bought a copy of the Justice Collective single. It's the least I could do for the Hillborough 96.

Fingers crossed it'll be the UK No.1 this Christmas.

Hillsborough

First broadcast 5th December 1996, ITV1

Jimmy McGovern's dramatisation of the Hillsborough football stadium disaster both investigates the police actions which caused it and explores its effects on the victims' families, skilfully using the dramatised documentary form to weave together public issues and private emotion.

Founded in investigative journalism, Hillsborough dramatises court transcripts and documents new evidence which debunks police statements, for instance the supposed lack of decent video surveillance. Hillsborough overtly takes the families' point of view, punctuating the unfolding drama with the later statements to-camera of Hillsborough relatives (as played by actors). McGovern was energised by the passionate response of Hillsborough families to his 1994 Cracker story 'To Be A Somebody', in which the traumatised Alby raged against lies told about the disaster. Given the news currency of the families' campaign for truth, and McGovern's high profile, ITV fast-tracked Hillsborough onto screens in December 1996.

In the opening sequences, McGovern introduces young, passionate football fans, dismantling the myths about drunken 'yobs' stealing from and urinating on the dead, as told by the police and spread by The Sun. The police's stories directly contradict the official Taylor inquiry, which firmly concluded that the police were to blame.

For McGovern, as for Alby, these myths showed the politically-motivated animalisation of working-class groups by governments since the 1984-5 Miner's Strike - indeed, the metal fences which contributed to the disaster were introduced to cage all football grounds in the period. According to McGovern in a 1996 South Bank Show, the derisory compensation offered proved that the state saw the working-class as worthless and expendable.

Hillsborough's impact lies not in polemic but in its raw human drama. Far from airbrushing the families, McGovern achieves his typically strong and nuanced characterisation, showing the dissent within the families' justice campaign and the very human effects of trauma, recrimination and grief. Historical record and drama interact with tremendous power in a scene in which the camera moves from Trevor Hicks' (Christopher Eccleston) public face on a television screen to the next room in which Hicks begs his wife to wash their dead daughters' bedding. Clinging to their memory through smell, Jenni (Annabelle Ansion) accuses him of not caring enough; this scene and the marital breakdown it dramatises are almost unbearably moving.

It is testament to McGovern that newspapers cited Hillsborough as a factor in a new inquiry set up in 1997, although the families' search for accountability goes on.

(Guest post from Stan @Brand DNA)

UPDATE:
'He Ain't Heavy He's My Brother' is the Xmas #1 in the UK this year.
#Justiceforthe96 #YNWA

Normal service will be resumed early in 2013

Scott Walker Interview

♪♫ The Clash - Safe European Home (Boston 1980)

The Seer

Joy Division 8 Feb 1980 Univ of London Union (2012 remaster download)

01 Dead Souls
02 Glass
03 A Means To An End
04 Twenty Four Hours
05 Passover
06 Insight
07 Colony
08 These Days
09 Love Will Tear Us Apart
10 Isolation
11 - encore break -
12 The Eternal
13 Digital
HERE

The Spaceape - Xorcism EP

Free download available via Dummymag here

The Spaceape - He Gave His Body Over To Science

Chris and Cosey: Desertshore interview

King at the Controls (King Jammys documentary)

23 Skidoo - Coup/The Gospel Comes To New Guinea Rehearsal

Damo Suzuki and 23 Skidoo - Village Underground, London. 11th November 2012

Jesus and Mary Chain - Psychocandy Live

Google cancels Christmas

"Fuck Hamas. Fuck Israel. Fuck Fatah. Fuck UN. Fuck UNWRA. Fuck USA! We, the youth in Gaza, are so fed up with Israel, Hamas, the occupation, the violations of human rights and the indifference of the international community!"

Gazan youth issue manifesto to vent their anger with all sides in the conflict (2011)

Israeli air strikes inflict bitter toll on Gaza children

Natural Mystic Reggae (2006)

Indigenous Resistance - Poundmakers Dub

Download
From the Indigenous Resistance release IR20 Dancing On John Wayne's Head...the track Poundmakers Dub feat Augustus Pablo ,John Trudell, Santa Davis, Scully and Mikey Dread aka 'Dread at The Controls" among others
A track made in honour of Chief Poundmaker ...a Cree warrior who also happened to have dreadlocks...This track was remastered in 2012 by Spider in Kingston, Jamaica.
Please check out the video we made for it at http://www.youtube.com/watch?v=Y9gOF6O1n6c

PSA: Dumb Ways To Die (Metro Melbourne)

http://dumbwaystodie.com
http://dumbwaystodie.tumblr.com/

Project C-90 Ultimate Audio Tape Guide

HERE

Unbelievable: The IDF Has Gamified Its War Blog

Internet access cut off in Gaza: How to get online

TELECOMIX #GAZA EMERGENCY ROOM
Telecomix IRC: https://chat.wnh.me/?channels=gaza&uio=d4
Situation:
Raids are ongoing and a lot stronger than before.
One theory says they're planning for a (very) big raid so they want to cut internet off to prevent covering it to the outside world
Egyptian SIM card:
If you have an Egyptian cellular card (Vodafone/Mobinil/Etisalat) you can use it to access internet from your phone or tablet since the Egyptian networks can be captured from Gaza
How to use Dial up numbers to stay connected:
Telecomix Dial up Numbers:
Important: The Telecomix dialups are not secure and do not protect from wiretapping of your communications. It is still important to proceed with precaution and encrypt the data.
Visit this link for dial up numbers:
http://www.cyberguerrilla.info/blog/?p=5077
Note: Since the number of lines is limited, do not use them if you don't need to!
- French free isp FDN (about 100 lines):  +33172890150 (login/pass: toto/toto)
- German free Free.de (about 35 lines).  +4923184048 (login/pass: telecomix/telecomix)
- Swedish isp Gotanet (about 30 lines atm, can expand services) : +46708671911 (login/pass: toto/toto)
- Belgium Edpnet: +32022750640 (login/pass: free.edpnet/ free) 
- Netherlands Edpnet: +31676002000 (login/pass: free.edpnet/ free)
netherlands +31205350535 and the username/password are xs4all
Important links:
http://www.movements.org/how-to/entry/how-to-prepare-for-an-internet-connection-cut-off/
Use Twitter Via Text Message:
Get Twitter messages redirected to your phone and send Tweets by text. Make sure to link your mobile phone to your Twitter account and locate the Twitter short code for your country. Then you can send a text message containing your Tweet to that short code and it will be posted to your profile.
Info: http://support.twitter.com/articles/14589-how-to-add-your-phone-via-sms
Palestinian Terrority Shortcodes:
Wataniya: 40404
Jawwal 37373
If you use one of the phone services listed above, text START to the shortcode to sign into your Twitter account.
                                CONFIGURING AND USING DIAL-UP (WINDOWS)
Configuring Dial-Up Connections
Click Start, click Control Panel, and then click Network and Internet Connections.
Click Create a connection to the network at your office.
In the Location Information dialog box, enter the appropriate information. Click OK, and then click OK to close the Phone and Modem Options dialog box and start the New Connection wizard.
In the New Connection Wizard, click Dial-up connection, and then click Next.
Type a name for the network to which you are connecting (such as "My Office Network"), and then click Next.
Type the phone number for the network to which you are connecting, including, if necessary, the area code and "1" prefix.
Specify whether you want this connection to be available for anyone's use, meaning for any user on this computer, or for your use only, meaning only for the user who is now logged on.
Specify whether you want a shortcut to the connection on your desktop.
Click Finish.
Using Dial-Up Connections
Click Start, click Connect To, and the click the connection that you want to use.
In the User Name box, type your user name.
In the Password box, type your password.
Choose one of the following options:
To save the user name and password so that you will not have to type them in the future, select the Save this user name and password for the following users check box.
If you want only the current user to have access to the saved user name and password, select the Me only check box.
If you want all users to have access to the user name and password, select the Anyone who uses this computercheck box.
Click Dial.
                                CONFIGURING AND USING DIAL-UP (MAC)
Configure Mac OS X
From the Apple menu, choose System Preferences.
From the View menu, choose Network.
Choose "Internal Modem" from the Show pop-up menu (or the "Configure" pop-up menu prior to Mac OS X v10.1).
If your computer does not have a built-in modem, select your external modem.
Mac OS X v10.5 or later: From the Configuration pop-up menu, choose Add Configuration.
Mac OS X 10.4.x or earlier: Click the PPP tab.
Enter your information into the relevant fields. Your username goes in the Account Name field, for example. If you want to copy this connection information to other user accounts on this computer, select "Save password".
You should now be able to connect. If you need to configure DNS servers or other advanced settings, continue to the next step.
Mac OS X v10.5 or later: Click the Advanced button, then click the DNS tab.
Mac OS X v10.4 or earlier: Click the TCP/IP tab. Choose either PPP or Manually from the Configure pop-up menu, as instructed by your Internet service provider. If configuring manually, type the IP address in the matching field.
Type the DNS server addresses in their field if necessary (click the "+" button first in Mac OS X v10.5 or later).
Click OK.
Click Apply (or Apply Now for Mac OS X v10.4 or earlier).
Connect and verify
Mac OS X v10.5 or later: Open Network preferences (in System Preferences).
Mac OS X v10.4.x or earlier: Open Internet Connect (from the Applications folder).
Be sure the Configuration pop-up menu is set to your modem.
Click the Connect button.
Once you're connected, open a Web browser or other Internet application to make sure your connection works.
Tip: You can have Mac OS X automatically connect to the Internet whenever you open an Internet application.
Contributors:
@DBCOOPA
@Yoalli_Tlauana
@NourHaridy

Death in Gaza

Hmmm!

History transformed in VCE exam

The Israeli documentary putting military rule in Palestine on trial

Why are Palestinans attempting to enter Israel labelled "infiltrators"?' Photograph: Gali Tibbon/AFP
The Law In These Parts, an Israeli documentary awarded this year's Sundance World Cinema Grand Jury prize, examines how the country created a military-legal system to control the Palestinians in the lands Israel occupied in 1967. And at some point during the film, it becomes clear that it's the judges who are on trial. The documentary, which just screened as part of the UK Jewish Film Festival, features forceful archive footage, alongside a line-up of Israeli legal experts, explaining how they made Israel's occupation laws.
Each judge sits in a black leather chair at a heavy wooden desk intended, you might first assume, to evoke a serious courtroom. But then, each is quietly interrogated by the film's narrator; asked to explain the military rule that they created. Why did Israel even need hundreds of new laws for occupied Palestinians? What was wrong with the existing legal system? Because Israeli law, one judge says, can only be applied if you give citizenship to the Palestinian population. Why aren't Palestinian fighters described as "prisoners of war"? Why are Palestinians attempting to enter Israel labelled as "infiltrators"? One judge is asked to recount a case from the mid-1970s, where a Palestinian woman giving bread and sardines to a Palestinian "infiltrator" from neighbouring Jordan was sentenced to a year and a half in prison – as deterrent. "How did you find out about the pitta bread?" asks the narrator. Don't worry about that, the military judge replies, the walls have ears.
The evidence against these Israeli judges slowly mounts as they try to justify an unjustifiable tangle of what they thought would be temporary laws, devised to control and subdue Palestinians in the occupied territories. One judge recounts how he told former Israeli prime minister Ariel Sharon of an obscure law from the Ottoman era, which Sharon swiftly deployed to seize Palestinian land. The film's narrator asks the judge if he thinks, with hindsight, that this was a good idea. "History will decide," the judge replies, but the narrator leaves no room for evasion: "But when will that be?" he asks, of a system that has been in place for 45 years.
This film successfully depicts the dense, crushing absurdities of Israel's military rule in a way that words don't always manage. While reporting from the region, I spent hours talking with lawyers, who would deconstruct the maze of rules that mean Palestinians always end up penalised. I have notebooks full of explanations of these small, complicated, crucial details. But how do you distil this system into one line of a short news piece? How do you condense the overlapping Ottoman rulings, laws from the British mandate era and brand new Israeli edicts that all fuse into a controlling mesh of military rule over Palestinians, while keeping Jewish settlers free – because as Israeli citizens, they are governed (or, mostly, not governed) by regular Israeli law? And how do you explain why 99.74% of military trials end up convicting Palestinians?
The Law In These Parts ends with a focus on Bassem Tamimi, one of the organisers of weekly demonstrations in Nabi Saleh, a West Bank village whose land and main water source, a spring, has been appropriated by a nearby settlement. He was sentenced to four months' imprisonment after protesting last month at an Israeli supermarket in the West Bank, which stocks settlement, but not Palestinian, produce. Amnesty has described him as a prisoner of conscience and demanded his release, castigating the Israeli military's "campaign of harassment, intimidation and arbitrary detention" against this 45-year-old father of four.
During a trial last year, Tamimi, a schoolteacher, told the military court: "Your honour, I was born in the same year as the occupation, and ever since I've been living under its inherent inhumanity, inequality, racism and lack of freedom. I have been imprisoned nine times for a sum of almost three years, though I was never convicted of any crime. During one of my detentions I was paralysed as a result of torture. My wife was detained, my children wounded, my land stolen by settlers and now my house is slated for demolition … You, who claim to be the only democracy in the Middle East, are trying me under laws written by authorities I have not elected, and which do not represent me". Shortly after this hearing, Tamimi was convicted of inciting protesters to throw stones at soldiers (he was cleared of more serious charges, including "perverting the course of justice", in May, after 11 months in military prison, because a judge decided that key evidence, obtained from a coerced 14-year-old Palestinian boy, was unreliable).
"What actually incited them," Tamimi told the courtroom, "was the occupation's bulldozers on our land, the guns, the smell of tear gas." And then he asked: "If the military judge releases me, will I be convinced that there is justice in your courts?"
Rachel Shabi @'The Guardian'

R.I.P. Pete Namlook, Electronic Music Pioneer

Via Pitchfork:

Pete Namlook, the electronic producer and ambient innovator who founded Germany's Fax Records in 1992, has died, Resident Advisor reports. According to a statement sent to Resident Advisor by Namlook's family, he "died peacefully from as yet unspecified causes" on November 8. He was 51.

Vangelis - Monastery of la Rabida

LSD Experiment (1955)

Richard Alpert (Ram Dass) on LSD

Bonus:
John Lennon on LSD

Paul McCartney on LSD

A Tour Inside Salvador Dalí’s Labyrinthine Spanish Home

Via

Irn Mnky - DJ Shadow Mix

Download
“I’ve Got Two,” Sesame Street
“Shadow Propaganda Mix,” Somepling
“Hole in Ya Speakers,” Irn Mnky
“Let’s Get It (Bass, Bass, Bass),”
DJ Shadow “Disavowed” (Irn Mnky Electro Edit), DJ Shadow
“Right Thing” (Z-Trip Set the Party Off Mix Bonus Beats 2), DJ Shadow
“Organ Donor,” DJ Shadow
“Droop-E Drop,” DJ Shadow
“Organ Donor” (Sovereign Universalist Remix), DJ Shadow
DJ esSDee scratch
“I Gotta Rokk” (Irn Mnky Swagger Mix), DJ Shadow
“Border Crossing,” DJ Shadow
“Walkie Talkie,” DJ Shadow
“Walkie Talkie” (Irn Mnky Beat Down Mix), DJ Shadow
“Building Steam With a Grain of Salt” (NiT GriT Mix), DJ Shadow
“Dats My Part” (feat E-40), DJ Shadow
“Inject the Beat” (feat. Cappo, Bane & DJ esSDee), Irn Mnky
“The Number Song,” DJ Shadow
“Compton,” Dan Greenpeace & Irn Mnky
“Scale It Back” (Irn Mnky Judgement Minimal Mix), DJ Shadow
Via