Monday, 13 February 2012
Grateful Dead - Rockpalast (28-3-81 Essen)
Setlist:
Set 1
Alabama Getaway
Greatest Story Ever Told
Sugaree
Me & My Uncle
Mexicali Blues
Shakedown Street
Little Red Rooster
Althea
Looks Like Rain
Deal
Set 2
Samson & Delilah
Ship Of Fools
Estimated Prophet
He's Gone
The Other One
Drums #
Not Fade Away *
Wharf Rat *
Around & Around *
Good Lovin'
One More Saturday Night
* With Pete Townshend
# With The Flying Karamazov Brothers
AIR - 10 000 Hz Legend
Performers:
Jean-Benoît Dunckel
Nicolas Godin
Justin Meldal-Johnsen: Bass, Drums t1,3,5,10
Brian Reitzell: Bass, Drums t1-5,8-10
Annabel, Dunckel, Thomas: Handclaps t4
Corky Hale: Harp t5
Julia Sarr, Olyza: Backing Vocals t8
Jean Croc: Whistle t10
Tracklist:
01 [00:00] "Electronic Performers" (5:37)
02 [05:37] "How Does It Make You Feel?" (ft Roger Joseph Manning Jr.) (4:38)
03 [10:15] "Radio #1" (ft Jason Falkner, Ken Andrews, Roger Joseph Manning Jr.) (4:23)
04 [14:38] "The Vagabond" (ft Beck) (5:38)
05 [20:16] "Radian" (ft Barbara Cohen) (7:38)
06 [27:54] "Lucky And Unhappy" (ft Jason Falkner, Ken Andrews, Lisa Papineau) (4:31)
07 [32:25] "Sex Born Poison" (ft Buffalo Daughter) (6:19)
08 [38:44] "People In The City" (ft Jason Falkner, Ken Andrews) (4:57)
09 [43:41] "Wonder Milky Bitch" (5:50)
10 [49:31] "Don't Be Light" (ft Beck, Elin Carlson) (6:19)
11 [55:50] "Caramel Prisoner" (4:58)
Release date: May 28, 2001
via
Sunday, 12 February 2012
Big Star: Nothing Can Hurt Me (Trailer)
'Big Star: Nothing Can Hurt Me' is a feature-length documentary about legendary Memphis band Big Star. While mainstream success eluded them, Big Star's three albums have become critically lauded touchstones of the rock music canon. A seminal band in the history of alternative music, Big Star has been cited as an influence by artists including REM, The Replacements, Belle & Sebastian, Elliot Smith and Flaming Lips, to name just a few. With never-before-seen footage and photos of the band, in-depth interviews and a rousing musical tribute by the bands they inspired, 'Big Star: Nothing Can Hurt Me' is a story of artistic and musical salvation.
(Thanx Stan!)
(Thanx Stan!)
All artists can deal with adversity. In fact they thrive on it. I've never met one yet who could deal with success.
- Dick James Via
If We Don’t Get Serious About Protecting Our Digital Spaces, We’ll Get the Internet We Deserve
Saturday, 11 February 2012
Woody Guthrie Serenades New York City (1943)
While Bound for Glory would introduce Guthrie to a much broader audience than that which knew him only through his music, he was already something of an underground folk hero to what, in retrospect, feels like the early stirrings of the counterculture of the 1960s. A politically engaged — and occasionally enraged — artist, Guthrie crafted wrenching tales of loss and struggle, as well as paeans to romantic love and national pride, into some of the most enduring American music ever made. (At the time the pictures in this gallery were made, Guthrie had written and performed, but not yet published, the song that more than a few people believe should be the national anthem; namely, the simple, celebratory gem, “This Land Is Your Land.”)
Guthrie, an Oklahoma native, had a strong connection to New York City. It was where he lived at various times in the 1940s, and made his first real recordings; where he wrote “This Land Is Your Land”; where he befriended and collaborated with other politically minded artists like Pete Seeger; and where his devotees — including the likes of Bob Dylan and the great Phil Ochs — later ignited their own Guthrie-inspired folk scene.
On assignment for LIFE in 1943, photographer Eric Schaal followed Guthrie as he gave impromptu performances around New York — in bars, on the stoops of brownstones, on the subway. Engaging, charming, and at ease, the Woody Guthrie in these photos is exactly where he most liked to be: among the people, guitar in hand.
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(Thanx Tony!)
Spaceboy - This one's for you!!!
“What day is it,?" asked Pooh.
"It's today," squeaked Piglet.
"My favorite day," said Pooh.”
"It's today," squeaked Piglet.
"My favorite day," said Pooh.”
Now let's get out of here and get up to some mischief!!!
Einstürzende Neubauten - Palast Der Republik (4/11/04)
This performance was filmed on November 4, 2004 at the Palast der Republik in Berlin, the former Parliament building and symbol of the no longer extant DDR (East Germany). Einstürzende Neubauten found the steel skeleton of the ruins of the Palast a congenial location for their architectural-musical fantasies and field studies. Accompanied by a 100 member choir, recruited from the supporters of the www.neubauten.org Internet project, they played in and with the building in their inimitable, almost literally building-collapsing fashion. Contains previously unreleased songs, band commentary and more.
Nick Cave and the Bad Seeds - Hurricane Festival (Sheessel Germany June 19th 2009)
With the magnificent Ed Kuepper on guitar!
Bonus:
Rolling Stones 'Wild Horses' Studio Playback
Mick Jagger, Keith Richards, Charlie Watts, Mick Taylor and Jim Dickinson are listening to a recording of their Song Wild Horses. Taken from the documentary 'Gimme Shelter' from Charlotte Zwerin, Albert and David Maysles about the Rolling Stones and the Altamont Free Concert in 1969.
(Thanx Stan!)
Testet ölt- I (2012)
Testet ölt is an experimental rock band from Temerin (Vojvodina, Serbia), whose real psychedelic potential can be felt live since 2011. The lineup: Lenkes - guitar; Stupar - drums; Czini - keyboard.
(Thanx Ákos!)
Friday, 10 February 2012
Hallelujah for Leonard Cohen
Born in Montreal in 1934 of Polish and Lithuanian Jewish parents, Cohen was first a modestly successful poet. He learned guitar to pick up girls and got into songwriting partly because he was tired of being poor. His first album, Songs of Leonard Cohen, came out in 1967, when he was 32. Probably it got green-lighted in the wake of Bob Dylan's success, when Dylan had demonstrated to record executives that you could make highly personal, elusively poetic, scraggly sounding records that the public would buy. Of course, Dylan was riding a folk wave when he emerged in the early ’60s, and Cohen caught that wave too.
I'd like to compare those two, in the process of looking back over Cohen's life and songs. He and Dylan have been working for decades without any visible connection or competition. In practical terms there is no competition, because Dylan has been by far the more visible and influential artist. But if Cohen has always sung in the shadow of Dylan, in the quality of the work I suggest he has been in nobody's shadow.
A long career has done Cohen well by me, and I imagine a lot of listeners. In the ’60s and ’70s, I liked a few of his songs well enough, though I found the voice and the tunes not as striking as Dylan's brassy honk and his unforgettable melodies in the folk days. "Blowin' in the Wind," "Mister Tambourine Man," any number of Dylan songs seemed timeless, as if they'd evolved through many voices over many years. (Some, including "Blowin' in the Wind," were based on traditional tunes.)
Cohen didn't do that, probably couldn't do that. He was never the tunesmith Dylan was, and in the early years his voice actually made Dylan's sound pretty good. Cohen sang in a tenor you could call "reedy" if you wanted to be nice, "nasal" if you didn't. They're both mediocre guitar players; any number of high-school students could play rings around them. Cohen's melodies tended to start at the bottom of his range, ascend toward the top of his range—which was not very far—then descend and screw around in the lower region for the rest of the verse. His early hit "Suzanne" is a case in point...
MORE
Cohen didn't do that, probably couldn't do that. He was never the tunesmith Dylan was, and in the early years his voice actually made Dylan's sound pretty good. Cohen sang in a tenor you could call "reedy" if you wanted to be nice, "nasal" if you didn't. They're both mediocre guitar players; any number of high-school students could play rings around them. Cohen's melodies tended to start at the bottom of his range, ascend toward the top of his range—which was not very far—then descend and screw around in the lower region for the rest of the verse. His early hit "Suzanne" is a case in point...
MORE
Interpol defends voluntary filter
The list, currently in use or on its way to being used by Optus, Telstra and Vodafone, has been seen by some as ineffective due to the ability of child abusers to easily circumvent it, and because it's a preventative measure, not a cure that would see creators of child-abuse material arrested.
However, in an interview with ZDNet Australia at the Kaspersky Lab Cyber Conference 2012 in Cancun, Mexico, Moran said that this criticism only really applies if the filter list is the only measure. He acknowledged its limitations, but stated that the stop page presented when access is blocked is an important tool in Interpol's arsenal against child abuse.
"What it is, essentially, is a prevention tool. Of course it's easy to go around ... but that's not the point. It's not a silver bullet ...It's like a speed camera on a road — you can slow down when you come up to the speed camera, and you can speed up when you've driven past ... but the reality is that it's reminded you that what you're doing is illegal.
"To suggest that blocking the internet or filtering ... is our only answer is wrong. It's also very important to realise that the vast majority of this 'trade' doesn't happen on the web. It happens in off-web services — IRC, newsgroups, peer to peer; I could go on and on and on. That's where we do our big work."
One of the newer tools that Interpol is using as part of this work is an emerging policing discipline that it calls victim identification.
"Material that is found on the internet is analysed in real time by analysts around the world sharing through the ICSE [International Child Sexual Exploitation] database in Interpol."
In a recent case in Massachusetts, US, an image was distributed through the ICSE database, analysed and determined to be a Dutch child, and the victim was subsequently identified. From this information, local law enforcement was able to track the perpetrator down, who was found to be running a child-care centre and abusing 84 victims in total.
"If the system didn't exist at Interpol, and if the Dutch victim-identification officer wasn't doing her job, that man would still be abusing children," Moran said.
"That type of scenario has happened many times from Australia, where material found in Australia is fed into our systems."
Moran stressed that the ability to track victims greatly assisted in leading law enforcement to the perpetrator.
"Don't forget that 86 per cent plus of child sexual abuse takes place within the home, so if you find the victim, you find the perpetrator."
Moran also addressed criticism that there is a perceived lack of transparency with the Interpol filtering list, as it is difficult to determine what destinations have made their way onto it.
"If you feel that the site has been badly blocked for whatever reason, click that link [on the stop page] and make a complaint, and it will be answered," he said.
At the moment, complaints are handled either by Interpol or via the Australian Federal Police (AFP), but Moran clarified that the AFP has the ability to veto the content of the list.
"We're not some super-national police force that makes decisions for national countries. We make the list available to the national central bureau, which is run by the AFP, and the AFP are the ones who push it on out. The AFP themselves can go through the list and verify that all of this content is justifiable."
Even if the AFP was unwilling or unable to put the resources in place to check the list, Moran said that Interpol would still open the list to scrutiny, so long as the investigating party was from a government agency or similar.
"The list is not public for a very good reason. We would welcome independent verification if somebody wants to come in and look at what we put on the list," he said.
Michael Lee @'ZDNet'
However, in an interview with ZDNet Australia at the Kaspersky Lab Cyber Conference 2012 in Cancun, Mexico, Moran said that this criticism only really applies if the filter list is the only measure. He acknowledged its limitations, but stated that the stop page presented when access is blocked is an important tool in Interpol's arsenal against child abuse.
"What it is, essentially, is a prevention tool. Of course it's easy to go around ... but that's not the point. It's not a silver bullet ...It's like a speed camera on a road — you can slow down when you come up to the speed camera, and you can speed up when you've driven past ... but the reality is that it's reminded you that what you're doing is illegal.
"To suggest that blocking the internet or filtering ... is our only answer is wrong. It's also very important to realise that the vast majority of this 'trade' doesn't happen on the web. It happens in off-web services — IRC, newsgroups, peer to peer; I could go on and on and on. That's where we do our big work."
One of the newer tools that Interpol is using as part of this work is an emerging policing discipline that it calls victim identification.
"Material that is found on the internet is analysed in real time by analysts around the world sharing through the ICSE [International Child Sexual Exploitation] database in Interpol."
In a recent case in Massachusetts, US, an image was distributed through the ICSE database, analysed and determined to be a Dutch child, and the victim was subsequently identified. From this information, local law enforcement was able to track the perpetrator down, who was found to be running a child-care centre and abusing 84 victims in total.
"If the system didn't exist at Interpol, and if the Dutch victim-identification officer wasn't doing her job, that man would still be abusing children," Moran said.
"That type of scenario has happened many times from Australia, where material found in Australia is fed into our systems."
Moran stressed that the ability to track victims greatly assisted in leading law enforcement to the perpetrator.
"Don't forget that 86 per cent plus of child sexual abuse takes place within the home, so if you find the victim, you find the perpetrator."
Moran also addressed criticism that there is a perceived lack of transparency with the Interpol filtering list, as it is difficult to determine what destinations have made their way onto it.
"If you feel that the site has been badly blocked for whatever reason, click that link [on the stop page] and make a complaint, and it will be answered," he said.
At the moment, complaints are handled either by Interpol or via the Australian Federal Police (AFP), but Moran clarified that the AFP has the ability to veto the content of the list.
"We're not some super-national police force that makes decisions for national countries. We make the list available to the national central bureau, which is run by the AFP, and the AFP are the ones who push it on out. The AFP themselves can go through the list and verify that all of this content is justifiable."
Even if the AFP was unwilling or unable to put the resources in place to check the list, Moran said that Interpol would still open the list to scrutiny, so long as the investigating party was from a government agency or similar.
"The list is not public for a very good reason. We would welcome independent verification if somebody wants to come in and look at what we put on the list," he said.
Michael Lee @'ZDNet'
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