Jeremy Dyson - High Cockalorum
48 minutes ago
Wednesday, 15 August 2012
Globe Unity Orchestra - Live in Berlin (1970)
Alexander Von Schlippenbach: piano, percussion, leader
Evan Parker: soprano & tenor saxophones
Peter Brötzmann: tenor, baritone saxophones, bassetthorn
Kenny Wheeler: trumpet, flugelhorn
Derek Bailey: guitar
Manfred Schoof: trumpet, flugelhorn, bachtrumpet
Peter Kowald: tuba, bass
Gerd Dudek: soprano, tenor saxophones, flute
Heinz Sauer: baritone, tenor & alto saxophones
Paul Rutherford: trombone, tenor horn
Tomasz Stanko, Bernard Vitet: trumpet
Albert Mangelsdorff, Malcolm Griffith: trombone
Buschi Niebergall: bass, bass trombone
Paul Lovens: drums, percussion
Arjen Gorter: bass, electric bass
Han Bennink: drums, shell-horn, dhung, gachi
Evan Parker: soprano & tenor saxophones
Peter Brötzmann: tenor, baritone saxophones, bassetthorn
Kenny Wheeler: trumpet, flugelhorn
Derek Bailey: guitar
Manfred Schoof: trumpet, flugelhorn, bachtrumpet
Peter Kowald: tuba, bass
Gerd Dudek: soprano, tenor saxophones, flute
Heinz Sauer: baritone, tenor & alto saxophones
Paul Rutherford: trombone, tenor horn
Tomasz Stanko, Bernard Vitet: trumpet
Albert Mangelsdorff, Malcolm Griffith: trombone
Buschi Niebergall: bass, bass trombone
Paul Lovens: drums, percussion
Arjen Gorter: bass, electric bass
Han Bennink: drums, shell-horn, dhung, gachi
Nils Petter Molvaer - Leverkusener Jazztage 2009
Exhumation
Sabkah
Solid Ether
Friction
Nils Petter Molvaer - trumpet
Stian Westerhus - guitar
Audun Kleive - drums, percussion
♪♫ Rodriguez - Crucify Your Mind (David Letterman 14/8/12)
(Thanx Stan!)
His life is a heartfelt back story for sure but jeez his music is so fugn awful!
Robbie Williams dies after training ride
Former Goulburn to Sydney cycle race
winner Robbie Williams tragically died today following a training ride
just north of Canberra.
An ambulance crews attended to Williams, 27, on the scene at Belconnen Way just after 6am.He was then transported to Calvery Hospital where he later died. ACT Police are investigating the circumstances surrounding his death.
Read more here
Tuesday, 14 August 2012
Patrick Gonzales
Gonzales' passion for the arts blossomed at the ripe age of fifteen, when he adopted the art of painting. It is evident that he draws from his early painting techniques to create his captivatingly dreamy worlds. With the addition of photo editing technology, which Gonzales was first introduced to in 1998, he is able to transform his photographic paintings into the spellbinding visuals of his imagination.
Many of the artist's images depict lone figures standing at a distance amidst vast, surreal environments. The themes behind much of his work revolve around "childhood, art, and fantasy." These recurring motifs are heightened through the ever-present "field of dreams" that stretch the landscape to a level of infinite exploration.
Selected prints of Gonzales' work can be purchased through his portfolio on Saatchi.
Via
Monday, 13 August 2012
Drug caravan to visit more than 20 US cities
A coalition calling for an end to the war on drugs began its monthlong campaign Sunday in San Diego that will take it to more than 20 U.S. cities.
More than 200 people gathered at a park on the U.S.-Mexico border as part of a movement known as the ‘‘Caravan for Peace with Justice and Dignity’’ that includes nearly 100 organizations.
The effort is led by Mexican peace activist Javier Sicilia, whose son was killed by drug gang members last year. Sicilia and others want to draw attention to what they say are misguided anti-drug policies in both the U.S. and Mexico. They estimate that tens of thousands of lives in Mexico have been lost because of the war on drugs...
MORE
More than 200 people gathered at a park on the U.S.-Mexico border as part of a movement known as the ‘‘Caravan for Peace with Justice and Dignity’’ that includes nearly 100 organizations.
The effort is led by Mexican peace activist Javier Sicilia, whose son was killed by drug gang members last year. Sicilia and others want to draw attention to what they say are misguided anti-drug policies in both the U.S. and Mexico. They estimate that tens of thousands of lives in Mexico have been lost because of the war on drugs...
MORE
Sunday, 12 August 2012
Saturday, 11 August 2012
Yekaterina Samutsevich: Closing Statement at the Pussy Riot Trial
During the closing statement, the defendant is expected to repent or express regret for her deeds, or to enumerate attenuating circumstances. In my case, as in the case of my colleagues in the group, this is completely unnecessary. Instead, I want to express my views about the causes of what has happened with us.
The fact that Christ the Savior Cathedral had become a significant symbol in the political strategy of our powers that be was already clear to many thinking people when Vladimir Putin’s former [KGB] colleague Kirill Gundyaev took over as head of the Russian Orthodox Church. After this happened, Christ the Savior Cathedral began to be used openly as a flashy setting for the politics of the security services, which are the main source of power [in Russia].
Why did Putin feel the need to exploit the Orthodox religion and its aesthetics? After all, he could have employed his own, far more secular tools of power—for example, national corporations, or his menacing police system, or his own obedient judiciary system. It may be that the tough, failed policies of Putin’s government, the incident with the submarine Kursk, the bombings of civilians in broad daylight, and other unpleasant moments in his political career forced him to ponder the fact that it was high time to resign; otherwise, the citizens of Russia would help him do this. Apparently, it was then that he felt the need for more convincing, transcendental guarantees of his long tenure at the helm. It was here that the need arose to make use of the aesthetics of the Orthodox religion, historically associated with the heyday of Imperial Russia, where power came not from earthly manifestations such as democratic elections and civil society, but from God Himself.
How did he succeed in doing this? After all, we still have a secular state, and shouldn’t any intersection of the religious and political spheres be dealt with severely by our vigilant and critically minded society? Here, apparently, the authorities took advantage of a certain deficit of Orthodox aesthetics in Soviet times, when the Orthodox religion had the aura of a lost history, of something crushed and damaged by the Soviet totalitarian regime, and was thus an opposition culture. The authorities decided to appropriate this historical effect of loss and present their new political project to restore Russia’s lost spiritual values, a project which has little to do with a genuine concern for preservation of Russian Orthodoxy’s history and culture.
It was also fairly logical that the Russian Orthodox Church, which has long had a mystical connection with power, emerged as this project’s principal executor in the media. Moreover, it was also agreed that the Russian Orthodox Church, unlike the Soviet era, when the church opposed, above all, the crudeness of the authorities towards history itself, should also confront all baleful manifestations of contemporary mass culture, with its concept of diversity and tolerance.
Implementing this thoroughly interesting political project has required considerable quantities of professional lighting and video equipment, air time on national TV channels for hours-long live broadcasts, and numerous background shoots for morally and ethically edifying news stories, where in fact the Patriarch’s well-constructed speeches would be pronounced, helping the faithful make the right political choice during the election campaign, a difficult time for Putin. Moreover, all shooting has to take place continuously; the necessary images must sink into the memory and be constantly updated, to create the impression of something natural, constant and compulsory.
Our sudden musical appearance in the Cathedral of Christ the Savior with the song “Mother of God, Drive Putin Out” violated the integrity of this media image, generated and maintained by the authorities for so long, and revealed its falsity. In our performance we dared, without the Patriarch’s blessing, to combine the visual image of Orthodox culture and protest culture, suggesting to smart people that Orthodox culture belongs not only to the Russian Orthodox Church, the Patriarch and Putin, that it might also take the side of civic rebellion and protest in Russia.
Perhaps such an unpleasant large-scale effect from our media intrusion into the cathedral was a surprise to the authorities themselves. First they tried to present our performance as the prank of heartless militant atheists. But they made a huge blunder, since by this time we were already known as an anti-Putin feminist punk band that carried out their media raids on the country’s major political symbols.
In the end, considering all the irreversible political and symbolic losses caused by our innocent creativity, the authorities decided to protect the public from us and our nonconformist thinking. Thus ended our complicated punk adventure in the Cathedral of Christ the Savior.
I now have mixed feelings about this trial. On the one hand, we now expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. Now the whole world sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial. Once again, Russia looks different in the eyes of the world from the way Putin tries to present it at daily international meetings. All the steps toward a state governed by the rule of law that he promised have obviously not been made. And his statement that the court in our case will be objective and make a fair decision is another deception of the entire country and the international community. That is all. Thank you.
• • • • • •
Photo courtesy of Alexandra Astakhova. Original text in Russian published here. You can view video of the closing statements by Yekaterina Samutsevich, Maria Alyokhina and Nadezhda Tolokonnikova here and here (in Russian).
Via
(Thanx Jason!)
'The True Blasphemy': Slavoj Žižek on Pussy Riot
Friday, 10 August 2012
Ry Cooder: 'Mitt Romney is a dangerous man, a cruel man'
I don't agree with that. Romney is as bad as anyone can be. He's a dangerous man. He's a cruel man. He's a perfect creation for what the Republican party is all about. And that is to say, a rapacious capitalist. Anyone who ran Bain Capital is not your friend. All they're going to do is rape and pillage the land. That's what he did at Bain Capital and that's what he's going to continue to do. Plus he can go around and in this guise of being a good buisnessman, which he's not .... and this face – with the big grin and everything – is jovial, but hollow. And it's outrageous if you analyse what he's saying, because he'll say one thing and do the opposite. And the media gives him a lot of attention. You know the story of the Olympics at Salt Lake City? Then he goes over to Great Britain and bad mouths the Olympics over there ... But he's carrying an entourage of donors and he's putting on a dog and pony show for them.It takes a bit of study. People are so desperate over here now. They don't have the time to research and go back over the history of this guy. And everybody knows that. So what I'm trying to do with these little songs I write is say: let's look at this a different way. I don't write books and give speeches but with a four-minute song you can use allegory and other means to suggest a different point of view...
MORE
Ry Cooder - Wall Street Part of Town
ATP: I'LL BE YOUR MIRROR (Melbourne 2013)
Saturday 16th February 2013 curated by ATP
My Bloody Valentine, Godspeed You! Black Emperor, Swans, The Dead C, HTRK, Thee Oh Sees, Sleepy Sun, Standish Carlyon + more to be confirmed
Sunday 17th February 2013 curated by The The Drones
Beasts Of Bourbon (original line-up), Einsturzende Neubauten, Lost Animal, Harmony, Cam Butler & The Shadows Of Love + more to be confirmed
Westgate Entertainment Centre and Grand Star Reception, Altona, Melbourne, Victoria
Oh. Fuck. Yes!!!
Ad Break: Ice Cream?
New Ben & Jerry's (and Tom and Dick and Harry...) Love lickers indeed (and no Little Babies!)
Thursday, 9 August 2012
The Story of Richie Hawtin (BBC)
Heidi is ideally placed to tell the story of Richie as they both grew up in Windsor, Ontario across the river from the birthplace of techno, Detroit.
Just before the start of a hectic Ibiza season Heidi caught up with Richie at his flat in Berlin to talk in detail about his life to date.
Hear her discover more about his early success as Plastikman, his label Plus 8 and his legendary warehouse parties in Detroit.
They then move on to talk about his move first to New York and then on to Berlin. And the founding of M_nus, a record label and family of artists that went on to define the sound of minimal techno.
Aside from the music Rich and Heidi discuss his technical innovation and the live shows with M_nus and Plastikman that have helped define DJ culture itself.
Also featuring Seth Troxler and Ryan Crosson from Visionquest, Detroit legends Juan Atkins, Carl Craig and Jeff Mills, Richie’s brother Matthew and Dad Mick, former M_nus members Magda, Marc Houle and Troy Pierce and long term friends Josh Wink and Loco Dice
Anhui officials' sex pictures circulating on Sina Weibo
(Click to enlarge?
Soft politics?)
Meanwhile, Anhui gov. said the officials' nude sexual pictures are photoshopped by Netizens. THEY WOULD LIKE TO POINT OUT THAT THEIR COCKS ARE MUCH BIGGER IN REAL LIFE!
Subscribe to:
Comments (Atom)
