Monday 28 December 2009

Lo - The Day After

 

Sunday 27 December 2009

Smoking # 43


Hard Choice for a Comfortable Death: Sedation

In almost every room people were sleeping, but not like babies. This was not the carefree sleep that would restore them to rise and shine for another day. It was the sleep before — and sometimes until — death.

In some of the rooms in the hospice unit at Franklin Hospital, in Valley Stream on Long Island, the patients were sleeping because their organs were shutting down, the natural process of death by disease. But at least one patient had been rendered unconscious by strong drugs.
The patient, Leo Oltzik, an 88-year-old man with dementia, congestive heart failure and kidney problems, was brought from home by his wife and son, who were distressed to see him agitated, jumping out of bed and ripping off his clothes. Now he was sleeping soundly with his mouth wide open.
“Obviously, he’s much different than he was when he came in,” Dr. Edward Halbridge, the hospice medical director, told Mr. Oltzik’s wife. “He’s calm, he’s quiet.”
Mr. Oltzik’s life would end not with a bang, but with the drip, drip, drip of an IV drug that put him into a slumber from which he would never awaken. That drug, lorazepam, is a strong sedative. Mr. Oltzik was also receiving morphine, to kill pain. This combination can slow breathing and heart rate, and may make it impossible for the patient to eat or drink. In so doing, it can hasten death.
Mr. Oltzik received what some doctors call palliative sedation and others less euphemistically call terminal sedation. While the national health coverage debate has been roiled by questions of whether the government should be paying for end-of-life counseling, physicians like Dr. Halbridge, in consultations with patients or their families, are routinely making tough decisions about the best way to die.
Among those choices is terminal sedation, a treatment that is already widely used, even as it vexes families and a profession whose paramount rule is to do no harm.
Doctors who perform it say it is based on carefully thought-out ethical principles in which the goal is never to end someone’s life, but only to make the patient more comfortable.
But the possibility that the process might speed death has some experts contending that the practice is, in the words of one much-debated paper, a form of “slow euthanasia,” and that doctors who say otherwise are fooling themselves and their patients.
There is little information about how many patients are terminally sedated, and under what circumstances — estimates have ranged from 2 percent of terminal patients to more than 50 percent. (Doctors are often reluctant to discuss particular cases out of fear that their intentions will be misunderstood.)
While there are universally accepted protocols for treating conditions like flu and diabetes, this is not as true for the management of people’s last weeks, days and hours. Indeed, a review of a decade of medical literature on terminal sedation and interviews with palliative care doctors suggest that there is less than unanimity on which drugs are appropriate to use or even on the precise definition of terminal sedation.
Discussions between doctors and dying patients’ families can be spare, even cryptic. In half a dozen end-of-life consultations attended by a reporter over the last year, even the most forthright doctors and nurses did little more than hint at what the drugs could do. Afterward, some families said they were surprised their loved ones died so quickly, and wondered if the drugs had played a role.
Whether the patients would have lived a few days longer is one of the more prickly unknowns in palliative medicine. Still, most families felt they and the doctors had done the right thing.
Mr. Oltzik died after eight days at the hospice. Asked whether the sedation that rendered Mr. Oltzik unconscious could have accelerated his death, Dr. Halbridge said, “I don’t know.”
“He could have just been ready at that moment,” he said.
With their families’ permission, Dr. Halbridge agreed to talk about patients, including Mr. Oltzik and Frank Foster, a 60-year-old security guard dying of cancer. He said he had come to terms with the moral issues surrounding sedation.
“Do I consider myself a Dr. Death who is bumping people off on a regular basis?” he asked. “I don’t think so. In my own head I’ve sort of come to the realization that these people deserve to pass comfortably...
Continue reading

Beats In Space: Juan Atkins & Ashley Beedle

BIS Radio Show #499December 15 2009


Pt 1 with: Juan Atkins 1. Model 500 - Wanna Be There - R&S
2. Model 500 - Nightdrive (Thru Babylon) - Metroplex
3. Model 500 - Ocean To Ocean - Metroplex
4. Octave One - Life After Man - 430 West
5. Son's of The Dragon - The Journey Of Qui Niu (CV 313's The D Mix) - Echospace
6. Quince - GoBang - Delsin
7. The Black Dog - Train By The Autobahn (DJ Remix By Robert Hood) - Soma
8. The Vision - Explain The Style - Metroplex
9. Efdemin - The Pulse (John Beltran's Summer Light Remix) - Curle
10. Motorcitysoul - Vivid (Roman Flugel's Desperate Dub) - Simple Records
11. YNK - Schultze Swing - Percusa Records
12. Mendo - Everybody I Got Him (2009 Mix) - Cadenza
13. Unknown
14. Juan Atkins & Kimyon - Work For Money - All About
15. Robert Hood - Rhythm Of Vision - M-Plant
16. Kimyon - Platform View -
17. Unknown
18. Unknown

Pt 2 with: Ashley Beedle Electronic Rudie! Dub Can't Fail Mix:
19. 3 Generations Walking - Midnight Bustling (Francois Kevorkian Dub)
20. Basement 5 - Immigrant Dub
21. The Pop Group - 3:38
22. Dub Pistols feat . Rodney P - You'll Never Find (Dub)
23. Stiff Little Fingers - Bloody Dub
24. Generation X - Wild Dub
25. Flesh For Lulu - I'm Not Like Everybody Else (Dub Version)
26. The Pogues - Young Ned Of The Hill (Dub Version)
27. The Clash - One More Dub
28. Bauhaus - Here's The Dub (She's In Parties)
29. Leftfield - Dub Gussett
30. Air - How Does It Make You Feel? (Adrian Sherwood Mix)
31. Massive Attack vs Mad Professor - Radiation Ruling The Nation (Protection)
32. Reverend And The Makers - Sundown On The Empire (Adrian Sherwood On U Sound Disneydubland)
33. The Clash - Robber Dub
34. The Specials/Rico Rodriguez - Ghost Town (Extended Mix)

The attack during Khatami's speech yesterday

Scientists aim for musical impact

Superconducting magnet at Large Hadron Collider (Cern/M. Brice)
The Large Hadron Collider will have a song dedicated to it.

The official choir of the European Organization for Nuclear Research (better known by its French acronym Cern) is to record a song dedicated to the Large Hadron Collider (LHC).
The LHC is the vast physics experiment built in a 27km-long underground tunnel, which runs in a circle under the French-Swiss border.
The ditty written by clinical psychologist Danuta Orlowska has been set to the tune of the Hippopotamus song by Flanders and Swann and its chorus celebrates the Higgs boson - a sub-atomic particle that the LHC is designed to detect:
"Higgs, Higgs glorious Higgs," the tune goes, "the theory told them these thingamijigs, were so fundamental."

But this isn't Cern's first ode to particle physics. Staff members once wrote a rap song that was praised for its scientific accuracy - if little else.
"You see particles flying, in jets they spray. But you notice there ain't nothin', goin' the other way," they rap.
"You say: 'My law has just been violated - it don't make sense! There's gotta be another particle to make this balance'."
Buzz Aldrin, the second man to set foot on the Moon, also released a rap song this year.
"Rocket Experience", recorded with some help from rap artist Snoop Dogg, commemorated the 40th anniversary of the first manned mission to land on the Moon.
Crash landing?
In it, Buzz intones, "I am the space man", adding: "It's time to venture far, let's take a trip to Mars. Our destiny is to the stars."
The song was intended to convey the excitement of the Apollo era to a younger generation. But Andrew Harrison, associate editor of music magazine Word, is doubtful:
"I don't think we can call that a giant leap for hip-hop," he told BBC News. But he understands why Buzz and others turn to music in an attempt to convey the wonder of science.

"Scientists can feel a little unappreciated, in that there's this incredible stuff that they're discovering that is difficult to bring to popular attention. But what it does prove is that music is difficult," says Mr Harrison.
There are even songs dedicated to palaeontological discoveries. Jonathan Mann wrote a song about the discovery of a 4.4 million-year-old human-like creature called Ardipithecus ramidus, which might be a human ancestor.
The chorus goes: "Oh! Ardipithecus ramidus, Ardipithecus ramidus, She's related to all of us!"
Scientists are not just using music to inform the public, but also - in time-honoured fashion - to campaign.
'Don't take our dish'
The tune "Don't go messing with our Telescope" was released last year by The Astronomers to fight the closure of the famous Jodrell Bank Telescope in Cheshire, UK.
"And every day we live in hope, don't go messing with our telescope, don't take our dish, you'll leave a black hole," the verse implores.
A composition in an advert by Bio-Rad Laboratories set what was regarded as a high water mark in science music.
The video features a well-produced parody of "We are the World" with cameos from Willy Nelson, Bob Dylan and Bee Gees sound-alikes.
It is dedicated to a technique - called polymerase chain reaction (PCR) - which enables researchers to make millions of copies of short sequences of genetic material.
It has transformed molecular biology. So, argue the scientists, why not celebrate science with the same gusto as one might celebrate sport in a football song?
"PCR when you need to detect mutation (detect mutation), PCR when you need to recombine (recombine), PCR when you need to find out who the daddy is (who's your daddy?), PCR when you need to solve a crime (solve a crime)," goes the refrain.

Mungo's Hi Fi - Scotch Bonnet Mix (2007)


Mungo's Hi Fi
Scotch Bonnet Mix

Flying the flag for reggae in Scotland, Mungo's Hi Fi lay down nuff fine riddims from their arsenal in this exclusive studio mix.
Since 2002, Mungo's Hi Fi Soundsystem have been showing big love for all things reggae, dub, ska and dancehall by releasing some seriously high-grade music — not to mention regularly shaking Glasgow's foundations with their lofty speaker stacks.

Following three outings on London's Dubhead label, the lads decided to set up their own imprint in 2005 — the wonderfully titled Scotch Bonnet Records. There's been a slew of 7"s and 10"s so far, all as hot as the label name suggests, with their unstoppable Belly Ska Riddim blazing its way across the UK, America, Germany and Poland. And there's no let up in pressure; next month sees their huge Mary Jane Riddim unleashed on a series of singles that feature vocals from Top Cat, Carl Meeks, Kenny Knots, Mikey Murka, Soom T and El Fata. There's also a Mungo's Hi Fi album on the way, due out on Scotch Bonnet in the not-to-distant future. In fact, they tell us they're sitting on so much new material that they don't know what to do with it all!

For those unable to catch Mungo's Hi Fi on their European travels in the coming months, they've kindly supplied Spannered with this killer studio mix, packed full of unreleased Scotch Bonnet goodness. As you can tell, they've been feeling the current dubstep flavours too — hold tight for releases later in the year!



Linkage

Bonus Audio:
Joanna Newsom - Book of Right On (Mungo's Hi Fi Mix)

Kristin Hersh remembers her late friend Vic Chesnutt: 'I miss him more than I've missed anybody ever'



To say this is a difficult day for those who knew and cared about Vic Chesnutt, the singer-songwriter who died yesterday at age 45, can only be an understatement. “I miss him more than I’ve missed anybody ever,” Kristin Hersh (of Throwing Muses and solo fame) tells EW.com’s The Music Mix today, her voice heavy with emotion. ”Fifteen years was not enough time to prepare for this. It’s just hard to imagine a world without Vic.”
Chesnutt became one of Hersh’s dearest friends in the mid-90s, when he was her opening act on a solo acoustic tour of Europe. “It’s hard not to get close with Vic,” she recalls. “He was wonderful. A lot of people don’t know that, because he liked to think of himself as an ornery character, but he wasn’t. He was a sweetheart, and hilarious, absolutely hilarious.” The two went on to collaborate and perform together often in subsequent years, most recently at an R.E.M. tribute concert at NYC’s Carnegie Hall this past March. “Vic and I were very, very much alike, and that’s part of why we were so close,” says Hersh. “I feel like the last of a species after he’s gone.”

Through those years, friends couldn’t help but be aware of Chesnutt’s struggles with depression. “Vic was a real songwriter. Unlike 99 percent of the musicians out there, who suck for money, he was in it, living the songs. That’s a hard way of life….I don’t know how this minute was different from all the other ones, that it took Vic away. But you could see it in his eyes. I didn’t think [a tragic death] was inevitable, but it was definitely always there.”
Up until recently, Hersh and Chesnutt were planning to record a new album and tour together this year. Now that he’s gone, she’s set up a website to raise funds for his widow, Tina. Fans have already donated thousands of dollars. “Vic’s medical bills were astronomical. Like most musicians, he didn’t have insurance for a long time, and then when he got insurance, they wouldn’t pay his bills. I know that he was about 50 grand in debt just for medical bills….[Fans'] generosity is unbelievable.”
Asked about the possibility of a posthumous tribute to Chesnutt’s work, Hersh laughs through the tears. “I imagine he would think that was goofy. He’s also a difficult musician to cover…That’s part of what was so beautiful about his playing, the fluid timing. That’s what was truly inimitable about him. You can’t be Vic. I don’t recommend covering his songs, even though it’s been done before and I’ve done it myself. Vic played his own music, and that’s the way it should have been played, not by us peasants.”
Right now, though, the tragedy of his death is still too fresh for her to listen to his music. “There are hardly any of his songs that were not my favorites,” Hersh says. “All week, I couldn’t take [Chesnutt's 1998 album] The Salesman and Bernadette off. I had it on repeat over and over and over again. And then when I heard he was gone, I decided I wouldn’t be able to listen to it again.” Hersh pauses for a moment. “I hate the idea of him being in the past, but I don’t see how I can sit through one of his songs. There are so many memories — stupid memories, just hundreds and hundreds all at once. At least right now, I can’t really handle that.”
@'Entertainment Weekly'


kristinhersh someone just shared this w/me...vic & me doing "panic pure" live - http://is.gd/5CIVE 

Smoking # 42


Vic Chesnutt: Left to his own devices


Vic was our Keats, our Nina Simone. There will never be another like him. - Guy Picciotto, Fugazi
It’s funny the things we tend to remember, or I should say, the things I tend to remember. The minutiae. The first time I heard the name Vic Chesnutt was in the Fall of 1995; I was 20 years old and a sophomore at the University of Georgia in Athens. Having recently been turned on to Jack Logan, via the University radio station, I walked downtown to Wuxtry Records to pick up his 2-disc debut, Bulk. Paying for it at the counter the clerk, noting my purchase, asked if I  also liked Vic Chesnutt. No, I replied–I had never heard of him. That was 15 years ago. Chesnutt’s music has been with me ever since.
On Christmas day I heard the news that Vic Chestnutt was gone, dead at 45 from an overdose of muscle relaxants. Shocking as the news was, it was made even more surreal as I had just been shopping for Chesnutt vinyl a couple of days prior, had just seen him and his new (excellent) band December 1st here in L.A., and we had just listed At The Cut as not only one of our favorite albums of 2009, but deemed it “Chesnutt’s finest hour yet.” All appeared to be on the up and up for Chesnutt, at least from an outside perspective. In reality Chesnutt had apparently been struggling with deep depression, continued health issues, and stress and anxiety due to monster lawsuit from unpaid hospital bills in the tune of 50 thousand dollars. Tragic and sad.
Chesnutt was my kind of songwriter. There was no artifice, no bullshit. And while his music wasn’t pretty, and could be very grim at times, there was almost always a humor in it. How could there not be from the guy who wrote “Good Morning Mr. Hard On.” Like fellow Athenian Daniel Hutchens, he walked that fine line between the light and the dark. That magic lyrical twilight that you can’t quite put your finger on, but one that makes all the difference. Read Chesnutt’s lyrics; listen to his songs. A musician, he tread in the Southern Gothic literary tradition of William Faulkner, Tennessee Williams, Flannery O’Connor, but in the vein of contemporaries Harry Crews, Larry Brown and William Gay. Chesnutt wrote about what he knew; the new South, one struggling with its identity – half rooted in the present and half in the past.
Following a pair of critically well-received albums for New West Records, Silver Lake and Ghetto Bells, Chesnutt resurfaced in 2007 with the type of late-period album that not only revitalizes long-time listeners, but draws in new ones as well. North Star Deserter was the result of Chesnutt collaborating with Guy Picciotto of Fugazi, Thee Silver Mt. Zion and members of Godspeed You! Black Emperor. It was a dark, challenging record that truly gave Chesnutt’s lyrics a powerful backdrop unlike any previous recording. He would take time to record another collaboration, the more light-hearted and whimsical Dark Developments with Elf Power in 2008, but would return to his North Star Deserter collaborators for 2009’s astounding At the Cut.
Every bit its predecessor’s equal, if not its better, At The Cut found Chesnutt in rare lyrical form – dissecting his usual themes of mortality and existence with amazing precision. From opener “Coward” and its powerful sonics while Chesnutt dictates about “the courage of the coward,” to closer “Granny” and its short vignettes of actual interactions between Chesnutt and his late grandmother based on a dream that he had, the album is a sonic and thematic triumph. Now, in the wake of Chesnutt’s suicide, one of the album’s best songs has also taken on a different tone. “Flirted With You All My Life” was, as Vic explained it in an interview we conducted earlier this year, “about being a suicide. I’ve attempted suicide a couple of times and I think about things such as that. [People who attempt suicide] have a kind of love/hate relationship with death. I do, in some ways. That’s what I say in the song – ‘tease me with your sweet relief.’ The song is about realizing that I don’t want to die. I want to live.” A song that seemed to point to a triumph over Death’s call, instead now reads like a lost promise.
Vic’s last tour before his death was with the North Star Deserter/At The Cut studio band promoting the At the Cut album. On numerous nights of the tour, they brought an amazing and jaw-dropping set of songs to bear on the audience. Again in the interview he described working with the band as “one of the most incredible experiences, musically, I’ve ever had. The power is like a locomotive or something.” Seeing the band live, he wasn’t kidding. It was one of the best concert experiences of 2009 to go along with one of its finest albums. Talking with Vic was always a pleasure, too. In interviews, he was genuine and forthright in the way he spoke of his turbulent life – in person, he was a kind and friendly man who was approachable to his fans. He will be greatly missed. words/ j gage & j neas
+ Musician Kristin Hersh has set up a donation website on behalf of Chesnutt’s family in tribute to the artist. 100% of all funds raised will go to Vic’s family.
MP3: Vic Chesnutt :: Degenerate
MP3: Vic Chesnutt :: Flirted With You All My Life

@'Aquarium Drunkard'

Flying soon? Have fun

In the wake of 9/11, Malcolm Gladwell wrote a New Yorker article on the history of hijackings (PDF), concluding:
Can we close the loopholes that led to the September 11th attack? Logistically, an all-encompassing security system is probably impossible. A new safety protocol that adds thirty seconds to the check-in time of every passenger would add more than three hours to the preparation time for a 747, assuming that there are no additional checkpoints. Reforms that further encumber the country's already overstressed air-traffic system are hardly reforms; they are self-inflicted wounds.
The history Gladwell had detailed is one in which, repeatedly, security procedures on air travel had addressed the most recent crime or attempted crime, always looking backward and always being evaded by the next round of hijackers.
And, despite all the improvements in airport security, the percentage of terrorist hijackings foiled by airport security in the years between 1987 and 1996 was at its lowest point in thirty years. Airport-security measures have simply chased out the amateurs and left the clever and the audacious. "A look at the history of attacks on commercial aviation reveals that new terrorist methods of attack have virtually never been foreseen by security authorities," the Israeli terrorism expert Ariel Merari writes, in the recent book "Aviation Terrorism and Security."
In the wake of Christmas Day's failed terrorism attempt, the TSA is self-inflicting a few more wounds. The upshot is that air travel is getting a whole lot more miserable for those who are still willing to endure it.
According to a statement posted Saturday morning on Air Canada’s Web site, the Transportation Security Administration will severely limit the behavior of both passengers and crew during flights in United States airspace — restricting movement in the final hour of flight. Late Saturday morning, the T.S.A. had not yet included this new information on its own Web site.
"Among other things," the statement in Air Canada’s Web site read, "during the final hour of flight customers must remain seated, will not be allowed to access carry-on baggage, or have personal belongings or other items on their laps."
Also, only one carry-on item may be allowed, it's reported.
So, to recap. Improvements in airport security have historically not worked. Yet, in response to a failed terrorism attempt, a struggling industry in a struggling economy, and the poor saps stuck as its customers, will have to deal with more restrictions imposed not because there's any empirical support for their effectiveness, but so the TSA can appear to be Vigilant and Responsive.
If some terrorist organization wanted to change its stated goals to killing the US airline industry, they could probably declare victory relatively soon.

Dubstep hits the big time in US


Newcomer Ke$ha takes her first solo chart single "TiK ToK" to the top of the Billboard Hot 100 (2-1), released on Billboard.com Thursday (Dec. 24). Ke$ha is the first female vocalist to rise to No. 1 with her debut single since Lady Gaga stormed the list with "Just Dance" in January 2009.

There are two remixes from Untold for this single,first time in history we have some dubstep remixes for nr.1 single USA, so this is the biggest success for Untold and dubstep scene so far.

Ke$ha "TiK ToK"(untold remixes)

The Art of Drawing

isoHunt guilty of inducing copyright infringement


A U.S. federal court has ruled against torrent indexer isoHunt today, ruling the site is guilty of inducing copyright infringement. Claiming the case is so similar to that of Napster and Grokster in the 1990s, the case will not get a full trial and was given summary judgment.
The case, which began in 2006 when Columbia, Disney, Tristar, Twentieth Century Fox, Universal and Warner Bros issued a complaint against the site and owner Gary Fung, seems to be finally over, with the site seemingly going the way of Mininova, which removed all illegal torrents in November, at least in the U.S. It should continue to run full steam in Canada.
The ruling says Fung ran the site with “purposeful, culpable expression and conduct, aimed at promoting infringing uses of the websites.”
In their case, the defendants pointed out many cases in which users of the site were encouraged to pirate, including torrent categories such as "top 20 movies," or the ‘Box Office Movies’ section of the site which encouraged users to upload the top 20 highest-grossing movies of all time.
Staff and moderators of the site's official forum were also shown giving advice on how to download copyright films, how to rip DVDs, and how to use PeerGuardian to block IP addresses from the MPAA and other groups.

Saturday 26 December 2009

The Wire is an urbanistic enquiry too

They say “It’s not television, it’s Hbo”, but when you talk about The Wire is more like “It’s not Hbo, it’s even better”. Considering the quality of the writing, the value of the drama, the strenght of the plot, the series seems more like a vivid and grimey painting – near to literature – of the US society of the last decade, from the “post 9/11″ period to the financial crack of 2008.
But if this TV show is mostly a portrait of a society, it is also a map of an urban environment: in his case, the city of Baltimore (notably put for the first time on the once So-Cal-dominated series map, much like The Sopranos did with New Jersey).
Just like the characters are connected to each other and every action, as in the ancient epic or tragedy, has a cost for everybody, so are the locations.
baltimore-downtown-aerial-photo
6a00d8341c583d53ef00e550a2277d8834-640wi
The first season of the show starts at the Pit: a square, located in Baltimore’s suburbia, where a new organization of young and black drug dealers is pushing cocaine and crack, while sitting on a sofa literally placed in the middle of the square.
From there, the screenplay drives us through a lot of different locations, all connected by The (same) Wire. From the Pit to the Grand Jury, from the student buildings to TV and media centers, from the harbour to the prisons, from the police department to greats lawyers’s offices, from the crack addicts squats to middle class flats: everything in The Wire seems shaded by the same corruption that makes hard to distinguish what right or wrong are.

But the point here is not merely a moral question, the point is that, in The Wire, the city appears clearly for what it is: an organic Social Network in which commercial, political, criminal informations and goods are passed through, like it happens in a DNA chain, making a difference not only for the single point, but for the whole chain.
As noted by James Harkin in his recent book Cyburbia: The Dangerous Idea That’s Changing How We Live and Who We are, The Wire is one of the most accurate enquiries over an urban environment – if you think at them as a network of exchanges. But it’s more than that, The Wire gives us a map to orientate ourselves in a modern city. And not in a prototype or just a city of the future, but the cities as we already know it: an urban conglomerate of chinese boxes where the money, their movements, their transfers, their rehabilitation from dirty money to clean and disposable money makes everything happen – from the planning of the instruction system to the renovation of urban areas, from transportations to media topics.
As a result of all these blind effects, The Wire shows his “omniscient” follower the daily reterritorialization of Baltimore’s “moral” geography.
As declared by screenwriter David Simon, the series’ deus ex machina, in a 2007 interview with The New Yorker: “The Wire was never a cop show. We were always planning to move further and further out, to build a whole city”.
For this and for several other reasons, we can say – along with a lot of other magazines and websites – that The Wire is not only the most outstanding TV show of the decade near to his end, but that it promises to become, even in the next years, an influential critical tool for social and urbanistic thought.
(Thanx Stan)

My steampunk wish


Should I ever get a MAC this is the one I want (combined with an old typewriter!)

*woof*


(Nervous) Rex AKA Fatboy Fat


Rex is about 17 and has been with us for 16 of those years. We got him through a newspaper ad. He had been found in the bush and we think had been hit by a car.
He initially was so nervous and cowered at the slightest movement and didn't bark for about the first year.
Now as he nears the end of his time with us he is very lame, very blind, very deaf, very smelly and still very loved.
The film above is a very moving account of the last days of Oden.

This one's for you Spacebubs

Image and video hosting by TinyPic
                                Via 'Mogadonia'

Page to donate money for Vic Chesnutt's family set up by the very wonderful Kristen Hersh

What this man was capable of was superhuman. Vic was brilliant, hilarious and necessary; his songs messages from the ether, uncensored. He developed a guitar style that allowed him to play bass, rhythm and lead in the same song — this with the movement of only two fingers. His fluid timing was inimitable, his poetry untainted by influences. He was my best friend. I never saw the wheelchair—it was invisible to me—but he did. When our dressing room was up a flight of stairs, he'd casually tell me that he'd meet me in the bar. When we both contracted the same illness, I told him it was the worst pain I'd ever felt. "I don't feel pain," he said. Of course. I'd forgotten. When I asked him to take a walk down the rain spattered sidewalk with me, he said his hands would get wet. Sitting on stage with him, I would request a song and he'd flip me off, which meant, "This finger won't work today." I saw him as unassailable—huge and wonderful, but I think Vic saw Vic as small, broken. And sad.
I don't know if I'll ever be able to listen to his music again, but I know how vital it is that others hear it. When I got the phone call I'd been dreading for the last fifteen years, I lost my balance. My whole being shifted to the left; I couldn't stand up without careening into the wall and I was freezing cold. I don't think I like this planet without Vic; I swore I would never live here without him. But what he left here is the sound of a life that pushed against its constraints, as all lives should. It's the sound of someone on fire. It makes this planet better.
And if I'm honest with myself, I admit that I still feel like he's here, but free of his constraints. Maybe now he really is huge. Unbroken. And happy.
Love,
Kristin

Vic Chesnutt - Supernatural

http://www.timesonline.co.uk/tol/news/world/middle_east/article6967927.ece

Neda Agha-Soltan is Times Person of the Year


Neda Soltan was not political. She did not vote in the Iranian presidential election on June 12. The young student was appalled, however, by the way that the regime shamelessly rigged the result and reinstalled Mahmoud Ahmadinejad. Ignoring the pleas of her family, she went with her music teacher eight days later to join a huge opposition demonstration in Tehran.
“Even if a bullet goes through my heart it’s not important,” she told Caspian Makan, her fiancé. “What we’re fighting for is more important. When it comes to taking our stolen rights back we should not hesitate. Everyone is responsible. Each person leaves a footprint in this world.”
Ms Soltan, 26, had no idea just how big a footprint she would leave. Hours after leaving home, she was indeed shot, by a government militiaman, as she and other demonstrators chanted: “Death to the dictator.”
Arash Hejazi, a doctor standing near by, remembers her looking down in surprise as blood gushed from her chest. She collapsed. More blood spewed from her mouth. As she lay dying on the pavement, her life ebbing out of her, “I felt she was trying to ask a question. Why?” said Dr Hejazi, who tried to save her life. Why had an election that generated so much excitement ended with a government that claims to champion the highest moral values, the finest Islamic principles, butchering its own youth?A 40-second telephone clip of Ms Soltan’s final moments flashed around the world. Overnight she became a global symbol of the regime’s brutality, and of the remarkable courage of Iran’s opposition in a region where other populations are all too easily suppressed by despotic governments.
Her name was invoked by Barack Obama, Gordon Brown and other world leaders. Outside Iranian embassies huge crowds of protesters staged candlelit vigils, held up her picture, or wore T-shirts proclaiming, “NEDA — Nothing Except Democracy Acceptable”. The internet was flooded with tributes, poems and songs. The exiled son of the Shah of Iran carried her photograph in his chest pocket.
She was no less of an icon inside Iran, whose Shia population is steeped in the mythology of martyrdom. Vigils were held. Her grave became something of a shrine, and the 40th day after her death — an important date in Shia mourning rituals — was marked by a big demonstration in Behesht-e Zahra cemetery in Tehran that riot police broke up.
It was not hard to see why Ms Soltan so quickly became the face of the opposition, the Iranian equivalent of the young man who confronted China’s tanks during the Tiananmen Square demonstrations 20 years earlier. She was young and pretty, innocent, brave and modern. She wore make-up beneath her mandatory headscarf, jeans and trainers beneath her long, black coat, and liked to travel. She transcended the narrow confines of religion, nationality and ideology. She evoked almost universal empathy.
The story of her death was so potent that the regime went to extraordinary lengths to suppress it. It banned a mourning ceremony, tore down black banners outside her home, and insisted that her funeral be private. It ordered her family to stay silent.
In the subsequent weeks any number of leading officials, ayatollahs included, sought to blame her death on British and American intelligence agencies, the opposition, and even the BBC — accusing its soon-to-beexpelled Tehran correspondent, Jon Leyne, of arranging her death so that he could get good pictures.
The regime announced investigations that, to no one’s surprise, exonerated it and all its agents. It managed to coerce Ms Soltan’s music teacher into changing his story, but it failed to do the same with Mr Makan, despite imprisoning him for 65 days — many of them in solitary confinement. Released on bail, he fled the country — making a five-day overland journey to escape.
Dr Hejazi also fled, back to Oxford where he had been taking a postgraduate course in publishing. There he confirmed in an interview in The Times that Ms Soltan was shot by a Basij militiaman on a motorcycle. But the regime still hounds him. It has harassed his family in Tehran, is trying to close his publishing company in the capital, and has accused him of helping British agents to kill Ms Soltan. It stages demonstrations outside the British Embassy demanding his extradition. He would be arrested the moment he returned to Tehran, meaning that he, his wife and infant son are now exiles.
When The Queen’s College, Oxford, established a scholarship in Ms Soltan’s name the regime sent the university a furious letter of complaint.
Back in Tehran, the regime tried to buy off Ms Soltan’s parents by promising them a pension if they agreed that their daughter was a “martyr” killed by foreign agents.
Her mother, Hajar Rostami Motlagh, was outraged. “Neda died for her country, not so that I could get a monthly income from the Martyr Foundation,” she said. “If these officials say Neda was a martyr, why do they keep wiping off the word ‘martyr’ in red which people write on her gravestone? ... Even if they give the world to me I will never accept the offer.”
Soon afterwards, government supporters desecrated her grave. The regime has not arrested or investigated Abbas Kargar Javid, who was caught by demonstrators seconds after he shot Ms Soltan. The crowd, unwilling to use violence, and with the police the enemy, let him go — but not before they had taken his identity card.
Six months on, it is obvious that Ms Soltan did not die in vain. The manner of her death, and the regime’s response, has shredded what little legitimacy it had left. She helped to inspire an opposition movement that is now led by her generation, which a systematic campaign of arrests, show trials, beatings, torture and security force violence has failed to crush, and whose courage and defiance has won the admiration of the world.
As the new year approaches, the so-called Green Movement appears to be gaining confidence and momentum. It no longer seems impossible that the regime could fall in 2010. If and when it does, Ms Soltan will be remembered as the pre-eminent martyr of the second Iranian revolution.

Vic Chesnutt RIP

Vic Chesnutt, a singer-songwriter whose music dealt with mortality and black humor, died on Friday in a hospital in Athens, Ga., a spokesman for his family said. He was 45 and lived in Athens.
He had been in a coma after taking an overdose of muscle relaxants earlier this week, said the family spokesman, Jem Cohen.
In a two-decade career, Mr. Chesnutt sang darkly comic and often disarmingly candid songs about death, vulnerability, and life’s simple joys. A car accident when he was 18 left him a quadriplegic, but he has said that the accident focused him as a musician and a poet.
“It was only after I broke my neck and even like maybe a year later that I really started realizing that I had something to say,” he said in a recent radio interview with Terry Gross.
Discovered in the late 1980s by Michael Stipe of R.E.M., who produced his first two albums, Mr. Chesnutt has been a mainstay in independent music, collaborating with the bands Lambchop and Widespread Panic.
In 1996 his songs were performed by Madonna, the Indigo Girls, Smashing Pumpkins, R.E.M. and others for “Sweet Relief II: The Gravity of the Situation,” an album that benefited the Sweet Relief Musicians Fund, a nonprofit group that offers medical support for musicians.
His survivors include his wife, Tina Whatley Chesnutt; a sister, Lorinda Crane; and nine nieces and nephews.
Recently Mr. Chesnutt had had a burst of creativity, releasing two 2009 albums, “At the Cut” and “Skitter on Take-Off.” In the song, “Flirted With You All My Life,” from “At the Cut,” Mr. Chesnutt sings about suicide, which he had attempted several times. Written as a breakup song with death, it expresses a wish to live:
“When you touched a friend of mine I thought I would lose my mind
But I found out with time that really, I was not ready, no no, cold death
Oh death, I’m really not ready.”
@'NY Times'

Vic Chesnutt RIP


he's gone...so much to go away in a moment

Flying Lotus - A Decade of Flying Lotus (Mixed by The Gaslight Killer)


Merry Christmas and happy holidays to everyone
as we’re approaching this new year, I felt it was time to let go of some things that have been gathering dust. Some old things, and some new things, I tried to pick out tracks that I know yall haven’t heard yet so there should be surprises around every turn.
can’t believe i’ve been making tracks for over 10 years now..That said, there’s so much to learn still.
I hope you all enjoy this mix. Thanks to the Gaslamp Killer for doing an incredible job on this.
Can’t wait for you all to hear my album ‘Cosmogramma’ coming out April 20th 2010 on Warp Records.
Enjoy
s

icon for podpress  A Decade of Flying Lotus (mixed by GLK)

Brendon Moeller - Process part 179

     
More superb mixes @'Modyfier'

Vic Chesnutt: UPDATE

The reports of Vic Chesnutt's death are unconfirmed. He is apparently still in a coma:

However, as of about an hour ago, new information has surfaced that Chesnutt has not died and is indeed still in a coma. As one Examiner piece notes, there has been no official word released, and many a death article (such as one in Spinner) have been re-written to fix the errors. The Wall Street Journal published an article about a half hour ago that says Chesnutt is alive. It quotes a couple of people close to Chesnutt, including the head of Constellation Records:
“There is no truth to the rumour that Vic has died,” said Don Wilkie, co-founder of Constellation, addressing rumors on the Web. “He remains alive.”
Vic Chesnutt is not dead. I am with him at the hospital in Georgia, and while he is in serious coma, we do not know what the outcome will be. Vic has survived serious comas in the past. Please do not report misinformation. You owe that to his family and friends, as well as to journalistic ethics.
Thank you.
Jem Cohen


Scurvy Bastard says:

"Hey, Pa," yelled Zeke, leaping barefoot across the front porch and into the kitchen. "There's some folks done snuck into the barn and the woman's gone and birthed a baby! They got it laying in the trough, wrapped in a feed sack." "That's the least of our worries son, look up yonder hill... looks like 3 terrorists headed this way."

America's health system (part fugn whatever...)


“Right now, I’m in huge trouble in that the hospital is suing me for $35,000, which is terrifying, and the rub is that I have health insurance. I have hospitalization insurance, for which I pay almost $500 a month, and then on top of that I still owe the hospital $35,000. That is truly an insane system. I did everything right and I’m still under the gun.”
 Vic Chesnutt - Spinner Magazine October 2009

Friday 25 December 2009

小鳥ピヨピヨのいちる撮影。以下にインタビューあり!


(Thanx Stan)

Vic Chesnutt RIP Still in coma


Vic Chesnutt, a singer-songwriter known for his painful and poignant songs, died tonight (Dec. 24) after an apparent suicide attempt. The news was reported by numerous Internet sources and confirmed for Billboard.com by Henry Owings, a writer and friend of Chesnutt's from Athens, Ga. An official statement from Chesnutt's family has not yet been released. He was 45.
 The news about the singer's condition first spread through the Internet on Wednesday through Twitter posts by former Throwing Muses singer Kristin Hersh, who has collaborated with Chesnutt.
 "Another suicide attempt, looks bad, coma--if he survives, there may be brain damage," said Hersh in one of her posts. "This time, it's real scary: *this* time, he left a note, *this* time, he asked them to call me."
 Chesnutt, 45, has been in a wheelchair since a car accident when he was 18, and was discovered in the late '80s by R.E.M. singer Michael Stipe, who produced his first two albums. Since then, Chesnutt has released 13 more albums, including two this year, "At the Cut" and "Skitter on Take-Off."

Remember...


...that this time of the year can be a very difficult time for lots of people for a number of reasons...
Sometimes random acts of senseless kindness can make YOU feel a whole lot better too!

If things get too tough, for whatever reason you can always ring Direct Line if you are in Melbourne.
1800 888 236 (24 hours)
OR
Kids Helpline 1800 55 1800
if you are a young person.
Believe me there are people who will listen to you out there.

Unreleased Pop Group song(s)


The MySpazz page for 'Bristol Archive Records' has a number of songs from The Pop Group currently on the player.
'The Truth Is Feeling' is not one I have come across before...
Actually I have but not under that title
Possibly the Hugh Cornwell produced demos?
Anyone out there know for sure?

(Thanx Richard)

Raica - Breaky Christmas (mp3/FLAC)


Details

James Gurley RIP


Big Brother and the Holding Company, the band that accompanied Janis Joplin on her rise to fame in the late 1960s, lost its former guitarist, James Gurley, to a heart attack earlier this week. He was 69. Gurley was born in Detroit on December 22, 1939. In 1962, he moved to San Francisco and became part of the coffee house scene, playing mostly folk music, country and blues.  The guitarist was introduced to Big Brother and the Holding Company's Peter Albin and Sam Andrew by legendary promoter Chet Helms in the summer of 1965, and joined the band shortly thereafter.
In June of 1966, Joplin joined the band. She and Gurley shared a brief affair while performing together. Gurley died only two days shy of his 70th birthday.

Busted again!


The complete 
'International Times'
archive

 HERE

Bibliokleptomaniacs dig god… and beatniks


Bookworms are an interesting sort. Some compulsively hoard literary nuggets until their shelves sag and creak, yet never bother to actually read their collection. Others can barely tear themselves away from the freshly-vacuumed bookstore corner in which they devour the newest Malcolm Gladwell for fear that the trip home will forever interrupt their cozy date. There are bookworms with Kindles, and bookworms juggling the four paperbacks they’re reading at once. There are bookworms who get turned on by first editions, and bookworms keen on newer, abstract renditions. There are bookworms who follow the Tao of Oprah, and others who only listen to Deepak Chopra.
But perhaps the most intriguing bookworm of all is the bibliokleptomaniac, or what we like to call the kleptobrainiac. These people are book thieves, the nerdiest outlaws this side of Hogwarts. Fascinated? Appalled? Exposed?
In Margo Rabb’s recent New York Times essay, we learn that only 40 percent of books that are read are paid for, and only 28 percent are purchased new. What about the rest? They’re shared, lent, given away or stealthily taken by a customer with a case of the happy hands.
Depending on who you ask, the number one shoplifted book of modern times is either The Bible or The Virgin Suicides by Jeffrey Eugenides. After these two, (and like these two) the top 10 list is male-penned. In fact, according to store owners surveyed by Rabb, the most-nicked books share two things: fiction as a genre and a male author...

Only in the US I suspect that the bible would be the most nicked book, they obviously hadn't got up to the "thou shalt not steal" part...

Sharon Jones & The Dap Kings - Ain't No Chimneys In The Projects

Just stumbled on this beauty of an xmas song by Sharon Jones & The Dap-Kings. I love the little "ho-ho-ho" that she throws in there towards the end. I love her singing, and the Dap-Kings...those dudes can fucking play. If you haven't seen their live act, you are truly missing out. The next time they play near you, do whatever it takes to get there. Take out another mortgage on the house, break open your mama's piggy bank, becanse they're that good.

Sharon Jones & The Dap-Kings > Ain't No Chimneys In The Projects




@'Pop Molecule'