Thursday 27 October 2011

Officials want Occupy LA protesters off lawn

Lee "Scratch" Perry: Straight Jacketed (Bullion Remix) -- Nu Sound & Version (On-U Sound 2011)
The Upsetters: Live Injection -- 200% Dynamite (Soul Jazz 2004)
The Black Seeds: Slingshot (Truth Remix) -- Specials: Remixes & Versions From Solid Ground (Ind. 2010)
Dub Colossus: Dub Will Tear Us Apart -- Addis Through The Looking Glass (Real World 2011)
Flying Down Thunder & Rise Ashen: Kijigog Nimiwan - Galactic Dancehall -- One Nation (Balanced Records 2011)
Bob Marley & The Wailers: Duppy Conqueror -- Burnin' Deluxe Edition (Island 2004)
Culture: Selection Train -- World Peace (Heartbeat 2003)
Jammys "Jam 2" James: Peenie Peenie -- Invasion Of The Mysteron Killer Sounds (Soul Jazz 2011)
Black Chow & Pupajim: Signs -- Wonderland EP (Jahtari 2011)
Grace Jones: Sunset Dub -- Hurricane Dub (PIAS 2011)
Dubsalon: Awka -- Durban Chamber (iD.EOLOGY 2011) Free download available here!
Katchafire: Love Letter (Umberto Echo Remix) -- Dub The World (Echo Beach 2010)
Suns Of Arqa: Prayer For Messiah -- Stranger Music (Arka Sound 2011)
Little Axe: Crossfire -- The Wolf That House Built (Okeh 1994)
Little Axe: No Bottom -- Stone Cold Ohio (Real World 2006)
Little Axe: Seeing Red -- If You Want Loyalty, Buy A Dog (On-U Sound 2011)
Little Axe: Moaning & Groaning -- If You Want Loyalty, Buy A Dog (On-U Sound 2011)
Dub Syndicate: Can't Take It Easy (Dave Ruffy & Segs Ruts DC Remix) -- Research & Development (On-U Sound 1996)
The Ruts: Love In Vain -- Something That I Said (Virgin 1995)
The Skatalites Meet King Tubby: Herb Man Dub -- 200% Dynamite (Soul Jazz 2004)
Digitaldubs feat. Jeru Banto: Liga Legalize -- #1 (ROIR 2011)
Pete Murder Tone: Paper Tiger -- Jahtarian Dubbers Vol. 1 (Jahtari 2007)
Lee "Scratch" Perry: Exercises (Horse Power Remix) -- Nu Sound & Version (On-U Sound 2011)
Dstruct.0: Wrecking Bull -- Dstruct.0 Drumstep Ep 02 (Ind. 2011)
Download (limited time)
HERE

Occupy Love

To the Occupy movement – the occupiers of Tahrir Square are with you

Occupy movement spins off OccupyMARINES and Occupy Police

Occupy Wall Street is not difficult to understand

Amy Winehouse inquest records verdict of misadventure

Amy Winehouse was found dead at her home in Camden, north London, on 23 July. Photograph: Dylan Martinez/Reuters
The singer Amy Winehouse died from alcohol poisoning after a drinking binge following a period of abstinence, an inquest has heard.
The 27-year-old Grammy award-winner was more than five times over the legal drink-drive limit when she was found dead at her home in Camden, north London, on 23 July.
She had 416mg of alcohol per decilitre in her blood, enough to make her comatose and depress her respiratory system. Police recovered three vodka bottles – two large and one small – from her room.
Recording a verdict of misadventure, the St Pancras coroner, Suzanne Greenway, said: "The unintended consequences of such potentially fatal levels was her sudden death."
Winehouse's parents, Mitch and Janis, heard her GP, Dr Christina Romete, describe the singer as intelligent and determined, and said she had been warned of the dangers of alcohol abuse. Her parents said it was a "source of great pain" that she had lost her battle with alcohol.
Drink became a problem after Winehouse kicked a drug habit in 2008. She fell into a pattern of abstaining from drink for a few weeks, then lapsing, said Romete.
She was taking medication, Librium, to cope with alcohol withdrawal and anxiety, and had been reviewed by a psychologist and a psychiatrist last year.
But Winehouse was "opposed to any sort of psychological therapy", said Romete.
"She was one of the most intelligent young women I've ever met," she added. "She was very determined to do everything her way, including her therapy. She had very strict views on that."
She had seen Winehouse on the evening of Friday 22 July, the day before her death, and described her as "tipsy". Winehouse had told her she had not had a drink since 3 July, but had started again on 20 July. "She was calm, she was coherent; tipsy, I would say. She didn't slur. She was able to hold a conversation."
When Romete asked Winehouse if she was going to stop drinking: "She said she didn't know. She was going to call me that weekend." Though concerned that she was drinking, Romete was not worried about a risk of suicide. Winehouse had told her: "I do not want to die".
Winehouse had talked to Romete about looking forward to "future things" and said: "I have not achieved a lot of the things I want to." She had discussed plans for her birthday party.
Winehouse had made "tremendous" efforts to stop drinking, and in the last month of her life had discussed "how to make positive changes".
Andrew Morris, Winehouse's bodyguard, who lived at her home, said he had returned from leave three days before her death, and knew she had been drinking "because of the way she spoke to me".
Over the next two days, he said, she drank moderately. "She didn't over-drink. She wasn't drinking to get drunk," he said. He described her as being alert and calm during her meeting with Romete at about 7pm on the Friday.
Winehouse had "big plans for the weekend," said Morris. On Friday night he could hear her "laughing, listening to music and watching TV" in her room, and he last spoke to her at 2am on the Saturday.
At 10am, he checked on her. "She was lying on her bed. I didn't try to speak to her," he said. "I called her, knocked on the door, opened it and she was on the bed. I thought she was sleeping because she had been up late into the night. It was usual for her to sleep late into the morning."
Some time after 3pm, he checked her again. "She was lying on the bed in the same position I left her. I became concerned. I went over to her to check if she was OK. I realised she wasn't breathing, and there was no pulse." He called the emergency services.
A Home Office pathologist Professor Suhail Baithun said people began to lose their faculties at 200mg of alcohol per decilitre. "When you have levels of 350mg, it is associated with fatalities," he said.
He said an external and internal examination of Winehouse's body had not shown an immediate cause of death. Her liver was normal, with a little fatty tissue, and her lungs were a little congested, but nothing that would indicate cause of death.
Recording her verdict, the coroner said Winehouse was "an intelligent and determined young woman who at times had managed to abstain from alcohol. Such periods of abstinence were regularly punctuated with periods of alcohol abuse."
In a statement issued later, Winehouse's parents said: "It is some relief to finally find out what happened to Amy. We understand there was alcohol in her system when she passed away; it is likely a build-up over a number of days.
"The court heard that Amy was battling hard to conquer her problems with alcohol, and it is a source of great pain to us that she could not win in time. She had started drinking again that week after a period of abstinence.
"It underlines how important our work with the Amy Winehouse Foundation is to us, to help as many young people and children as we can in her name. It means a lot to us, and from the overwhelming messages of support we have had since Amy died, we know she meant a great deal to people all over the world. We want to thank everyone for that and for their continuing enthusiasm for the foundation."
Caroline Davies @'The Guardian'

What Business Should Do about Occupy Wall Street

DJ Spooky's Icy Philharmonic

Where most artists hone in on one medium, DJ Spooky that Subliminal Kid—né Paul Miller—has spent his career breeding a tizzying, singular brand of organized, multimedia chaos. He's all over the place, and yet remarkably put together. One reviewer called him "Einstein with a better haircut."
Spooky's The Book of Ice, released this past summer, is a motley collection of photos, essays, data, and relics of an imagined People's Republic of Antarctica. It's also just one chapter of Spooky's Antarctic opus, which includes a film (North/South), and Terra Nova: Sinfonia Antarctica—an acoustic portrait of melting ice molecules that's part science experiment, part symphony, and part cautionary climate-change narrative.
Climate change is just one of several causes Spooky, 41, has tackled over the years. His 2009 album, The Secret Song, slams corporate America with tunes like "The War of Ideas," a new version of The Coup's "5 Million Ways to Kill a CEO," and a title track whose lyrics are based on economist Adam Smith's "invisible hand" theory. "The Secret Song," Spooky says, is the sound of "credit card fraud and jazz motifs made into stock exchanges." The album's brainy tracks are also supposedly hidden in smart-phone-scannable barcodes scattered around Manhattan. (Occupy Wall Streeters, after all, could perhaps use some additions to their repertoire.) His remake of D.W. Griffith's 1915 film "Birth of a Nation" turns the original—a glorification of racism and the Klan—on its head, making a once-silent film into one of rich sound and transforming a work of bigotry into a powerful educational tool.
Really? A DJ spinning microeconomics? For sure, the high-brow concepts Spooky throws around can occasionally overwhelm. But he's still a sight to see—an artist with bold imagination, remarkable tech savvy, and undeniable spunk who makes a mean mashup—and (as you're about to learn) can drop a Freud reference like it ain't no thing. Amid his global tour for The Book of Ice, I caught up with Spooky via email to talk about his geeky college years, Antarctica adventures, and how he really feels about climate skeptics. (You can check out his upcoming tour dates here...)

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Hannah Levintova @'Mother Jones'

Fox Hyped Steve Jobs' Critique Of Obama, Will They Cover His Slam Of Fox News?

Six First-Hand Observations From The Chaos in Oakland

Half Women & Half Nature Collages

Alexandra Bellissimo
Via

How to Be a Citizen Journalist Without Getting Killed

Jeff_Sparrow Jeff Sparrow
George Pell says faith is not enough and we need evidence ... on climate change, that is. bit.ly/sw0WHf

Wall Street neighbors should get used to noise

Shrimp on the barbie more like the raw prawn for unsocial Australians

Exploded Flowers

Fong Qi Wei
Via

UN: Kenyan military action greatly slows famine refugee flow from Somalia

HRH

Was that fugn live blog of the Queen's visit to Melbourne in The Age in the hope that there wld be some aggro from the #OccupyMelbourne crew? Carbon tax wankers out asking for the dissolution of Parliament - oh yeah she does a lot of that these days...
PS: Kate Polack, from Box Hill (11:34) - you lead a sad, sad life...

Merkel presses private bondholders on Greece

jacremes Jacob Remes
Why would any reporter repeat uncritically Oakland PD's absurd claim that they were attacked, or that protesters threw flashbangs at them?

Wednesday 26 October 2011

Comma Sutra

Via
(Thanx Orion!)

Top Earners Doubled Share of US’s Income, Study Finds

#OccupyOakland MADNESS!!!

Image

exiledsurfer exiledsurfer
flic.kr/p/az8Zxr flic.kr/p/azbDk9 flic.kr/p/azbDbG Beirut? Gaza? Syria? Libya? Egypt? Bahrain? no. #occupyoakland

Police Fire Tear Gas at Protesters in Oakland, Calif.

The disappearance of Belladonna

(Thanx André!)

♪♫ Public Enemy - Shut 'Em Down (Live on The Word 1992)

Joseph Nechvatal: Immersion Into Noise

Via
(Thanx Joseph!)

MUST LISTEN: Ben Schokman, Human Rights Law Centre on #OccupationMelbourne Eviction - 3RRR/Spoke

High | Low

The conservative dilemma

How to make a Turtle Burger

Nom...

Two Interviews with Raymond Carver

Wax Treatment Podcast #027 - DJ Pete

24.10.2011 - Tracklist:

HERE

Gravel Pit

There is a cliché about Tom Waits, or, as he described it to me, an “oversimplification.” In his words, the received version is that he “growls about booze and gargles with nails and screws.” In keeping with this perception, an affectionate illustration called “Visible Tom Waits,” by the artist Jim Lockey, was posted on Tumblr about a month ago. Waits’s body, with fedora, is depicted in cross-section, like a scientific chart, with his brain tagged “Here be monsters,” his throat filled with sandpaper and “gravel & spiders,” and his lungs noted simply as the location of the furnace. Waits’s new album, “Bad as Me,” his twenty-second, has plenty of stone gargling. It was made with a vast constellation of new and old friends, the most prominent of whom is an often overlooked collaborator, his wife, Kathleen Brennan, who has been writing songs with Waits since his album “Swordfishtrombones,” from 1983 (for which she was uncredited). “She responds to things like she’s in an opium dream. I’m more of a sticks-and-wire guy,” he said. (Much of what he says in conversation could, with little intervention, become lyrics.) “Bad as Me” also features the guitarist Marc Ribot, whom Waits called “the Lon Chaney of the guitar—there are so many voices he’s able to conjure,” and high-profile guests such as Flea and Keith Richards. Central to the album are Clint Maedgen and Ben Jaffe, reed and brass players from New Orleans’s Preservation Hall Jazz Band, who appear on many of the tracks.
Since his 1973 début, “Closing Time,” Waits has been part of a continuum that either predates or runs parallel to rock and roll. In the era of Elvis Presley, Waits preferred Gershwin; he also chose the piano over the guitar, and Mose Allison over Chuck Berry. In the beginning of his career, his work leaned toward the acoustic and the emotionally patient, averse to flash and speed. (Waits has talked about the difficulty of opening for Frank Zappa and the Mothers of Invention, trying to make his audience listen to a man with nothing but a piano and a voice.) Though it’s fruitful and appropriate to see Waits in the lineage of traditional songwriters, it’s also worth noting two experiences that Waits has cited in his development. In 1962, when he was thirteen years old, he saw James Brown perform, and two years later he saw Dylan. Of the latter, according to Barney Hoskyns, author of “Lowside of the Road: A Life of Tom Waits,” he said, “Here’s a guy like Dylan onstage with a stool and a glass of water, and he comes out and tells these great stories in his songs. It helped unlock the mystery of performance.”
Neither of these influences is unusual, and it is easier to spot the imprint of Kerouac, a debt that Waits doesn’t hide. But there is one significant sense in which both Brown and Dylan gave him a template. Brown was not a particularly personal songwriter, and for Dylan the pronoun “I” is a deep, dry canyon best observed from a distance: who knows who many of his characters are? Waits mentioned the “stories” in Dylan, not a sense of prophecy or vision. Waits is big on characters, stories, and punch lines. He is often portrayed as a late-night troubadour, but he avoids easy sentimentality by favoring images over confessions, and by privileging hidden artistic connections over the Taser of novelty. “If you break open a song, you’ll find the eggs of other songs,” he told me. “Misunderstandings are really kind of an epidemic and acceptable. I think it’s about one thing, but someone else will say, ‘That song is kind of a rhino in hot pants on a burnt rocking horse with a lariat shouting, “Repent, repent!” ’ I think that’s great...”

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Sasha Frere-Jones @'The New Yorker'

Ryan Adams' fans are so devoted they'll serve two years' probation

LA Weekly Ryan Adams Interview is a Train Wreck

Ryan Adams Personality Quiz

Q&A: Gruff Rhys

Three years after taking up with the Super Furry Animals, Gruff Rhys and the band released their much-lauded debut, ‘Fuzzy Logic’ in 1996. This marked the prolific quintet’s first of nine successful LPs to date, with their latest (and longest yet) album ‘Dark Days/Light Years’ emerging in 2009.
Exhibiting rough yet ready solo promise with 2005′s Welsh-spoken ‘Yr Atal Genhedlaeth’, a lone Gruff further plundered the mysterious realms of psych-experimentation with its successor ‘Candylion’, released in 2007. Playing under the moniker Neon Neon, he and US producer Boom Bip also released conceptual LP ‘Stainless Style’ that same year. Gruff has since worked with acts including Simian Mobile Disco and Gorillaz, also collaborating with Brazilian composer Tony Da Gatorra on last year’s ‘The Terror Of Cosmic Loneliness’.
Now nearing the end of a tour in support of his third solo LP ‘Hotel Shampoo’, Gruff’s biggest ever solo show will take place this evening at London’s Shepherds Bush Empire. His latest single ‘Whale Trail’, which is taken from the soundtrack to an app-based iPhone game of the same name, is due out on 20 Oct. Ahead of all that, CMU Editor Andy Malt caught up with him for some chat...