Monday 4 June 2012

Punk Britannia - Part 1: Pre-Punk 1972-1976




First of a three-part documentary series about the history of punk rock. The film explores the road to punk in Britain, which begins in the early 70s with a young generation already conscious that they have 'missed the 60s party' and are stuck in a Britain heading for economic woes and dwindling opportunities. But before the punk generation finally arises to have its say during 1976 come a group of pub rockers, a generation of bands sandwiched between 60s hippies and mid-70s punks who will help pave the way towards the short, sharp shock of punk, only to be elbowed aside by the emergence of the Sex Pistols, the Clash et al. Pub rock set the template - small venues, fast retro rock n roll and bags of attitude typified bands like Dr Feelgood, Ducks Deluxe, Kilburn and the High Roads and Eddie and the Hotrods. Featuring unseen archive footage and interviews with John Lydon, Paul Weller, Mick Jones, Wilko Johnson, Nick Lowe, Adam Ant, Brian James and many more.
Mick Farren: The Titanic sails At Dawn

Lee Perry - Queen Elizabeth's Pum Pum (Jubilee Mix)

HERE

Pissing down with reign in London was it?

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Piss poor effort. Compared to my funeral, it's like a fucking funeral
John Pilger: The Leveson Inquiry into the British press - oh, what a lovely game

7 things you didn't know about death

Douglas Adams: How to Stop Worrying and Learn to Love the Internet

A couple of years or so ago I was a guest on Start The Week, and I was authoritatively informed by a very distinguished journalist that the whole Internet thing was just a silly fad like ham radio in the fifties, and that if I thought any different I was really a bit naïve. It is a very British trait – natural, perhaps, for a country which has lost an empire and found Mr Blobby – to be so suspicious of change.
But the change is real. I don’t think anybody would argue now that the Internet isn’t becoming a major factor in our lives. However, it’s very new to us. Newsreaders still feel it is worth a special and rather worrying mention if, for instance, a crime was planned by people ‘over the Internet.’ They don’t bother to mention when criminals use the telephone or the M4, or discuss their dastardly plans ‘over a cup of tea,’ though each of these was new and controversial in their day.
Then there’s the peculiar way in which certain BBC presenters and journalists (yes, Humphrys Snr., I’m looking at you) pronounce internet addresses. It goes ‘www DOT … bbc DOT… co DOT… uk SLASH… today SLASH…’ etc., and carries the implication that they have no idea what any of this new-fangled stuff is about, but that you lot out there will probably know what it means.
I suppose earlier generations had to sit through all this huffing and puffing with the invention of television, the phone, cinema, radio, the car, the bicycle, printing, the wheel and so on, but you would think we would learn the way these things work, which is this:
1) everything that’s already in the world when you’re born is just normal;
2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;
3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.

Apply this list to movies, rock music, word processors and mobile phones to work out how old you are.
This subjective view plays odd tricks on us, of course. For instance, ‘interactivity’ is one of those neologisms that Mr Humphrys likes to dangle between a pair of verbal tweezers, but the reason we suddenly need such a word is that during this century we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport – the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn’t need a special word for interactivity in the same way that we don’t (yet) need a special word for people with only one head...
MORE

This piece first appeared in the News Review section of The Sunday Times on August 29th 1999

via


Sunday 3 June 2012

♪♫ Dexys - Free (Later with Jools Holland)

♪♫ Amyl Nitrate - Rule Britannia

'One Chord Wonders' sleeve by Barney Bubbles

TV Smith: “I had no problem with Stiff Records, even when I thought I was being done over. I could see the point of it, for example, the cover of One Chord Wonders. They put Barney Bubbles onto designing the cover, then when we got invited into Stiff to see what he’d done, well, I felt like I’d been stiffed. But, what you can you say, it was a brilliant cover. They created an icon out of Gaye and they put The Adverts firmly in punk rock history. There was no question that that cover – which I would definitely not have agreed to – was a massive step forward for the band.”
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TV Smith and Gaye Advert now from 'Punk Britannica'



GSTQ

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(Thanx Dave!)

Tinariwen - Live at Amoeba

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(Thanx Tony!)
This Shit is Fucked Up and Bullshit
...indeed!
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Situationist Aesthetics: The SI Now

Programme

Love for Free: Hidden South African jazz archive revealed


Anarchists: the FBI thinks you are paranoid

Western banks 'reaping billions from Colombian cocaine trade'

Scratcha DVA - Hidden Depths of Hyperdub Mix

Download
Info


Nuclear Savages

Saturday 2 June 2012

North Korean Film On American Propaganda




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The Californian Ideology

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HA!

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Depressed Tigger Series: 1 of 1

Found at Valencia & McCoppin St. in San Francisco by Ryan Lewis
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Obama Order Sped Up Wave of Cyberattacks Against Iran


Celebratory shots outside courthouse following life sentence to Mubarak

Friday 1 June 2012

Dronestock (2/6/12 Northcote Uniting Church Melbourne)

OK  - I am outta here for a while...out'n'about w/ Spaceboy tomorrow followed by Dronestock just up the hill. Maybe I will see you there or across the road at The Wesley Anne between bands?
Managed to have a really great cold instead...*sigh*

An edit of a live recording of Seaworthy performing at the Northcote Uniting Church, Victoria, in October 2010 as posted on live music blog The Occasional Archivist

♪♫ The Black Keys - Gold on the Ceiling (Directed by Harmony Korine)

Music: It's in your head, changing your brain

The Great Taliban Jailbreak

When the stranger unbolted the cell door and whispered for them to hurry, Rahim assumed that somewhere in the prison a fight must have broken out. It was the middle of the night, and normally the heavy metal door remained locked until the morning call to prayer. For the past five months, Rahim had shared this cell, in Kandahar's Sarposa Prison, with five other captured insurgents, two of whom he'd fought alongside in the fiercely contested district of Panjwai. Now, from where they lay on old blankets and cushions on the floor, all five gazed uncertainly at the man standing in their doorway. "We are your friends," the man said. "There is a tunnel over here. Come quickly and get inside it."
Rahim and his cellmates stepped into the prison's dimly lit lime green corridor. At the passageway's far end, a metal gate sealed the cell-block entrance. Every ten feet or so, solid black doors led to more communal cells. Nearly 500 Taliban occupied this part of Sarposa, called the political block. Some were military commanders and shadow-government officials, others hardened foot soldiers and young recruits. Their arrests represented years of effort by coalition forces to quell a resuscitated insurgency and impose some semblance of law in one of the least stable regions in Afghanistan. Following the stranger down the long hall, Rahim noticed that most of the cells were now empty...
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Warrantless spying fight

FISA and beyond - away with all warrants!

Meanwhile just four years ago...

Godverdomme!!!



The Little Book Of Procrastination Remedies

My neighbourhood

Fuck - I really hate gentrification...

Chicago guitar genius Pete Cosey dead at 68

Guitar fans have had a rough couple of days. Yesterday brilliant folk and country guitarist Doc Watson died at age 89. This morning, according to the private Facebook page of fellow guitarist and collaborator Vernon Reid, Chicago's own Pete Cosey died at 68. Obituaries and remembrances for Watson have already appeared all over, and deservedly so—few instrumentalists so completely absorbed America's folk and country traditions, and fewer still brought such quiet virtuosity to them. Watson was a key catalyst in the folk revival after his discovery by producer Ralph Rinzler in 1960.
Pete Cosey, on the other hand, was a classic musician's musician; he's not especially well-known, though he played on tons of classic records. As such, word of his passing is traveling rather more slowly.
 Cosey was a key session musician at Chess Records in the 60s, appearing on sides by Howlin' Wolf, Muddy Waters, the Rotary Connection, and Etta James, and he worked with the great Phil Cohran in the latter's Artistic Heritage Ensemble. He's probably most famous, though (to the extent that he's famous at all), for his mind-melting work with Miles Davis in the early 70s: he played on the trumpeter's heaviest, most electric albums, including Agharta, Pangaea, and Get Up With It. After Davis broke up the band in 1975 and went into semi-retirement, Cosey was never able to build the solo career he so richly deserved. He used his guitar like an abstract expressionist painter, creating thick, richly textured solos with fierce rhythmic power, dazzling colors, and nonchalant violence. He continued to appear on records here and there, including Herbie Hancock's Future Shock and an album with Japanese saxophonist Akira Sakata, but he always seemed to be planning his own next project, which never quite materialized.
( Chicago Reader)
via Ed Kuepper and Mark Stewart on FB


November 3, 1973
Stadthalle, Vienna (Austria)
Miles Davis (tpt, org); Dave Liebman (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

Too Much Power for a President

The President’s Kill List



I'd just like to say Fuck PayPal - that is all.

Street slang in drug education advertises more than it helps

Am*dam

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Leveson tells Jay off for goading Hunt over his (self-professed) non use of the word "impactful": "Come on Mr Jay..."