Thursday 7 June 2012

Bert Jansch - L.A. Turnaround (Film)

Filmed at the recording sessions for Bert's album 'L.A. Turnaround' with Red Rhodes & Mike Nesmith

Australia is foolish and naive to rely on American military power for its security

Ray Bradbury's Visions

Ray Bradbury in The New Yorker

Erykah Badu's open letter to Wayne Coyne

@waynecoyne then... perhaps, next time u get an occasion to work with an artist who respects your mind/art, you should send at least a ROUGh version of the video u PLAN to release b4 u manipulate or compromise the artist's brand by desperately releasing a poor excuse for shock and nudity that sends a convoluted message that passes as art( to some).
Even with Window Seat there was a method and thought process involved. I have not one need for publicity . I just love artistic dialogue . And just because an image is shocking does not make it art.
You obviously have a misconception of who I am artistically. I don't mind that but...
By the way you are an ass.
Yu did everything wrong from the on set .
First:
You showed me a concept of beautiful tasteful imagery( by way of vid text messages) .
I trusted that. I was mistaken.
Then u release an unedited, unapproved version within the next few days.
That all spells 1 thing ,
Self Serving .
When asked what the concept
meant after u explained it , u replied ,"it doesn't mean anything , I just want to make a great video that everyone is going to watch. "
I understood , because as an artist we all desire that. But we don't all do it at another artist's expense .
I attempted to resolve this respectfully by having conversations with u after the release but that too proved to be a poor excuse for art.
From jump,
You begged me to sit in a tub of that other shit and I said naw. I refused to sit in any liquid that was not water. But Out of RESPECT for you and the artist you 'appear' to be, I Didn't wanna kill your concept , wanted u to at least get it out of your head . After all, u spent your dough on studio , trip to Dallas etc.. Sooo, I invited Nayrok , my lil sis and artist, who is much more liberal ,to be subject of those other disturbing (to me ) scenes . I told u from jump that I believed your concept to be disturbing. But would give your edit a chance.
You then said u would take my shots ( in clear water/ fully covered parts -seemed harmless enough) and Nayrok's part ( which I was not present for but saw the photos and a sample scene of cornstarch dripping ) and edit them together along with cosmic, green screen images ( which no one saw) then would show me the edit. .
Instead, U disrespected me by releasing pics and rough vid on the internet without my approval. (Contract breech )
That is equivalent to putting out a security camera's images of me changing in the fitting room.
I never would have approved that tasteless, meaningless, shock motivated video .
Our art is a reflection of who we are . I have no connection to those images shot in their raw version. I was interested in seeing an amazing edit that would perhaps change or alter my thoughts . Never happened .
You also did the same thing with the song itself which displays crappy "rough "vocals by me . I let it go , perhaps iiiii was missing something, I thought.
I Should have followed my first mind back in studio when recording the vocals "your way".
( Red flag.) It was uncomfortable.
For that I am at fault .
Consequently, brother, As a human I am disgusted with your what appears to be desperation and poor execution. And disregard for others . As a director I am unimpressed . As a sociologist I understand your type. As your fellow artist I am uninspired. As a woman I feel violated and underestimated.
Hope it works out for ya ,Wayne.
Really i could give a shit less.
Still love your live show tho.
And , you're welcomed.
Lesson learned .
By the way I have guested in very few videos. But I have always been given the opportunity to see the edit and contribute to it when my roll is substantial. Not this time .
I guess u feel it better to apologize than ask for permission and be refused . Hey, Love u man, but your ways are not very nice .
O, And on behalf of all the artists u have manipulated or plan to manipulate, find another way .
These things have been said out of necessity.
And if you don't like it
you can KiSS MY Glittery ASS .
O and Nayrok told me to tell u to kiss her ass too .
Almost forgot.
Peace
Ms. Badu
Via

Wayne Coyne's response...

Hey @fatbellybella I kissed it!!!! Thanks!!!!!!
Via
Hmmm!

You can watch the NSFW video in question after the jump...

Black Cab live this Sunday

(Click to enlarge)

Black Cab's first gig of the year will be taking place at Yah-Yah's this Sunday night. With support from Baptism of Uzi and Humans. Following the analogue trio gigs of last year this will be the debut of the new line up of Andrew Coates, James Lee and Steve Law joined by Wes Holland on drums and Lucy Buckeridge on bass.
Via

Ray Bradbury: The Pedstrian (PDF)
Via Roger Ebert

Banksy paints the Queen as Aladdin Sane in Bristol

Via

♪♫ Captain Beefheart & Magic Band - Sure 'nuff 'n Yes I do

Why working-class people vote conservative

R.I.P. Ray Bradbury, Author of Fahrenheit 451 and The Martian Chronicles

Ray Bradbury — author of The Martian Chronicles, Fahrenheit 451, Something Wicked This Way Comes, and many more literary classics — died this morning in Los Angeles, at the age of 91.
We've got confirmation from the family as well as his biographer, Sam Weller.
His grandson, Danny Karapetian, shared these words with io9 about his grandfather's passing: "If I had to make any statement, it would be how much I love and miss him, and I look forward to hearing everyone's memories about him. He influenced so many artists, writers, teachers, scientists, and it's always really touching and comforting to hear their stories. Your stories. His legacy lives on in his monumental body of books, film, television and theater, but more importantly, in the minds and hearts of anyone who read him, because to read him was to know him. He was the biggest kid I know."
Karapetian added:

If you're looking for any single passage to remember him by, I just picked up my copy of The Illustrated Man, my favorite of his books. The introduction is entitled "Dancing, So As Not to Be Dead," and there are some great lines about death. My favorite:
"My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M.
So as not to be dead."
I'm an actor, something he was always been really proud of, and told me once, after getting cast in a play. "You're living out my life! You're doing everything I wanted to do but couldn't!" He was such a driving force in my life, but what always fascinated me were his impact on others. How his stories lifted people up and saved them from lonely summers. Who among us was never buried deep in a Bradbury story, lost in his meticulously yet effortlessly crafted metaphor?

from io9
thanks to link rae for the info

Wednesday 6 June 2012

♪♫ The Adverts - The Great British Mistake (Live Impact 1977)

Tuesday 5 June 2012

FUCK THE QUEEN > FUCK THE MONARCHY > FUCK THE ESTABLISHMENT AND ALL THAT IT STANDS FOR!

AUSTRALIA - STOP HOLDING ONTO MUMMY'S APRON STRINGS > YOU ARE A GREAT COUNTRY BUT SURELY IT IS TIME TO LEAVE THE ROOST AND BECOME A REPUBLIC

C'mon, did you really think that this wasn't gonna be posted?
Didn't think that the old bag would still be here after all this time though. For Allan Jones's account of The Pistols Thames boat trip 35 years ago go here.
Funnily enough I was staying at my Nan's house in Liverpool back in 77 at the time of the 'jubbly' and there were two posters in the lounge window. Jamie Reid's (mine) and one of her above (my Nan's). Twice my Nan's window got bricked and both times it was her poster that kopped it!

Jamie Reid

And just to remind you what it was like back then...

'Stockings and boredom = tic tac toe'

Via

Jacob Appelbaum on privacy, government surveillance and the current state of democracy

Jacob Appelbaum shares his views on privacy, government surveillance and the current state of democracy with YASSSU at the Re:publica conference 2012 in Berlin

Fuxake!!!

Via

Australian 'War on drugs' under attack

Blowback and the Consequences of Obama's Foreign Policies

Artist turns his dead pet into flying helicopter after it is killed by a car

'...Dutch artist Bart Jansen first stuffed Orville before teaming up with radio control helicopter flyer Arjen Beltman to build a specially-designed flying mechanism to attach to the cat.
Jansen said the Orvillecopter is 'half cat, half machine', and part of a visual art project to pay tribute to his cat Orville.
Jansen, part of the art cooperative Generaal Pardon, said: 'After a period of mourning he received his propellers posthumously.'
He added that Orville will soon be 'flying with the birds' stating: 'Oh how he loved birds. He will receive more powerful engines and larger props for his birthday. So this hopping will soon change into steady flight.''

'For anyone fed-up of the Dawkins Delusion that rationality and science are the answer to the human condition...'

Amelia Earhart: New evidence tells of her last days on a Pacific atoll

Helen Nissenbaum, Kazys Varnelis: Situated Technologies Pamphlet 9 - Modulated Cities: Networked Spaces, Reconstituted Subjects (2012)

The Situated Technologies Pamphlets series explores the implications of ubiquitous computing for architecture and urbanism. How is our experience of the city and the choices we make in it affected by mobile communications, pervasive media, and other “situated” technologies?
In Situated Technologies Pamphlets 9, Helen Nissenbaum and Kazys Varnelis initiate a redefinition of privacy in the age of big data and networked, geo-spatial environments. Digital technologies permeate our lives and make the walls of the built environment increasingly porous, no longer the hard boundary they once were when it comes to decisions about privacy. Data profiling, aggregation, analysis, and sharing are broad and hidden, making it harder than ever to constrain the flow of data about us. Cautioning that suffocating surveillance could lead to paralyzed dullness, Nissenbaum and Varnelis do not ask us to retreat from digital media but advance interventions like protest, policy changes, and re-design as possible counter-strategies.
Publisher Architectural League of New York, Spring 2012
Creative Commons Attribution 2.0 license
ISBN 978-0-9800994-8-5
56 pages
PDF

Cosmopolis (Trailer)

Don DeLillo Interview (In French)

Patti Smith on covering After The Goldrush

'The last song on the record, I performed live with my son, Jackson, and my daughter, Jesse,' says Smith. 'I wanted the album to end like dawn breaking, and I thought of the type of song that I wanted to write. But then I was in a café and I happened to hear Neil Young's 'After the Gold Rush,' and I thought, Neil's already written it.'
Via

Monday 4 June 2012

BitTorrent Downloading Hits iPhone, iPad With Installous 5

Anarchist Republic of Bzzz

Anarchist Republic of Bzzz:

SEB EL ZIN on electric guitar, harmonica and throat. He is the composer/producer/mixer of the project. Also singer, guitarist and composer in the ethno-psyche-punk band ITHAK

ARTO LINDSAY on electric guitar and production

MIKE LADD on freestyling vocals

MARC RIBOT on electric guitar

SENSATIONAL on vocals

KIKI PICASSO graphic propaganda

Claiming the influence of the kabbalist Abdul Vector Von Hassid, this sonic nation distills on its first record a raging mix of sharp noisy post-no-wave guitars and urgent rap. Some electro colour also emanates from crazy architect Seb el Zin’s mix. Kiki Picasso’s cover places the recording in a geopolitical context where William Burroughs drops acid with Ben Laden.

Via

Jean Shin: Sound Wave (2007)

Melted 78 rpm records on
wooden armature
5.2 ft h x 12 ft w x 12 ft d
Installation at Museum of Arts & Design, New York, 2008
5.2 ft h x 7.7 ft w x 8.8 ft d
Installation at Brooklyn Academy of Music, New York, 2007
Records were melted and sculpted to form a cascading wave, dotted with bursts of colorful labels. The resulting structure speaks to the inevitable waves of technology that render each successive generation of recordable media obsolete. The piece also aims to physically manifest the ephemerality of music as well as one man’s musical tastes, as represented by his personal record collection.
HERE