[E.O.M.S.]

Brian Eno is best known for his early involvement with the iconic art rock band Roxy Music, he has done collaborative work with Jon Hassell, Robert Fripp, David Byrne, Harold Budd, Cluster and John Cale among others; and extensive production duties for the likes of David Bowie, James, Talking Heads, Depeche Mode, Devo, Paul Simon and more. The Man Who Fell To Earth 1971-1977 details Eno's rapid ascent during the excitement of a changing music scene, when electronica was no longer feared, but accepted as a dynamic and bold assault on the senses. This film explores his life, influences and creative output, from Eno's debut with Roxy Music through to his last rock album, Before and After Science. One of the principal innovators of ambient music, his influence and artistry is beyond doubt. Fans are surely to enjoy this...
(Produced by Prism Films.- Chrome Dreams Media 2010)

(Thanx Stan!)

Margaret Aspinall (right) and Anne Williams at St George's Hall in Liverpool for the vigil for the 96 victims of the Hillsborough disaster. Photograph: Peter Powell.
A few days on from the Hillsborough report, one powerful image abides. It is of three stoic women, speaking with power and clarity about the struggles they've endured these past 23 years. Two of them, Margaret Aspinall and Anne Williams, lost their sons, respectively James, 18, and Kevin, 15, at the 1989 FA Cup semi-final.
The third woman, Sheila Coleman, spokeswoman for the Hillsborough Justice Campaign, has faced a different kind of struggle. Her task has been to keep the appalling injustices of the disaster in the public eye, so that fellow mothers such as Margaret and Anne could, finally, get the world to accept what they had been saying with patient insistence. That their sons went to that football match in peace; that they did not contribute to their own deaths; that their lives could have been saved, and that the real architects of the Hillsborough tragedy are still at large, still unaccountable.
This was a tragedy with deep roots. For those who lean to the left, it's too easy to utter the word "Thatcher" and to link her government with everything wretched that happened in the 1980s. But it's enough, for now, to note that the style of government she fostered brought a confrontational atmosphere to everyday life. In the form of Thatcher herself, and her ally Norman Tebbit, there was little trace of any form of patrician Tory benevolence. Their credo seemed more akin to a rigid take on national identity whereby every True Brit toed the line and worked hard, uncomplainingly, for whatever they were given. Anyone who bucked against the Tories' values was deemed a "wrecker." The play-out to the Tom Robinson Band's 1979 song Power In The Darkness lists a catalogue of "wreckers" including "… football hooligans, juvenile delinquents, lesbians and left-wing scum."
Among those toeing the line, of course, were the police. There are reasons for their apparent sense of immunity. Early on, the Conservatives implemented a 45% pay rise for the force. Unsurprisingly, this fostered a spirit of kinship and loyalty among the nation's constabularies. Simultaneously, the government started into its programme of wage cuts and closures in the nationalised industries. Which inevitably set police on a collision course with pickets as industrial action escalated in the early 1980s.
Also, there seemed little sympathy in their ranks for those living in the nation's poorest communities. Complaints were rife that newly ordained snatch squads were abusing their powers of stop-and-search (the hugely unpopular "Suss" process) to humiliate peaceable citizens. Resentment smouldered in multi-ethnic quarters such as Brixton and St Paul's, Bristol, where the overriding feeling was that law and order did not apply to the forces tasked with imposing it.
With unemployment rocketing from 1.5 million in May 1979 to nearly 3 million by the end of 1980, these communities further felt a complete disenfranchisement from any likelihood of work. So the Brixton riots of April 1981 came as no surprise; neither did the disturbances that flared up in Toxteth, Liverpool, a few months later.
A year or two after Power In The Darkness, Tom Robinson might have added "scousers" to that ironic list of demons. The 1980s oversaw a radical transformation in Liverpool's national standing and its citizens' popular perception. Gone were the lovable Merseybeat bands of the 1960s, and the daffy but adorable Liver Birds. In their place came a family of incorrigible scroungers, in Bread, followed by a litany of skivers, whingers and whiners in Brookside and Boys from the Blackstuff.
Just as the mop top came to symbolise a certain Liverpudlian elan, so the hackneyed bubble perm, worn with a sloppy tracksuit and a defiant moustache, stereotyped the workshy scouser of Thatcher's Britain. Whereas the previous generation's assumption was that Liverpudlians were gregarious, generous, witty and creative, the 1980s version were viewed as chippy, aggressive and innately inclined towards criminality.
And then there was Militant. Even among lifelong Labour voters, opinions are polarised to this day over Liverpool's Militant-dominated city council of the early 1980s. Most believe their regime was in part responsible for Liverpool's acute downturn. But we now know that, in the wake of the Toxteth riots, Chancellor Geoffrey Howe urged Thatcher to abandon Liverpool to a programme of "managed decline." In those circumstances, it was going to take a different brand of local government simply to arrest that decline, let alone reverse it. Yet the sharp suits and fondness for the limelight of the council's de facto leader Derek Hatton only added fuel to the anti-Liverpudlian pyre.
By that time Mrs Thatcher had been re-elected, and the growing sense that the police did her bidding was palpable. Having gained experience and, perhaps, harbouring grudges from the riots of 1981, the mounted police took no nonsense from the pickets at Orgreave at the culmination of the miners' strike of 1984. Their actions were so violent that the Police And Criminal Evidence Act was re-drafted to include a code of conduct for police, as well as suspects.
In football, in the English first division, crowds were on the decline and hooliganism was on the rise. With outside broadcast units joining the rest of nation on strike in the 1980s, it went almost unnoticed that Liverpool and Everton won the league championship almost every year.
But the 1984-85 season was marred by violence at football grounds, culminating in tragedy when 39 Juventus supporters died at the European Cup final in Brussels after they were charged by Liverpool fans. Mrs Thatcher demanded solutions to the British Disease, and nothing – ID cards, electric fences – was considered too draconian. In the event, the culture of football violence ended organically the following season when ecstasy-fuelled Acid House ushered in a new era of communality.
It was against this social backdrop, then, that the events of 15 April 1989 unfolded at Hillsborough. Four of us set off by car from Liverpool that morning. There was a prolonged tailback across the Snake Pass, meaning we didn't get into Sheffield until after one. It's absurd to suggest that nobody approaching the ground had had a drink, but I'd seriously doubt that anybody had time to get seriously drunk. It's equally pat to say that everyone had tickets – but the touts soon put paid to that. They were virtually giving tickets away on the walk-up to Hillsborough.
As the Leppings Lane end of the ground came into sight, and the singing amplified, so the crowd flow simply stopped. We waited. There was no information. Understandably, the police were jumpy. These were football hooligans they were facing down. Liverpool fans. Scousers. Militants. The worst sort of wreckers. Everybody knows, now, what happened next.
The prime minister's apology carried symbolic value as it represented an owning-up to corruption that went to the heart of the Establishment. That, for me, was a historic admission. As for the later apologies – from Sun editors past and present Dominic Mohan and Kelvin MacKenzie, the FA – they're worthless. They only came as a result of the culprits finally realising they had no choice but to apologise.
On that day in 89, I was among the fortunate ones who went left, where others went straight ahead. For 23 years, those of us who were at that game to support Liverpool have had to endure, at best, the suggestion that somehow we were responsible for the deaths of our fellow fans. Or to listen to the wretched line of "just get over it". For Margaret Aspinall and Anne Williams, it has been far, far worse. I'm in awe of them, and Sheila Coleman – the women who just wouldn't let it lie.
Kevin Sampson @'The Guardian'

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On September 19, the xx will collaborate with the BBC Philharmonic Orchestra for a performance, the BBC reports. They'll play new arrangements of tracks from 2010's The xx and Coexist, as well as new, specially commissioned work. The band will work with composer Alex Baranowski, who previously worked with Underworld on music for Danny Boyle's theater production of Frankenstein.
The free concert will take place on the water, in the seaside resort of Bridlington in East Yorkshire, England as part of this fall's BBC Philharmonic Presents... series. It will be broadcast live on Zane Lowe's Radio 1 program.
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Bonus:

The xx: 'It's abnormal for bands to share so much'

Hmmm! We are really getting into 'Hooked On Classics' or Jaz Coleman's orchestral versions of the likes of fugn 'Dark Side Of The Moon' aren't we? One problem - Coexist is probably my major musical disappointment of the year. It's just not very good at all in my opinion and I WAS expecting much more...

The Liverpool music scene of the late 1970s and 1980s.

Rush Limbaugh, with typical and incredibly insulting unintelligent rhetoric, suggests that Al Qaeda may have given up Osama bin Laden specifically to make Obama look good. That way, he’d get back at in the White House and they’d have a better chance at getting rid of Israel and Jews in general.
The audio and transcript are really self-explanatory, so here they are. Video courtesy of Mediaite.
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Tim Holmes mix of Supermädchen from forthcoming fourth album by Melbourne band Black Cab. Guest electro drums by Dyko. Cab on this track: James Lee, Steve Law and Andrew Coates. Mastered by Casey Rice.

A Lonely Redemption

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More US campaign commercials from 1952-2008 HERE
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Known to its legions of fans simply as P-Funk, Parliament Funkadelic has had a profound impact on the development of contemporary music, aesthetics and culture. PARLIAMENT FUNKADELIC: One Nation Under a Groove chronicles the unique alchemy of the musical influences that fed into the band`s singular approach to music, documenting P-Funk`s continuing influence on today`s artists and musicians and featuring an in-depth look at the musical and entrepreneurial mastermind of its leader George Clinton.
To create a film that reflected the distinctive nature of P-Funk, filmmaker Yvonne Smith used animations both cell- and computer-generated to create the special sequences and virtual environments that reflect the P-Funk aesthetic. Inspired by a P-Funk lyric, she created the "Afronaut",a cartoon character from outer space who serves as the film`s host and narrator. The Afronaut`s voice is provided by hip-hop comic and actor Eddie Griffin, who co-starred in the popular series Malcolm and Eddie and feature films including Undercover Brother, Herbie: Fully Loaded, and Deuce Bigelow: Male Gigolo
and its sequel Deuce Bigelow: European Gigolo. In PARLIAMENT FUNKADELIC, the Afronaut descends to earth from a new millennium version of the Mothership, created by computer graphics artist Paul Collins. The Afronaut was brought to life in cell animation from the drawings of Kevin Lofton, a former animation artist on Beavis and Butthead.
In PARLIAMENT FUNKADELIC, interviews with the original Parliaments the late Ray Davis, Calvin Simon, Grady Thomas and Clarence "Fuzzy" Haskins take place in a virtual barber shop, reminiscent of the group`s early years doing hair and singing in a New Jersey hair salon run by George Clinton. The barbershop and the various environments in which George Clinton appears, were created in digital animation. In addition to the Parliaments, the film also features original interviews with George Clinton, Bootsy Collins, Bernie Worrell, Garry Shider, Dawn Silva, one of the Brides of Funkenstein and other key P-Funk band members and staff. Other musicians interviewed include Rick James, Ice Cube, Flea and Anthony Kiedis of the Red Hot Chili Peppers, De La Soul, Shock G (also known as "Humpty Hump" of the Digital Underground) and Nona Hendryx of LaBelle. Reginald Hudlin, director of House Party and Boomerang, president of entertainment for BET and a P-Funk fanatic, also appears, as does funk historian and author Rickey Vincent.
Bonus:
Cosmic Slop
Do that Stuff
Gammin' on Ya
Standing on the Verge
Undisco Kid
Children of Production
Mothership Connection
Swing Down Sweet Chariot
Dr. Funkenstein
Comin' Around the Mountain
P. Funk
Tear the Roof Off the Sucker
Night of the Thumpasorous Peoples
Funkin' for Fun

Bonus:
BBC Prog Rock Britannia an Observation in Three Movements
Prog Rock Sunday (For HerrBXXX)

Bonus:
La Edad de Oro (Madrid 1983)

Steve Albini's follow up comments from EA's messageboard:
"Well, since the new journalism is just re-posting what other people have lifted from message boards and twitter, there are probably going to be a hundred or so stories on the web with headlines like "Steve Albini calls Amanda Palmer an Idiot," so I'd better make my position on that clear. I don't think Amanda Palmer is an idiot, and it was rude and sloppy of me to make that impression. I'm sorry Amanda Palmer, the internet is going to tell you that I think you're an idiot, and while that's not true, it's my fault.
I Don't know Amanda Palmer, and don't recall ever hearing her music, though I hear a lot of music. Full disclosure, my wife Heather once tried to contact her through her agents to see if she would play at a charity event, but I don't know what happened with that other than nothing happened.
I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing actually.
It should be obvious also that having gotten over a million dollars from such an effort that it is just plain rude to ask for further indulgences from your audience, like playing in your backing band for free.
Fuck's sake a million dollars is a shitload of money. How can you possibly not have a bunch laying around after people just gave you a million dollars? I saw a breakdown about where the money went a while ago, and most everything in it was absurdly inefficient, including paying people to take care of spending the money itself, which seems like a crazy moebius strip of waste."
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Okay to be honest I can't stand Albini or Palmer but Albini is right this time. She really is just taking the piss! Anybody who says "it's more insulting to offer someone a little bit of money than no money" has too much money.

Spaceboy and I just had a great wee dance to this. A track that has everything (and the kitchen sink)! Carl Stephenson. Absolute pop genius!

(Thanx Claudia!)

Richard Hell
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(Thanx Joe!)

Read an interview with the Pins HERE

Here we go again...

Demonoid: There’s Still Hope, But We’re Not Coming Back Soon

‏@bainesy1969
A reminder that Cabinet Office fought to avoid #FOI disclosure of Hillsborough info, prior to setting up of Panel http://bit.ly/UMUTzM

Amanda Palmer: an open letter in response to amy, re: musicians, volunteering, and the freedom to choose.

Why I'm Fine With Playing For Amanda Palmer For Free, By S.F. Cellist Unwoman

...please lock Barrett Brown up and throw away the fugn key!

Here's Berlin as you'd see it from above.

Armelle Caron Berlin from above.

Here it is again, after an autopsy. The city has been dismembered, dissected block by block, the blocks then categorized, sorted and stacked by shape. Berlin, of course, contains mainly rectangles. It also has trapezoids, triangles and, down in that last row, weirdly shaped squiggles that represent actual city spaces. So, if you are walking through Berlin, the cityscape isn't going to repeat endlessly. There will be surprises. There are some totally irregular nooks and crannies there.

Armelle Caron Berlin in parts.

MORE CITIES

The Right to Denigrate Religion

The field recordings of Muddy Waters made by Alan Lomax in 1941 and 42. In 1941 Lomax went in search of Robert Johnson, only to discover that Johnson had been murdered three years before. So Lomax recorded three tracks by Muddy Waters (McKinley Morganfield). Both he and Robert Johnson has both been taught by Son House, and Lomax also recorded six tracks by their mentor. Lomax returned the following year and recorded a further eight tracks by Muddy Waters and five by Son House. The sound on these recordings has been restored by Jean du Touche-Grande. Released on Zircon Bleu in 1999.
Tracklist:
1. Country Blues (0:07)
2. I Be's Troubled (3:33)
3. Ramblin' Kid (6:39)
4. Rosalie (9:55)
5. Take A Walk With Me (13:00)
6. Burr Clover Blues (16:07)
7. I Be Round To Write To You Soon (19:20)
8. You're Gonna Miss Me When I'm Gone (22:48)
9. You Got To Take Sick And Die (26:12)
10. Why Don't You Live So God Can Use You (28:22)
11. Country Blues (No.2) (30:32)
Bonus:
Son House - Field Recordings 1941/42

Tracklist:
1. Levee Camp Blues (0:07)
2. Shetland Pony Blues (3:53)
3. Delta Blues (7:21)
4. Special Rider Blues (Take 2) (12:42)
5. Low Down Dirty Dog (15:50)
6. Depot Blues (20:42)
7. American Defense (23:44)
8. Walking Blues (26:40)
9. Country Farm Blues (29:40)
10. The Pony Blues (31:52)
11. The Jinx Blues (Take 2) (36:07)

Can't wait *yawn*

This Onion joke seems to me to miss the point as I am sure that if it was against their religion to depict christ then those far right (well known for their tolerance) christian fundamentalists might have something to say on the matter!
As the film's makers anticipated and indeed I would say incited the violence, is that covered by 'freedom of speech' in the U.S.?
Maybe they were ALL on drugs when they thought this one up...