12.30.2009

pheesh in meeami... pt. II

looks a lot better than night one!

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American Airlines Arena, Miami, FL
Last updated on December 29 at 11:25 pm by Micah Gordon


Set One

Golgi Apparatus

Maze

Driver

The Connection

Wolfman's Brother

Ocelot

Reba

Access Me

The Divided Sky

Cavern


Set Two

Kill Devil Falls

Tweezer >

Prince Caspian

Gotta Jibboo >

Wilson >

Gotta Jibboo >

Heavy Things >

2001 >

Slave To The Traffic Light

Encore

Sleeping Monkey

Tweezer Reprise

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great review from only_8_toes_matter on pt.......



Ok... get this out while it's still fresh.

Gogli Opener... well... it's golgi... and it opened the show. nuf' said.

Maze. Ok, they showed up tonight with a mission... bring the energy that they left in their hotel rooms last night. This song set the bar pretty high for the rest of the night, and while at times it didn't quite add up, it ultimately delivered. Page took a few minutes during his solo to really get there and when it did it DID... Maze was Phish finally arriving in Miami this year.

Driver... ok, slow things down, I thought a little too soon but whatever.
The Connection... at this point I'm still picking up pieces of my face from the floor that had melted off during Maze so this song choice didn't really phase me one way or the other. It's only the 2nd time ever played and I wasn't really sure the rational behind playing it tonight, but Trey finished it off with a soaring jam that had me dancing in my seat.

Wolfman's funky town baby! A groovy tight super slap funk jam with a warm and cozy pocket for me to boogie in. I was happy and the show was right back on track!

Ocelot... I'm still not sure about this one... I mean... Ocelot... ya know?

Reba... Very tight! Fishman was a little sloppy, as he was most of the show actually, but the composed section was nailed and the jam was sexy time for the whole family. Very pretty. I nearly came my pants...

Access Me! WHOOHOOO!! I LOVE this fucking song! It reminds me of breaking up... but in a good way. I loved this song the first time I heard Undermind and it was my favorite on the album for a long time. The one time they played it at Alpine 04 they opened the show with it and I was 20 minutes late getting there and pissed when I found out I missed it... Anyway, I danced funky time for this one... lots of kids getting the cell phones out for this one to look at the PhantasyTour setlist page... "what's the name of this" was heard in every direction... ;-)

Divided Sky... short and simple...nothing crazy out of this... just another Divided Sky

Cavern... a good way to close a set with a lot of energy and enthusiasm.

Setbreak I decided to relocate to the seats behind the stage to free up some space for dancing. I went from beind stuck between a 250 lb dude and a passed out chick in a chair to having 3 rows free to myself for running around, skipping, twirling, doing the robot, the shopping cart, and other exotic dances. It was a GREAT move and I regret not doing it earlier.

Kill Devil... I don't like it. I get it... I just don't like it.

Tweezer... ok type 2 phannerzz.. here it was... some different sounds with some start stop and a few Mike bombs in between, complete with Trey mumbling words into the microphone. GREAT and spacey and exploratory. It even segued into What's The U...wait...

TREY FORGOT HOW TO PLAY WHAT'S THE USE! Oh it was awful! The moment was there, the band was in it, the tweezer was long and exciting and then Trey spaced on EVERY not and ended up playing some awful whale calls over the rest of the band playing What's The Use. I find it funny that Phish.com does not list What's the Use in the setlist, probably because it was an abortion of an attempt.

But what does Trey do when he gets flustered or annoyed...

...Prince Caspian! Ahh, there's something Trey knows... Couple of chords, singing along with the crowd, intense guitar shredding with multiple climaxes. Caspian normally doesn't do it for me, but I'll admit, the jam was pretty rocking.

Gotta Jibboo... great great great jam. They really took this one from groove to rock to face melter and then to

WILSON!!! Which was so nasty it still tastes good in the back of my throat. Then out of the blue and very skillfully the band jumped right back into Jibboo and everybody jumped up and down and laughed and smiled happily and gave each other big gay high fives. It was cool.

Heavy Things started a little rough. I wasn't amazed with their choice to play this mid 2nd set, but the jam like all night managed to get a "meh" to a "HELL FUCKING YEAH!" Shit I don't think I've ever danced so hard to Heavy Things in my life... except when I'm in my underwear alone in my living room, but that's kind of private.

2001! Mega spacey intro... I heard the drums in my head minutes before Fishman started playing. It had to happen... the spacey sexy sounds from the stage HAD to be 2001 Theme... Fishman sealed the deal and got the dance party to level 13. I did the robot, I did the electric slide, shit I think I might have done a little Michael King of Mutherfucking Pop... that shit was FUN! GOOD CLEAN FUNK FUN FOR THE WHOLE FAMILY. It was no 12/29/98, but then again no 2001 will ever be.

Slave. By this point my dancing shoes were worn thin and I was poooped from having done back flips and handsprings from the jam before, so I sat down, relaxed, and enjoyed slave in peace.

Sleeping Monkey was cute, I laughed,  then got up one last time for duck walk with Trey for a standard Tweezer Reprise.

If last night's show was a C-, I give tonight I solid B+... Not stupendous song choices, Fishman was sloppy, but tonight is the start of something beautiful for the next 2 nights...

My .02.

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12.29.2009

bienvenido a miami

six years ago tonight i was front row, page side.... sigh....







 phish.miami.night.one.

American Airlines Arena, Miami, FL

Set One

  • Sample in a Jar
  • NICU
  • My Soul
  • Roggae
  • Undermind
  • Bouncing Around The Room
  • Poor Heart
  • Stash
  • I Didn't Know
  • Beauty Of A Broken Heart
  • Possum

Set Two

  • Mike's Song >
  • Light >
  • I Am Hydrogen >
  • Weekapaug Groove
  • Alaska
  • Backwards Down the Number Line
  • Makisupa Policeman >
  • Harry Hood >
  • Contact
  • Character Zero

Encore

  • First Tube
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12.28.2009

inception

 from the director of "the dark knight"

starring leo dicacprio and ellen page.

WATCH ME



































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12.27.2009

one more gift....

 hook up that new ipod with some new tunes...




 download here!

Like a low-rent Daft Punk, Palomo takes what 1990s rock fans probably would've considered cheesy-- LinnDrum and Oberheim rhythms, Chromeo-plated electro-funk Korg riffs, processed party-vocal samples-- and not only makes them part of a distinct artistic vision, but also keeps them fun. Quick opener "(AM)" is rife with detail, as an indecipherable tenor floats over a mock-dramatic drum fill and 8-bit star cruisers do battle against twinkling fairy dust. Another sub-minute interstitial track, "(If I Knew, I'd Tell You)", keeps its secrets to itself, letting multiple melodic synth lines hint at a gulf-sized pool of melancholy over a tape-altered rhythm track. "Laughing Gas", at slightly more than a lyric-less minute and a half, is the one that ruins my attempted distinction between songs and interludes, with bongo drums, robot vocal samples, and euphoric giggles straight out of those Air France kids' dreams. The cumulative result is a meltdown-deadened but deliriously inventive perspective on pop.

-from pitchfork.com




real estate - real estate (2009)



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Real Estate were born in the depths of one New Jersey summer. Frontman Martin Courtney had just returned home to his native Ridgewood from college in Washington State, a few fresh songs in his pockets. He'd been playing music with bassist Alex Bleeker and guitarist Matthew Mondanile since high school in various forms, even covering Weezer and the Strokes records from tip to tail. But during the summer of 2008, Real Estate didn't get nostalgic for just their specific suburban nights, crushes, or favorite bands as teens-- they fashioned a tin can-and-string to memories more universal. Their self-titled debut LP is a collection of those first underwater pop songs and onward, 7" cuts and mpfrees that have been backstroking their way across the Web and into lo-fi nerdpiles. Over the past year, many of these songs have soundtracked a time when it feels like every kid in or just out of college seems to be handcrafting/clamoring for music that shuttles us back to a time before career choices, adult responsibility, and this recession.
And while the Jersey Shore has clearly become the beating heart of their current aesthetic, Real Estate captures a rock band several lengths ahead of the fuzzy beach bums with which they pine. Real Estate share tones with North Jersey indie rock titans Yo La Tengo and the Feelies, pouring those influences through warm impressions of oldies radio. Riffs are cyclical and massaged, harmonies familiar. Each song is dunked in reverb and delay, though always with serious restraint. Most importantly, all boast architecture that still allows for swaths of jamming, the feeling that every measure's unfolding as easily as life ought to.
"Atlantic City" is a fitting entrance point, an instrumental that lopes along on a humid bass line before Courtney and Mondanile (the mind behind the cassette adventures of Ducktails) begin gently braiding together strands of trebly surf guitar over Mexican güiro. Single "Beach Comber" keeps things light as Courtney looks for meaning in the sand while Mondanile pokes around with his Strat. The bedrock here (see "Fake Blues") is almost krautrock-y in the way each layer repeats itself, a bent that might prove too drowsy for some. But as is the case for much of the experience, Mondanile adds classic rock sugars throughout, taking off on a solo at the three-minute mark that unbuttons everything really gracefully.
Elsewhere, "Black Lake" is a gorgeous waltz whose slide recalls Modest Mouse's late-1990s take on the 1959 Santo & Jonny classic "Sleepwalk". Because Courtney's croon can be tough to make out at times, those watercolor frequencies lend that overwhelming sense of longing real grip, jam passages often more evocative than spaces that feature vocals. Nowhere on this debut is that better absorbed than on midpoint palate-cleanser "Let's Rock the Beach" or the six-minute shimmer of "Suburban Beverage".
With the exception of the limp "Pool Swimmers", every part remains remarkably crisp. But what sets Real Estate apart from the rest of the herd is how evergreen its beauty can be. Despite the summery song titles and the beach balling associations that might follow these guys around, this music transcends the notion of seasons. Inside the overcast tenor of "Black Lake" and the airy upstrokes of "Green River", there's much more at play here than what goes on between the months of June through September. And impressionism aside, this is a band whose chemistry and technical gifts suggest there's more coming down the pipeline: more good times to be soundtracked, and more songs and records and sounds to communicate exactly that.
David Bevan , November 17, 2009


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12.21.2009

pacific: hbo's new wwII miniseries



According to the Hollywood Reporter, 'The Pacific,' a ten-part miniseries that follows a group of American soldiers through the terrible fighting of World War II's Pacific theater, will finally debut on March 14. The series, which the article describes as "likely the most expensive TV movie/miniseries ever made," is a companion series to 2001's landmark 'Band of Brothers,' which similarly chronicled a group of G.I.'s fighting in the war's European arena.


Like 'Band of Brothers,' 'The Pacific' is executive produced by Steven Spielberg and Tom Hanks, a collaboration that developed as a result of their experience working together on 'Saving Private Ryan.' 'The Pacific,' as we discussed when the trailer was released last month, features a cast of relative unknowns in an adaptation of two war memoirs: 'With the Old Breed,' by Eugene Sledge, and 'Helmet for my Pillow' by Robert Leckie.

With 'Band of Brothers' having already become a classic that transcends the genre, expectations for 'The Pacific' are perilously high. If the trailer is any indication, though, it looks like Spielberg and Hanks may have hit the bulls-eye again. We'll have to wait until March to find out for sure, but for now, here's a sneak peak at what you can expect when 'The Pacific' finally hits the airwaves.




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12.16.2009

alice in wonderland

looks way better then depp's last remake: charlie and the chocolate factory.



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11.18.2009

life without buildings

(download included)

Of course, if you're someone who collects songs like Pokemons, part of LWB's appeal lies in that obscurity, as well as in their meager catalog-- they're the archetypal band who broke up too soon to tarnish their legacy. But mostly, Life Without Buildings are beloved because they were freaking incredible, inhabiting a personality-driven idiom with more charisma and originality than most anyone else.

read the full review of this album from pitchfork.com below.......








download - "live from the annandale hotel"


Upon hearing about Life Without Buildings' posthumous live album (which, given its total lack of press, probably happened just seconds ago), you either said "who?" or fell sideways out of your chair. The Glasgow-based band, which released a handful of singles and the cult-classic LP Any Other City around the turn of the millennium, is legendary among critics, DJs, and post-punk completists, but far from an indie household name. Of course, if you're someone who collects songs like Pokemons, part of LWB's appeal lies in that obscurity, as well as in their meager catalog-- they're the archetypal band who broke up too soon to tarnish their legacy. But mostly, Life Without Buildings are beloved because they were freaking incredible, inhabiting a personality-driven idiom with more charisma and originality than most anyone else.

LWB's spiky rock instrumentation and talky vocals place them in a lineage that begins with classic Rough Trade post-punk bands such as the Fall (aptly, Rough Trade affiliate Tugboat originally released Any Other City in 2001) and continues today with bands like Love Is All, Kiss Me Deadly, and Art Brut. As such, the band's one-of-a-kind aura isn't the product of inventing a new style. It stems largely from the vocal prowess and boundless personal magnetism of singer Sue Tompkins. Tompkins emerged suddenly from the visual art world-- LWB formed while studying at the Glasgow School of Art-- and vanished just as suddenly back into it (she warned us on "Love Trinity": "I'm not willing to leave the visual world"). But in reality, she never left it-- her singing is painterly, mirroring the typographical emphasis of her collage-based visual art.

Tompkins' style seems descended from the look, if not the political content, of Filippo Tommaso Marinetti's seminal Futurist text Zang Tumb Tumb, with its onomatopoeias, contrasting font sizes, anarchic typography, and jumbled cases. She translates this page-bound aesthetic into seductively coded lyrics where meaning is sometimes ambiguous, but feeling never is, and internal logic is always apparent. Tompkins stretches words like taffy or bites them off like fingernails (often in tight contrast: "Liberty Feeeeeeeeel-up!"), shuffles letters and syllables like a card sharp (as on "The Leanover": "b-b-b-b-baby, g g g, so g g g, you you," later repeating "MBV" in a rollercoaster cadence that probably refers to everyone's favorite shoegazers), breathes into the beats, abruptly shouts out numbers, jukes, hiccups and chirps. She circles her limber tongue-twisters, feints, and attacks from unexpected angles, dicing and rearranging them with the superhuman brio of an anime ninja and a telegraphic sense of lexical rhythm.

Attributing LWB's appeal solely to Tompkins does a disservice to the rest of the band, particularly to guitarist Robert Johnson, whose style is just as strikingly colorful: Cool green and ice blue, spangled with quicksilver curlicues, the elegant lattices of his fretwork are never taken for granted by Tompkins' verbal espaliers. But Life Without Buildings were always a band who overshadowed themselves. Just as Tompkins' sui generis vocals made it easy to take their musical surroundings for granted, one song, "The Leanover", seemed so miraculous as to make the rest of their consistently fantastic music pale by comparison. As Johnson's guitar spews clouds of billowing glitter, Tompkins, with a tonal mixture of wonder, belligerence, sentimentality, and petulance, achieves the single most inspired rendition of her inimitable style. Dense with fractured refrains, seamless glides between melodious notes and spoken syllables, supple nursery rhyme cadences, peremptory vernacular, and mutating imagery ("Kiss me, break my mind, close the door/ Black steel, break my mind, close the door/ Black steel, the sight of you, falling out"), it sounded at once spontaneous and intricately composed, flirting with poetic structures (the aforementioned example resembles a corrupted pantoum). The melting elegy "Sorrow" shows that Tompkins could stunningly adapt this style for more pensive effects, but the wide-eyed effervescence of "The Leanover" remains the band's signature sound.

What's truly remarkable is that "The Leanover", as well as all the other LWB songs, appear fully intact on Live at the Annandale Hotel, with every vocal strobe and chirrup, if not carbon-copied, faithful to the complex spirit of the studio version. Recorded at the venerable Sydney venue in December 2002, near the end of LWB's career, the album finds the band experienced enough to recreate their music with confidence, yet green enough to be ecstatic about doing so. The driving "PS Exclusive" cycles through its asymmetrical refrains ("the right stuff," "the red villa," "tonio, tonio") without faltering; the fluidly hitching "Juno" keeps its dizzy flocks of pronouns in order; the plangent anthem "New Town" enlivens its chant of "I forgot" with studio-caliber tonal nuance. Unreleased track "Liberty Feelup", one of the last LWB wrote before disbanding, features an inspired performance by Johnson: a bright and rolling jangle that remains melodious even when corkscrewing into dissonance or bottoming out into feedback glides.

Tompkins' is breathlessly giddy for the duration. Glib but earnest, she's hard-pressed to make it through a sentence without breaking down into giggles. Even more than the excellent musicianship, her enthusiasm and genuine quirkiness carry the set. Typical banter goes something like this: "That was a funny ending. [Laughs nervously] Well that was our first song. [Sort of wheezes] Whoo! I'm sorry, I shouldn't say that." While Tompkins is charming and clearly having a blast, it's possible to read a burgeoning dissatisfaction with the predetermination of band life in her ongoing meta-narration. "If I look over, it's because of the set list thing," she tells someone in the audience after "Let's Get Out". And later: "We're here tomorrow, so we're gonna do the same songs in a different order," adding, "that's cheeky."

It's as if the platitudes of touring ("[insert town name] is our favorite place to play!") are too much artifice for the ingenuous singer to muster-- "We haven't seen anything of Sydney yet, so we can't even say what we think of it," she says, acknowledging the tacit contract she's too honest to honor-- compelling her back to the more remote artistic sphere of visual representation. We, the fans, are left with one irreplaceable album, one equally amazing live document, and the lingering hope that, in this day of unexpected reunions, we might yet get to see Life Without Buildings for ourselves. C'mon guys, if Slint and Dinosaur Jr can do it...


Brian Howe, August 15, 2007






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11.04.2009

did you miss q-tip's last release???

here is your second chance... this shit is great!!!!!!!!!

download it here




















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listen to norah jones' new lp for free!




















click here to listen to entire album




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11.03.2009

new music for the week

 yeasayer - ambling alp



florence and the machine - you've got the love (the xx remix)


Young Dro ft. Yung L.A. - I Don’t Know Y’all

you have to expand this to full screen!!!







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11.02.2009

does fiona apple kick ass?




of course!

check the range between the performances.....top notch
















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10.14.2009

feed your ipod



Florence and the Machine - Kiss With a Fist from Leroy Lippets on Vimeo.

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people from the future are helping us avoid catastrophe!



What if all the Large Hadron Collider's recent woes are more than bad luck and technical problems? Two noted physicists speculate that the future may be pushing back on the LHC to avert the disaster of observing the Higgs boson.


The quest to observe the Higgs boson has certainly been plagued by its share of troubles, from the cancellation of the Superconducting Supercollider in 1993 to the Large Hadron Collider's streak of technical troubles. In fact, the projects have suffered such bad luck that Holger Bech Nielsen of the Niels Bohr Institute in Copenhagen and Masao Ninomiya of the Yukawa Institute for Theoretical Physics in Kyoto wonder if it isn't bad luck at all, but future influences rippling back to sabotage them. In papers like "Test of Effect From Future in Large Hadron Collider: a Proposal" and "Search for Future Influence From LHC," they put forth the notion that observing the Higgs boson would be such an abhorrent event that the future is actually trying to prevent it from happening.
"It must be our prediction that all Higgs producing machines shall have bad luck," Dr. Nielsen said in an e-mail message. In an unpublished essay, Dr. Nielson said of the theory, "Well, one could even almost say that we have a model for God." It is their guess, he went on, "that He rather hates Higgs particles, and attempts to avoid them."
Nielsen and Ninomiya recognize that the theory sounds pretty crazy and that other projects involving a lot of delicate technology — such as the Hubble Telescope — have gone through their own periods of apparent bad luck. But their theory — wild as it is — is situated in current research in theoretical physics and time travel. If the observation of the Higgs boson would result in calamity, they claim it isn't outside the realm of possibility that someone from our future might exert influence on our time to stop it:
While it is a paradox to go back in time and kill your grandfather, physicists agree there is no paradox if you go back in time and save him from being hit by a bus. In the case of the Higgs and the collider, it is as if something is going back in time to keep the universe from being hit by a bus. Although just why the Higgs would be a catastrophe is not clear. If we knew, presumably, we wouldn't be trying to make one.

-from  www.io9.com

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10.05.2009

band from anotha land

 sigur ros  (pronounced: see-gur rose)

this song always improves my mood



cornelius



Magnetosphere hearts Cornelius from flight404 on Vimeo.

dungen

Dungen - Panda (Dir. Daniel Eskils) from Daniel Eskils on Vimeo.






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10.03.2009

the war on drugs (chomsky 2009)




..... from a speech he made recently in South America:

"The justification offered for the new military bases in Colombia is the "war on drugs." The fact that the justification is even offered is remarkable. Suppose, for example, that Colombia, or China, or many others claimed the right to establish military bases in Mexico to implement their programs to eradicate tobacco in the U.S., by fumigation in North Carolina and Kentucky, interdiction by sea and air forces, and dispatch of inspectors to the U.S. to ensure it was eradicating this poison—which is, in fact, far more lethal even than alcohol, which in turn is far more lethal than cocaine or heroin, incomparably more than cannabis. The toll of tobacco use is truly fearsome, including "passive smokers" who are seriously affected though they do not use tobacco themselves. The death toll overwhelms the lethal effects of other dangerous substances.

The idea that outsiders should interfere with U.S. production and distribution of these murderous poisons is plainly unthinkable. Nevertheless, the U.S. justification for carrying out such policies in South America is accepted as plausible. The fact that it is even regarded as worthy of discussion is yet another illustration of the depth of the imperial mentality, and the abiding truth of the doctrine of Thucydides that the strong do as they wish and the weak suffer as they must—while the intellectual classes spin tales about the nobility of power. Leading themes of history, to the present day.

Despite the outlandish assumptions, let us agree to adopt the imperial mentality that reigns in the West—virtually unchallenged, in fact, not even noticed. Even after this extreme concession, it requires real effort to take the "war on drugs" pretext seriously. The war has been waged for close to 40 years and intensively for a decade in Colombia. There has been no notable impact on drug use or even street prices. The reasons are reasonably well understood. Studies by official and quasi-official governmental organizations provide good evidence that prevention and treatment are far more effective than forceful measures in reducing drug abuse: one major study finds prevention and treatment to have been 10 times as effective as drug interdiction and 23 times as effective as "supply-side" out-of-country operations, such as fumigation in Colombia, more accurately described as chemical warfare. The historical record supports these conclusions. There is ample evidence that changes in cultural attitudes and perceptions have been very effective in curtailing harmful practices. Nevertheless, despite what is known, policy is overwhelmingly directed to the least effective measures, with the support of the doctrinal institutions.

These and other facts leave us with only two credible hypotheses: either U.S. leaders have been systematically insane for the past 40 years; or the purpose of the drug war is quite different from what is proclaimed. We can exclude the possibility of collective insanity. To determine the real reasons we can follow the model of the legal system, which takes predictable outcome to be evidence of intent, particularly when practices persist over a long period and in the face of constant failure to approach the announced objectives. In this case, the predictable outcome is not obscure, both abroad and at home.

Abroad, the "supply-side approach" has been the basis for U.S.-backed counterinsurgency strategy in Colombia and elsewhere, with a fearful toll among victims of chemical warfare and militarization of conflicts, but enormous profits for domestic and foreign elites. Colombia has a shocking record of human rights violations, by far the worst in the hemisphere since the end of Reagan's Central American terror wars in the 1980s, and also the second-largest internal displacement of populations in the world, after Sudan. Meanwhile, domestic elites and multinationals profit from the forced displacement of peasants and indigenous people, which clears land for mining, agribusiness production and ranching, infrastructure development for industry, and much else. There is a great deal more to say about this, but I will put it aside.

At home, the drug war coincided with the initiation of neoliberal programs, the financialization of the economy, and the attack on government social welfare systems, real, even though limited by international standards. One immediate consequence of the war on drugs has been the extraordinary growth in scale and severity of incarceration in the past 30 years, placing the U.S. far in the lead worldwide. The victims are overwhelmingly African-American males and other minorities, a great many of them sentenced on victimless drug charges. Drug use is about the same as in privileged white sectors, which are mostly immune.

In short, while abroad the war on drugs is a thin cover for counterinsurgency, at home it functions as a civilized counterpart to Latin America limpieza social cleansing, removing a population that has become superfluous with the dismantling of the domestic productive system in the course of the neo-liberal financialization of the economy. A secondary gain is that like the "war on crime," the "war on drugs" serves to frighten the population into obedience as domestic policies are implemented to benefit extreme wealth at the expense of the large majority, leading to staggering inequality that is breaking historical records, and stagnation of real wages for the majority while benefits decline and working hours increase.

These processes conform well to the history of prohibition, which has been well studied by legal scholars. I cannot go into the very interesting details here, but quite generally, prohibition has been aimed at control of what are called "the dangerous classes"—those who threaten the rights and well-being of the privileged dominant minorities. These observations hold worldwide, where the topics have been studied. They have special meaning in the U.S. in the context of the history of African-Americans, much of which remains generally unknown. It is, of course, known that slaves were formally freed during the American Civil War, and that after ten years of relative freedom, the gains were mostly obliterated by 1877 as Reconstruction was brought to an end.

But the horrifying story is only now being researched seriously, most recently in a study called "Slavery by another name" by Wall Street Journal editor Douglas Blackmon. His work fills out the bare bones with shocking detail, showing how after Reconstruction African-American life was effectively criminalized, so that black males virtually became a permanent slave labor force. Conditions, however, were far worse than under slavery, for good capitalist reasons. Slaves were property, a capital investment, and were therefore cared for by their masters. Those criminalized for merely existing are similar to wage laborers, in that the masters have no responsibility for them, except to make sure that enough are available. That was, in fact, one of the arguments used by slave owners to claim that they were more moral than those who hired labor. The argument was understood well enough by northern workers, who regarded wage labor as preferable to literal slavery only in that it was temporary, a position shared by Abraham Lincoln among others.

"Criminalized black slavery provided much of the basis for the American industrial revolution of the late 19th and early 20th century. It continued until World War II, when free labor was needed for war industry. During the postwar boom, which relied substantially on the dynamic state sector that had been established under the highly successful semi-command economy of World War II, African-American workers gained a certain degree of freedom for the first time since post-Civil War Reconstruction. But since the 1970s that process is being reversed, thanks in no small measure to the "war on drugs," which in some respects is a contemporary analogue to the criminalization of black life after the Civil War—and also provides a fine disciplined labor force, often in private prisons, in gross violation of international labor regulations.

For such reasons as these, we can expect that the "war on drugs" will continue until popular understanding and activism reach a point where the fundamental driving factors can be discerned and seriously addressed.

Last February, the Latin American Commission on Drugs and Democracy issued its analysis of the U.S. "war on drugs" in the past decades. The Commission, led by former Latin American presidents Cardoso, Zedillo, and Gavíria, concluded that the drug war had been a complete failure and urged a drastic change of policy, away from criminalization and "supply-side" operations and towards much less costly and more effective measures of education, prevention, and treatment. Their report had no detectable impact, just as earlier studies and the historical record have had none. That again reinforces the natural conclusion that the "drug war"—like the "war on crime" and "the war on terror"—has quite sensible goals, which are being achieved, and therefore continue in the face of a costly failure of announced goals.

Returning to the UNASUR meeting, a dose of realism, and skepticism about propaganda, would be helpful in evaluating the pretexts offered for the establishment of U.S. military bases in Colombia, retention of the base in Honduras, and the accompanying steps towards militarization. It is very much to be hoped that South America will bar moves towards militarization and intervention, and will devote its energies to the programs of integration in both their external and internal aspects—establishing effective political and economic organizations, overcoming the terrible internal problems of deprivation and suffering, and strengthening varied links to the outside world.

But Latin America's problems go far beyond. The countries cannot hope to progress without overcoming their reliance on primary product exports, including crucially oil, but also minerals and food products. And all these problems, challenging enough in themselves, are overshadowed by a critical global concern: the looming environmental crisis.

Current warnings by the best-informed investigators rely on the British Stern report, which is very highly regarded by leading scientists and numerous Nobel laureates in economics. On this basis, some have concluded, realistically, that "2009 may well turn out to be the decisive year in the human relationship with our home planet."

In December, a conference in Copenhagen is "to sign a new global accord on global warming," which will tell us "whether or not our political systems are up to the unprecedented challenge that climate change represents." I am quoting Bill McKibben, one of the most knowledgeable researchers. He is mildly hopeful, but that may be optimistic unless there are really large-scale public campaigns to overcome the insistence of the managers of the state-corporate sector on privileging short-term gain for the few over the hope that their grandchildren will have a decent future.

At least some of the barriers are beginning to crumble, in part, because the business world perceives new opportunities for profit in alternative energy. Even the Wall Street Journal, one of the most stalwart deniers, has recently published a supplement with dire warnings about "climate disaster," urging that none of the options being considered may be sufficient and that it may be necessary to undertake more radical measures of geoengineering, "cooling the planet" in some manner.

Meanwhile, however, the energy industries are vigorously pursuing their own agenda. They are organizing major propaganda campaigns to defeat even the mild proposals being considered in Congress. They are quite openly following the script of the corporate campaigns that have virtually destroyed the very limited health care reforms proposed by the Obama administration so effectively that the business press now exults that the insurance companies have won—and everyone else will suffer.

The picture might be much grimmer even than what the Stern report predicts. A group of MIT scientists have just released the results of what they describe as, "The most comprehensive modeling yet carried out on the likelihood of how much hotter the Earth's climate will get in this century, [showing] that without rapid and massive action, the problem will be about twice as severe as previously estimated six years ago—and could be even worse than that [because the model] does not fully incorporate other positive feedbacks that can occur, for example, if increased temperatures caused a large-scale melting of permafrost in arctic regions and subsequent release of large quantities of methane." The leader of the project, a prominent earth scientist, says that, "There's no way the world can or should take these risks," and that, "The least-cost option to lower the risk is to start now and steadily transform the global energy system over the coming decades to low or zero greenhouse gas-emitting technologies." There is little sign of that."

He goes from Drug War->Climate Change/Energy, and its a sick transistion into the stunning conclusion! ;)

"Meanwhile, however, the energy industries are vigorously pursuing their own agenda. They are organizing major propaganda campaigns to defeat even the mild proposals being considered in Congress. They are quite openly following the script of the corporate campaigns that have virtually destroyed the very limited health care reforms proposed by the Obama administration so effectively that the business press now exults that the insurance companies have won—and everyone else will suffer.

The picture might be much grimmer even than what the Stern report predicts. A group of MIT scientists have just released the results of what they describe as, "The most comprehensive modeling yet carried out on the likelihood of how much hotter the Earth's climate will get in this century, [showing] that without rapid and massive action, the problem will be about twice as severe as previously estimated six years ago—and could be even worse than that [because the model] does not fully incorporate other positive feedbacks that can occur, for example, if increased temperatures caused a large-scale melting of permafrost in arctic regions and subsequent release of large quantities of methane." The leader of the project, a prominent earth scientist, says that, "There's no way the world can or should take these risks," and that, "The least-cost option to lower the risk is to start now and steadily transform the global energy system over the coming decades to low or zero greenhouse gas-emitting technologies." There is little sign of that.

While new technologies are essential, the problems go far beyond. It will be necessary to reverse the huge state-corporate social engineering projects of the post-World War II period, or at least severely ameliorate their harmful effects. These projects quite purposefully promoted an energy-wasting and environmentally destructive fossil fuel-based economy. The state-corporate programs, which included massive projects of suburbanization along with destruction and then gentrification of inner cities, began with a conspiracy by manufacturing and energy industries to buy up and destroy efficient electric public transportation systems in Los Angeles and dozens of other cities; they were convicted of criminal conspiracy and given a light tap on the wrist. The Federal government then joined in, relocating infrastructure and capital stock to suburban areas and creating the interstate highway system, under the usual pretext of "defense." Railroads were displaced by government-subsidized motor and air transport.

The public played almost no role, apart from choice within the narrowly structured framework of options designed by state-corporate managers. One result is atomization of society and entrapment of isolated individuals with self-destructive ambitions and crushing debt. A central component of these processes is the vigorous campaign of the business world to "fabricate consumers," in the words of the distinguished political economist Thorstein Veblen, and to direct people "to the superficial things of life, like fashionable consumption" (in the words of the business press). The campaign grew out of the recognition a century ago that it was no longer as easy as before to discipline the population by force, and that it would therefore be necessary to resort to propaganda and indoctrination to curtail democratic achievements and to ensure that the "opulent minority" is protected from the "ignorant and meddlesome outsiders," the population. These are crucial features of really existing democracy under contemporary state capitalism, a "democratic deficit" that is at the root of many of today's crises.

While state-corporate power was promoting privatization of life and maximal waste of energy, it was also undermining the efficient choices that the market does not provide—another destructive built-in market inefficiency. To put it simply, if I want to get home from work, the market offers me a choice between a Ford and a Toyota, but not between a car and a subway. That's a social decision and in a democratic society would be the decision of an organized public. But that's just what the dedicated elite attack on democracy seeks to undermine.

The consequences are right before our eyes, in ways that are sometimes surreal—no less surreal than the huge resources being poured into militarization of the world while a billion people are going hungry and the rich countries are cutting back sharply on financing meager food aid. The business press recently reported that Obama's transportation secretary is in Europe seeking to contract with Spanish and other European manufacturers to build high-speed rail projects in the U.S., using federal funds that were authorized by Congress to stimulate the U.S. economy. Spain and other European countries are hoping to get U.S. taxpayer funding for the high-speed rail and related infrastructure that is badly needed in the U.S. At the same time, Washington is busy dismantling leading sectors of U.S. industry, ruining the lives of the workforce, families, and communities.

It is difficult to conjure up a more damning indictment of the economic system that has been constructed by state-corporate managers, particularly during the neoliberal era. Surely the auto industry could be reconstructed to produce what the country needs, using its highly skilled workforce—and what the world needs—and soon, if we are to have some hope of averting major catastrophe. It has been done before, after all. During World War II, the semi-command economy not only ended the Great Depression, but also initiated the most spectacular period of growth in economic history, virtually quadrupling industrial production in four years as the economy was retooled for war, and laying the basis for the "golden age" that followed.

But all such matters are off the agenda and will continue to be until the severe democratic deficit is overcome. In a sane world, workers and communities would take over the abandoned factories, convert them to socially useful production, and run the factories themselves. That has been tried, but was blocked in the courts. To succeed, such efforts would require a level of popular support and working class consciousness that is not manifest in recent years, but that could be reawakened and could have large-scale effects.

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10.02.2009

bjork and the sugarcubes














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9.30.2009

volcano choir

f you like bon iver, then check out the lead singer's new project.


download the album here (it is free!)
















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9.27.2009

ghostland / chucktown

ghostland observatory in charleston!














ok, so what you need to do is this:  play the first video with the sound up.... then scroll down to the second and start that video with the sound all of the way down.  then enlarge the second video to full screen. 







this concert is the same weekend as the vandy game..... decisions, decisions.....

buy tix here


9.26.2009

saturday morning music downloads























metric - fantasies (2009)

download here









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9.23.2009

flaming lips - embryonic





















 download it here




here is a review of the album from some random soul:



Embryonic starts with "Convinced of the Hex." What's unique about The Flaming Lips is their ability to intertwine a nice voice with strange sounds. Here you can clearly hear they used some lower quality samples infused with some higher bitrate samples layered with deeper reverbs to push his vocals further back in the mix. "See The Leaves" is filled with blips and bleeps that really make no sense and portray what the 60's psychedelic wave might sound like if it were still alive today. The lyrics suggest such even more with the leaves coming out, the grass dying and the sun coming out painting a colorful image in the head.

"Silver Trembling Hands" may be one of the most fun points The Flaming Lips' Embryonic album. With a distorted bass line, one would feel as if they're floating through space listening to his echoed voice as he sings about a girl being high, forgetting some feelings and the song makes it seem like they were the ones who were high especially when they start mentioning nature. The chorus feels majestic and captivating despite a strange story being told.

Embryonic is a much longer album, 18 tracks in total. Having that many tracks it's easy for songs to start resembling one another. While songs like "Aquarius Sabotage" are a mix of instrumental, both peaceful and clashing, songs like "Scorpio Sword" sound too much like the opener. However, the album has very atmospheric tunes as well that can enlighten a mood, calm one's soul or put them in a trance such as "Sagittarius Silver Announcement" and "Gemini Syringes," the latter a sound maybe Pink Floyd would have experimented with. "Sagittarius" sends a message that one must give in to their desires in order to find one's freedom.

The Flaming Lips' "Virgo Self-Esteem Broadcast" is much like "Gemini Syringes" but offers the tone a bit more tame with a repeated line saying "This is the beginning." The album closes with "Watching the Planets" which is using a distorted percussion to set the mood. It sounds much more deranged than many of the 18 tracks on Embryonic but has a hypnotic beat that is much more enjoyable than many of the tracks on the album.

Embryonic is very psychedelic and stands out as one of The Flaming Lips best works that proves they're back to continue confusing the mind. Pick up their new album in stores October 13th.

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9.22.2009

 it has been a while since my last post!

a present for you all......

the beatles - remasters!


Here they are converted from lossless to -V0 MP3s

Download One Contains:
http://www.megaupload.com/?d=50U5ASD6

Help!
Beatles For Sale
Abbey Road
A Hard Day's Night

Download Two Contains:
http://www.megaupload.com/?d=5LCK2H78

Please Please Me
Past Masters Disc 1 and 2
Let It Be
Magical Mystery Tour

Download Three Contains:
http://www.megaupload.com/?d=MVU2VVZ2

Revolver
Rubber Soul
Sgt. Pepper's Lonely Hearts Club Band
The Beatles Disc 1

Download Four Contains:
http://www.megaupload.com/?d=X36RASQG


The Beatles Disc 2
With The Beatles
Yellow Submarine


just copy and paste the megaupload urls!



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9.15.2009

"According to reliable sources, it's finally happening in 2010! There will be multiple, possibly four, nights of shows at NYC's Central Park Summerstage in September of that year. That could be part of a tour. That could be the end of a tour, the middle of a tour, or even the beginning of a tour, but it seems reasonable to speculate that they might make their official comeback at Coachella in April.
It's also time to start guessing who might be the big curator of September 2010's ATP NY festival (the job Flaming Lips had this year, and My Bloody Valentine the year before that). Might as well put Pavement high on the list of possibilities for that too."




- thebrooklynvegan.com

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kanye interupts patrick swayze's last goodbye.





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rap it up, b.

dead prez - hell yeah - ratatat mix



raconteurs - blue veins - live


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charlize theron, john hamm, bradley cooper


zach galifianakis is amazing.








Kanye West - Can't Tell Me Nothing Video from Brian Rauschenbach on Vimeo.



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9.07.2009

amazon's kindle may have some competition on its way


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9.02.2009

gerald - men in black


And they be screamin out, (Will we loved your last hit)

what's up irmo?




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8.31.2009

week 1: usc v. nc state



it is game week, baby!



chris's keys to the game:
on offense:

 
1. smart and aggressive play from the o-line.  wolford has hounded his players on knowing their assignments and pushing the line forward.  everything stems from the play of the line.  make space for the running game -> getting the backs into the seconday -> creating time for garcia to make smart plays.


2. win the turnover battle.  usc averaged more than 2 interceptions a game last year. it is unbelievable that they had a winning record and played in a new years day bowl.  if usc repeats last years turnover total it won't happen again.

 
on defense:

 
1. pressure nc state qb wilson.  wilson is the pre-season qb of the year in the acc after a great finish last year.  show him and state that his numbers from those games came against weaker acc opponents and rattle him with that famous sec speed.

 
2. stay healthy.  usc is already thin on defense after injury and suspensions, especially along the line.  an injury there could be crucial to not only this game, but the entire season.

 
prediction:
usc 28 - nc state - 20

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8.29.2009

lets do this

how much land would be needed to power the entire earth in 2030 with zero emissions?

take a look below to find out...
                          

                                    


















                                     click pic to enlarge

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charlotte adds two new music venues


 Without much fanfare, two ambitious, name-brand music venues that will change the face of Charlotte open this month on the edge of uptown in a complex called the N.C. Music Factory. Haven't heard of it? Or don't know where it is? You will soon.


 The 5,000-capacity Uptown Amphitheatre and the 2,000-capacity Fillmore nightclub -- both run by concert behemoth Live Nation -- are among the first pieces of a huge puzzle at the multi-use entertainment complex, which its developers hope becomes a neighborhood stroll district synonomous with Memphis' Beale Street or New Orleans' Bourbon Street.


 Their ultimate goal: to create a regional destination with live music, restaurants, nightclubs, office space, residential condos and -- if they get their wish -- an uptown baseball stadium.






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men who stare at goats



just ran across this trailer this morning.... looks like it is going to be an awesome movie.

watch the trailer in hd here 

In this quirky dark comedy inspired by a real life story you will hardly believe is actually true, astonishing revelations about a top-secret wing of the U.S. military come to light when a reporter encounters an enigmatic Special Forces operator on a mind-boggling mission. Reporter Bob Wilton (Ewan McGregor) is in search of his next big story when he encounters Lyn Cassady (Academy Award®winner George Clooney), a shadowy figure who claims to be part of an experimental U.S. military unit. According to Cassady, the New Earth Army is changing the way wars are fought. A legion of “Warrior Monks” with unparalleled psychic powers can read the enemy’s thoughts, pass through solid walls, and even kill a goat simply by staring at it. Now, the program’s founder, Bill Django (Oscar® nominee Jeff Bridges), has gone missing and Cassady’s mission is to find him. Intrigued by his new acquaintance’s far-fetched stories, Bob impulsively decides to accompany him on the search. When the pair tracks Django to a clandestine training camp run by renegade psychic Larry Hooper (two-time Oscar® winner Kevin Spacey), the reporter is trapped in the middle of a grudge match between the forces of Django’s New Earth Army and Hooper’s personal militia of super soldiers. In order to survive this wild adventure, Bob will have to outwit an enemy he never thought possible. The Men Who Stare at Goats was inspired by Jon Ronson’s non-fiction bestseller of the same name, an eye-opening and often hilarious exploration of the government’s attempts to harness paranormal abilities to combat its enemies.

- apple.com




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8.28.2009

ahhhhhhhhhhhhhhhhhhhh, friday.

enjoy your evening, folks.




Beyonce - Ego Remix (feat. Kanye West) Video from www.thernbroom.com on Vimeo.




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8.27.2009

90's part two. rap edition.

originoo gunn clappaz




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