It Might As Well Be String - The Goodies

Happy New Year!!!

AC/DC Full Concert 1977

AC/DC Live Golders Green London Hippodrome 27.10.1977.

Set List:

1-Let There Be Rock
2-Problem Child
3-Hell Ain't a Bad Place to Be
4-Whole Lotta Rosie
5-Bad Boy Boogie
6-Rocker
7-T.N.T.

Leh-Manali

I hitchhiked this route in 1996. Two hundred and twenty four kilometres and it took a week. We had a few days in Keylong staying with a sadhu.



A large part of it was in the back of one of these trucks, driven by Kashmiris.

The Revival

The Revival (Europe, 2009, 17 min)
Directed by Invincible. Produced by EMERGENCE Media and Iqaa the Olivetone.

The Revival gives a candid glimpse into the first meeting of legendary Hip-Hop pioneer Roxanne Shante and veteran Philly emcee Bahamadia, as they trade stories of their struggles and triumphs in the industry over their long careers. It also shows the exchange of lessons between them and up-and-coming artists DJ Shortee, Eternia, Stacy Epps, and Invincible. This short documentary, a collage of performances and behind the scenes footage, was filmed and directed by Invincible while on the road in Europe as part of We-B Girlz all women in independent Hip-Hop tour. The largest all female Hip-Hop tour of its kind, it spanned over three weeks, six countries, and featured dozens of female artists who performed for tens of thousands of supporters.

Throbbing Gristle - Persuasion (Live)

Good morning world!!!

John Lennon & Yoko Ono: WAR IS OVER! (If You Want It)

December 8, 2007
I miss you, John. 27 years later, I still wish I could turn back the clock to the Summer of 1980. I remember everything - sharing our morning coffee, walking in the park together on a beautiful day, and seeing your hand stretched to mine - holding it, reassuring me that I shouldn't worry about anything because our life was good.

I had no idea that life was about to teach me the toughest lesson of all. I learned the intense pain of losing a loved one suddenly, without warning, and without having the time for a final hug and the chance to say, "I love you," for the last time. The pain and shock of that sudden loss is with me every moment of every day. When I touched John's side of our bed on the night of December 8th, 1980, I realized that it was still warm. That moment has haunted me for the past 27 years - and will stay with me forever.

Even harder for me is watching what was taken away from our beautiful boy, Sean.
He lives in silent anger over not having his Dad, whom he loved so much, around to share his life with. I know we are not alone. Our pain is one shared by many other families who are suffering as the victims of senseless violence. This pain has to stop.

Let's not waste the lives of those we have lost. Let's, together, make the world a place of love and joy and not a place of fear and anger. This day of John's passing has become more and more important for so many people around the world as the day to remember his message of Peace and Love and to do what each of us can to work on healing this planet we cherish.

Let's: Think Peace, Act Peace, and Spread Peace. John worked for it all his life.
He said, "there's no problem, only solutions." Remember, we are all together.
We can do it, we must. I love you!

Yoko Ono Lennon
8 December 2007

The Cat Empire: The Lost Song

I had nine lives but I lost all of them
And I've been searching in the night
And I've been searching in the rain
I tried to find them
But they disappeared
They walked away they dressed in black
They left my side and all I say
Is that I wasted time
When I lookef for them
For now I know that things gone past
Are never to be found again
I had nine lives
But lost all of them.

I had a plan
But never finished it
And I've been searching for the thought
And I've been searching in a haze
I try all days
To remember it
But now the blueprint in my mind has gone
My mind forgot the colour of direction
And my eyes they see the hands
That could have built
That could have constructed
The empire in my mind
The empire
I'll never find
I had a plan
But that was where it ended.

Pineapple Express-Thug Life

I managed to watch Pineapple Express today, it was OK. The best thing about it was it reminded me what a great thing Public Enemy were.


Public Enemy, Lost at Birth.

Emegercency Broadcast Network

Its time for a tribute to the EBN.


Get Down


Comply


Dreammaster


Don't Back Down


We Will Rock You (Behavior Modification)


Psychoactive Drugs


syncopated ordinance demonstration #1


Watch Television


I will teach you


I am a man


Hello


This is a Test (Live)

Emergency Broadcast Network is the name of a multimedia performance group formed in 1991 that took its name from the Emergency Broadcast System. The founders were Rhode Island School of Design graduates Joshua Pearson, Gardner Post and Brian Kane (author of the Vujak VJ software). Kane left EBN in 1992. The EBN Live Team included DJ Ron O'Donnell, video artist/technologist Greg Deocampo (founder of Company of Science and Art (CoSA), and founding CTO of IFILM.com), artist/designer Tracy Brown and technologist Mark Marinello.

Josh Pearson, EBN's charismatic front man and principal performance artist, was also EBN's music composer and main video editor. The music and video editing techniques he personally developed and refined have been hugely influential on a generation of advertising and music video editors.

The first EBN video project was a musical remix of the Gulf War, created in 1991 as the war was still ongoing. The VHS tape of the remix project, which contained the George H.W. Bush "We Will Rock You" cover, became a viral underground hit, and was distributed widely by fans as bootleg copies. In the summer of 1991, EBN traveled with the first Lollapalooza tour, distributing tapes and showing their videos on a modified station wagon with TVs on the roof. The group also became well known for their media sculptures and stage props which were created by Gardner Post.

The EBN modus operandi was to take cable television broadcasts and remix them with a funky beat, often having the lyrics "sung" not by a singer but by half-second sound clips from TV, spliced together. For example, the lyric "electronic behavior control system" would be created with a clip of Ross Perot saying "electronic", followed by a clip of George H. W. Bush saying "behavior", then Ted Koppel saying "control", and finally a clip of Bill Clinton saying "system". This technique has been named video scratching.

Among their videos are "Get Down and Electronic Behavior Control System" from their 1995 album Telecommunication Breakdown, which mocks the way television controls our lives. Another was a cover of "We Will Rock You" by Queen, with a vocal track made up of remixed clips of George H. W. Bush making announcements about the Gulf War. Bono of U2 took notice of their work and hired them to provide visuals for their Zoo TV Tour. EBN's video work featured prominently into the show, and their "We Will Rock You" cover was played at the beginning of each show. EBN also produced visuals for The Edge's performance of "Numb" on the 1993 MTV Video Music Awards. In addition to the visuals, audio from those clips were featured in the live performance to create rhythmic effects.

Brian Kane has since worked a number of times with British AV artists Addictive TV on many of their projects, both live and recorded - including Mixmasters and at London's Institute of Contemporary Arts.

Greg Deocampo continues his video remixes independently today, using footage from the 2003 invasion of Iraq (which he refers to as Gulf War II). In 2006, Deocampo started working with a trio of London video turntablists, Eclectic-method: Jonny Wilson, Ian Edgar, and Geoff Gamlen.

Ritual Visit to our Father Huaytapallana

Produced by the villagers in September 2009, the video has become enormously symbolic for the Quecha, leading many villagers to once again take up their traditions of nurturing Mother Earth.
The significance of this cannot be understated. Even though Quechuan culture has withstood “500 years of invasion and the dictatorship of individualism,” as Hugo Blanco points out, it is today broaching toward extinction, like the cultures and languages of so many other Indigenous Nations around the world.

As “Conversations with the Earth” notes on their campaign website, this became abundantly clear to Quecha earlier this year, when an evangelical Mayor banished Andean Ceremonies and Rituals – including the one you are about to see.
“Conversations with the Earth” is an indigenous-led multimedia campaign that helps communities share their stories of climate change. Several more films are available at their website, www.conversationsearth.org.

Anarchism and Anarchy- Barry Pateman at the 2009 NAASN Conference

Part 1


Part 2


Part 3


Part 4


Part 5

"Anarchism and Anarchy: A Historical Perspective"

Opening Talk at the 2009 North American Anarchist Studies Network Conference
by Barry Pateman, anarchist historian and writer.

Video/Audio by Charngchi Way of the Authority Smashers Media Collective

Aphex Twin Live in Turin

Aphex Twin, Cabaret from Flat-e on Vimeo.

“Aphex Twin has done some legendary live performances in the past, so when we were asked to produce his stage show for the Traffic festival in Turin (with 20,000 people turning up), we wanted to do something a little out of the ordinary. We decided that we wanted to push the show away from just video projections so we enlisted the help of dance choreographer Darren Johnston of the excellent Array.

We wanted to combine our knowledge of video projections and Darren’s knowledge of dance choreography. So we had the dancers (Aphex masks, wedding dresses and all) move behind on stage screens and used video projections to morph their silhouettes into multi limbed monsters which raved away to Aphex’ set.

We offset this with a central screen which showed mutated hands working a variety of analogue audio gear. The result was a delightfully twisted cabaret which seemed to fit the event perfectly.” (via flat-e.com)

Latcho Drom

Latcho Drom is a feature film made in Western Europe (France), directed by Tony Gatlif and released in 1993. Completed in co-production with many countries and companies, the film stresses the motif of transition on many levels, and depicts its concrete and abstract synonyms with specific regard to the Roma community (the act of hybridisation, liminal states, in-between situations, travelling and fluid identities, intercultural dialogue, cross-cultural adaptation and appropriation, multi-lingual cultural practices, etc.).

Gatlif, who is himself Kabil Roma, proves to be an authentic expert, first of all, in presenting the Roma communities living in the Mediterranean region. While depicting his protagonists as humane, realistic and positive figures, he has made a quasi anthropological and ethnomusicological film in the form of a road movie about the Roma who took a historical journey through Asia and Europe, from their original roots in India to destinations in Turkey, Eastern and Western Europe.

Within the film, the many chapters of Roma history are presented as scenes from life and states of travel in different countries. Furthermore, the great professionalism and relevant knowledge of the creative team is apparent from the film’s integration of languages, clothes, customs, dances and musical traditions, not to mention using lyrics to narrate historical events such as the Porrajimos (the Roma term for the Holocaust), the communist terror in Romania or the period when people were expelled from Spanish cities. In spite of the hybrid, complex, diverse and colourful traditions of Roma people living in many countries throughout Asia and Europe, Latcho Drom creates the Roma cultural community as an entity, or as an imagined community, to use Benedict Anderson’s term, by drawing a linear and historical metanarrative. In order to achieve this, on the one hand the film repeatedly uses the motifs of the Roma universal symbol, the rolling wheel, the act of travel, the never ending music and dance, as well as the political, cultural and social oppression which forms a heavy burden in Roma lives. On the other hand, the film’s episodic structure appropriates the motif of transition on several levels, which provides its decentring power, in turn triggering both implicit and explicit criticism of the concepts of nation, hegemony, borders and everyday discrimination.

First of all, at the heart of the film there are the travelling Roma communities. Then every scene shows the fluent and prolific yet sometimes violent interaction between the Roma and the majority (examples of this violence include the Porrajimos, the communist terror, and evictions within the capitalist context).

There are no boundaries between performers and spectators, and both are always presented together. The teaching–learning process is also based on transition, for example, passing on oral and cultural traditions to younger generations (see the young children in every sequence). The subtle changeover between the different chapters retains the unbroken poetic continuity. Furthermore, there is movement between fiction and documentary, which are mixed throughout the film in order to deconstruct the traditional frames of representation, thereby creating a poetic re-enactment of history. The power of the multi-levelled and continuous transition is valued by the academic interpretation. It is definitely the music which, as a second layer beyond the images, occupies the place of verbal narration and fulfils its function in a highly creative manner. The film is an ‘ironic history conveyed through music, which mocks narrative of origin designed to confer authenticity on people and places’, says Anikó Imre, adding that in the mirror of Latcho Drom, ‘the strength of Gypsy identity is precisely the “Gypsies’” ability to survive across great diversity’.

Latcho Drom has received widespread awards and praise, and enjoyed – and continues to enjoy – great success amongst audiences and critics; moreover, it has the power to strengthen Romani identity and make people acknowledge Roma culture and history via pure entertainment.

Nick Cave & Blixa Bargeld Interview

Nick and Blixa interview, rare pre-show footage shot during the first Nick Cave & the Bad Seeds American tour, June 27, 1984

John Lee Hooker Blues Before Sunrise

Steven Jesse Bernstein – Morning in the Sub-Basement of Hell

Steven "Jesse" Bernstein (December 4, 1950 -- October 22, 1991) was an American underground writer and performance artist who is most famous for his recordings with Sub Pop Records and close relationship with William S. Burroughs. Bernstein's substance abuse issues and mental illness contributed to his provocative local celebrity, though they ultimately culminated in his suicide.

Steven Jesse Bernstein was born in Los Angeles, California. He moved to Seattle, Washington in 1974 where he adopted the moniker Jesse, and began performing and self-publishing chapbooks of his poetry (the first chapbook was Choking On Sixth, 1978). Bernstein would become something of an icon to many in Seattle's underground music scene. Notable fans included Kurt Cobain and Oliver Stone. Bernstein's mental illness was not as alarming as it might have been off the stage, as his drug-reinforced manic episodes were harnessed and channelled into engrossing, often perverse, entertainment. According to one Seattle newspaper, he opened for music acts such as Nirvana, Big Black, Soundgarden, U-Men, and the Crows:

"He read poems from a stage with a live rodent in his mouth, its tail twitching as baseline punctuation. He tried to cut his heart out in order to hold it in his hands and calm it down. He once urinated on a heckler and tended to throw things: beer bottles, manuscripts, drumsticks, his wallet, a sandwich."

The concept for the Bernstein album Prison was for Jesse to do a raw, live performance at Monroe, Washington State Penitentiary Special Offenders unit in 1991. Jesse went with his manager Barbara Buckland, Bruce Pavitt from Sub Pop Records, Grant Alden, then with Seattle's Rocket Magazine, now known as the co-founder of No Depression Magazine, photographer Arthur S. Aubry, and various tech people. None of the session except for the photos taken by Aubry was usable, however, and SubPop later contracted Steve Fisk to finish the project. The album was intended to be produced along the same lines as Johnny Cash's At Folsom Prison, but [2] Fisk later decided to score the recordings with jazz and ambient music. The album was only partially completed when Bernstein committed suicide by stabbing himself in the throat three times with a knife. He was 40 years old when he died -- about a month and a half before his 41st birthday.

Prison was released on April 1, 1992. In 1994, one of these recordings, "Me and Her Outside (No No Man)",was used in the film Natural Born Killers.

I am Secretly an Important Man, a collection of poetry, short stories, and spoken performances, was released in March of 1996 by Zero Hour Publishing.

Sid and Nancy (Full Film)

Sid and Nancy (also known as Sid and Nancy: Love Kills) is a 1986 film directed by Alex Cox. The film materialized during a time of renewed interest in the period of punk rock, heroin addiction and specifically the life of Sid Vicious. It stars Gary Oldman as Vicious and Chloe Webb as his girlfriend, Nancy Spungen.

The movie is largely based on the mutually destructive, drug-and-sex filled relationship between Vicious and Spungen. Vicious's mother, Anne Beverley, initially tried to prevent the movie from being made. After meeting with Cox, however, she decided to help the production. Some of the supporting characters are composites, invented to streamline the plot.

Oldman lost weight to play the emaciated Vicious by eating nothing but "steamed fish and lots of melon," but was briefly hospitalized when he lost too much weight. Vicious's mother also gave Oldman Vicious' own trademark heavy metal chain and padlock to wear in the film.

Courtney Love recorded an infamous video audition in which she exclaimed "I am Nancy Spungen." Cox was impressed by Love's audition, but has said the film's investors insisted on an experienced actress for the co-leading role. Cox would later cast Love as one of the leads in his movie Straight to Hell. Instead Love was cast in the relatively minor role of Gretchen (a part that Cox wrote specifically for her benefit), one of Sid and Nancy's New York junkie friends. Somewhat ironically, Love would be compared to Spungen later in life on account of her marriage to Kurt Cobain.

In his 2007 autobiography, Guns N' Roses guitarist Slash revealed that the casting director hired all five members of Guns & Roses as extras for a club scene, having coincidentally scouted them in different locations without their knowledge. He said "all of us showed up to the first day of casting, like 'Hey...what are you doing here?'" However, Slash was the only one in the group to stay the entire shoot.
Gary Oldman as Sid Vicious.

Webb and Oldman improvised the dialogue heard in the scene leading up to Spungen's death, but based it on interviews and other materials available to them. The stabbing scene is fictionalized and based only on conjecture. Cox told the New Musical Express: "We wanted to make the film not just about Sid Vicious and punk rock, but as an anti-drugs statement, to show the degradation caused to various people is not at all glamorous."

The original music is by Pray for Rain, Joe Strummer and The Pogues. The film was rated R in the USA for drug use, language, violence, sexuality and nudity. Prominent musicians made appearances in the film, including: Iggy Pop, The Circle Jerks, and Edward Tudor-Pole, of Tenpole Tudor, and briefly the lead singer of the Sex Pistols. The film was originally titled Love Kills.

Charles Manson Superstar

In the late 60s, Charles Manson convinced a group of "followers" to move in to the California desert to train for the apocalypse. They eventually committed a horrific string of serial murders. Considered to be one of the definitive documentaries about Manson and his infamous "family," Charles Manson Superstar is a documentary film about Charles Manson, directed by Nikolas Schreck in 1989. Most of the documentary (the entire interview) was filmed inside San Quentin Prison. Schreck narrated the segments while images were shown, and music played in the background. There was brief footage of Spahn Ranch, and a short clip of James M. Mason being interviewed about the Universal Order, and Manson. Olivier Messiaen's "Death and Resurrection," Bobby Beausoleil's "Lucifer Rising," Krzysztof Penderecki's "Apocalypsis," and Anton La Vey's "The Satanic Mass," and Manson's "Lie & Completion," were the songs played during the film. Schreck was very calm and neutral during the interview. Manson talked and behaved in his bizarre way, but seemed more open and forthcoming with Schreck. Charles Manson is clearly an unbalanced man but he is interesting as a manikin on the scene of late twentieth century popular culture. It is noteworthy that Manson's inflections and emphasis in speaking are very similar to George W. Bush. Scary.

Captain Beefheart and the Magic Band (Cannes Beach, 1968)

We Had Love

The Scientists (Kim Salmon) - We Had Love


Thank you Friday...you put an end to an ugly week....

Timothy Leary Documentary from the BBC (2000)