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johncage.tonspur.at
Lying has become so ingrained into the conservatives’ national dialogue that they are now dangerously demagogic or, worse, severely unhinged. Blind rage at the election of Barack Obama has wrecked a once great political party. Its leaders have made so many deals with the devil in their almost pathological obsession with unseating Obama that they have pushed the GOP into its own version of political hell – unable to speak truths to their now-rabid and conspiracy-addled base and unable to right the party back onto a path of responsibility. Only through the disinfectant of defeat can the Republicans, and the two party system, be preserved.
via theatlanticwire.com
slate.com
amnesty international via pickadolla.wordpress.com
By now you’ve heard and/or read about the Russian protest/music/performance-art collective Pussy Riot.
About the group’s carefully staged protest at a Russian Orthodox church against Vladmir Putin, the political boss of Russia’s current crony-driven, corrupt regime.
About the regime’s rote reaction against the protest.
About the two-year labor-camp sentences dutifully dished out to three Pussy Riot members; following five months of imprisonment and a farcical show trial tainted by allegations that the women were beaten, denied food, and weren’t allowed witnesses to speak in their defense.
About the protests throughout western Europe and elsewhere in support of the group.
I found it all to be an extremely well thought out piece of real-life theater.
The group’s English language name and song titles were clearly intended to generate a global support network.
Their act was inspired both by 1990s U.S. “riot grrrl” bands and the recent Ukranian activist group Femen (who’ve staged topless protests against “sex tourism” in their country).
The concept was to put human faces (albeit sometimes masked faces) on what had been a year of mass protests, in Moscow and elsewhere, against Russia’s increasingly oppressive and even neo-Stalinist system.
This face is young, dynamic, colorful, defiant, female, and (even when fully dressed and masked) openly sexual.
It was crafted as a deliberate contrast to a regime that willingly depicted itself as old, staid, grim, mechanical, humorless, and, yes, patriarchal. A machine as repressed as it is repressive; appealing to fear and bigotry to maintain support among older citizens nostalgic for the days of Soviet predictability.
Anti-Putin and anti-Putinism protests are not confined to Pussy Riot. Mass marches have been held in major cities for more than a year. Putin’s somber bureaucrats have issued increasingly suppressive laws to stop them.
Russia’s opposition is broad and deep, cutting across ethnic and class as well as gender lines.
Pussy Riot gives this opposition a face and a voice the outside world can see and hear.
craig hill, tacoma news tribune
maisonceleste.wordpress.com
A wealthy young white man who refuses to, for one second, consider what it must be like to be a woman, or a minority, or a member of the lower class, or old. A man whose words mean less than nothing.
geneticist.tumblr.com
wikimedia commons
pitchfork media via cartoonbrew.com
The third most famous band from Aberdeen, the Melvins, talk about their “disastrous” first tour, accompanied by appropriately simple Flash animation. (The second most famous band from Aberdeen, of course, is Metal Church.)
As the eyes of the Earth turn again to Mars, let us look back at one of the most surreal and modern-arty “educational” films ever made, the Disney studio’s animated docudrama Mars and Beyond. Made in luscious color, it premiered in black and white on the Disneyland anthology TV show in 1957, just months after the Soviet satellite Sputnik launched the “space race.”
google earth via rhizome.org
perfect sound forever, via furious.com
An earlier version misstated the term Mr. Vidal called William F. Buckley Jr. in a debate. It was crypto-Nazi, not crypto-fascist.
If you’re going art-crawling this next First Thursday, be sure to see a mini version of the digging machine that will create the Viaduct-replacement tunnel. Go see it even if you normally find such things to be, er, boring.
ioffer.com
The first Spider-Man cartoon series (ABC, 1967-70) is fondly remembered by the geekerati, not only for its low-budget thrills but for its bold, saucy, spooky music.
You know the theme song, perhaps from its many remakes and cover versions. (It’s the only song the Ramones slowed down when they covered it!)
The background music has been a lot harder to track down.
Among the reasons why:
Fans eventually figured out that most of the music cue for seasons 2 and 3 came from KPM, a “library music” provider based in London (and now owned by the about-to-be-dismembered EMI).
Once KPM put up a website with samples of its library, these fans sorted out which tracks had been used on Spider-Man, and began to post some of them online.
But that left the season 1 background cues, composed expressly for the show by Ray Ellis and Bob Harris.
As this 2007 story on WFMU’s blog goes, some longtime fans of the show tracked down Ellis in L.A. He told them he’d left the original tapes behind when he moved from New York, but would track them down the next time he went there. Ellis died in 2000, before ever making that trip.
Other fans later reached Harris’s widow, who said she had no idea about the Spider-Man music tapes’ existence.
Not only were the original recordings a dead-end, no M&E tracks (music-and-sound-effects soundtracks, which some studios keep for foreign-language redubbing) were around either. Only the dialogue-heavy final episodes.
Dan O’Shannon, a writer-producer who’s worked on Cheers, Frasier, and Modern Family, is another of the ’60s Spider-Man‘s lifelong obsessive fans. O’Shannon’s taken it upon himself to reassemble the first-season cues.
So far he’s posted 34 tracks. He’s mixed and matched sections of the same tunes from different episodes (or different parts of the same episode) to avoid the dialogue.
O’Shannon hasn’t, however, been able (or wanted) to edit out the frequent THWIP! sound effect of Spidey’s web shooters.