Sunday, January 22, 2012
"Then again, Megaupload's meteoric piracy blaze and Dotcom's obese materialism had been rolling for years. Why yesterday? We asked the DoJ's IP Task Force, and they haven't responded (yet). But CNET's Molly Wood has a conspiratorial-sounding theory that makes a hell of a lot of sense—and explains why that itch had grown so strong. It all came down to SOPA:
My sources tell me the timing of the Megaupload arrests was no accident. The federal government, they say, was spoiling for a fight after the apparent defeat of SOPA/PIPA and not a little humiliation at the hands of the Web. And what better way to bolster the cause for cyber-crackdown than by pointing to a massive display of cyber-terrorism at the hands of everyone's favorite Internet boogeyman: Anonymous?"
Colorado Senator Michael Bennet was a cosponser of S.968, the Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property (PROTECT IP) Act. Recent events suggest he had a change of heart, as he said in a email to me:
"The PROTECT IP Act received unanimous support from the Senate Judiciary Committee. It now awaits consideration by the full Senate. I initially cosponsored S.968 after noting the support of business groups such as Microsoft and the National Association of Manufacturers, worker organizations such as the AFL-CIO, and law enforcement organizations such as the Fraternal Order of Police. But upon hearing the legitimate and understandable concerns of Coloradans that this legislation could have unintended consequences — such as chilling Internet commerce, potentially leading to excessive litigation and running the risk of causing unexpected logistical problems online — I determined that the wisest course of action was to push the Senate to pull back, return t o the drawing board, reconvene stakeholders and start afresh."
I replied back to him:
"Thank you for the reply. The recent incident involving Megaupload proves my point and emphasizes the flaw of your proposed legislation. Instead of working with Megaupload to remove the offending, protected copyrighted material, you've taken down the whole site, including all my personal items that I've uploaded to Megaupload. As a consequence of your sledgehammer strike, I've lost everything that I've been sharing with friends and family. And that's how your legislation will work: destroy something for the purpose of serving someone else's interests, regardless of the collateral damage. That's like a person going to the doctor for a splinter in their finger, only to leave in a coffin with the doctor exclaiming "Cured!" You have good intentions but we now see how your Frankenstein creation will be used to terrorize the countryside in the name securing someone's profit. Shame on you."
On October 3, four years to the day after Kurt first smashed a guitar at a modest dorm party at Evergreen State college, the band played a nearly sold-out show at the fifty-thousand-seat Velez Sarsfield Stadium in Buenos Aires, Argentina. They had hardly practiced, their enthusiasm was low, and they played badly. They had done it for the money and it showed. They vowed never to make the same mistake again.
Part of the agreement was that Nirvana could choose their opening act. They went with Calamity Jane, a virtually unknown all-female band from Portland, Oregon. The overwhelmingly male crowd hated them, From a seat in the highest tier at the far end of the stadium, Kurt watched in disgust as within a minute’s time, virtually the entire crowd was chanting “Puta madre!” at the band and throwing lighters, beer cans, dirt clods, coins and whatever else they could find onto the stage. “It was the largest display of sexism I’ve ever seen at once,” Kurt says.
Chris knew what Kurt was going to do and tried to calm him down. But Kurt was determined to sabotage the show. The first thing they played was an improvised jam, which deteriorated into a fifteen minute feedback fest from Kurt, with brief breaks when he would stop to glare at the crowd. Between songs, Kurt would tease the crowd by beginning to play “Teen Spirit” and then stopping. After a perfunctory set, they played a definitive version of “Endless, Nameless. “ It was so intense, “ Kurt says. “There was so much emotion in it and feedback was coming out of my guitar just perfectly. I was manipulating it better than I ever had. It was really a great experience. It was really fun.” They never did play “Teen Spirit.”
A great recording and the story behind it made it even more enjoyable. It was clear they were having fun on stage messing with the audience. Other things to note about this recording: for the first verse of "Come As You Are," Kurt just said "hey" over and over instead of singing the words; during "Polly," Dave played a toy drum kit; after "Polly," a fairly long, bass-driven jam was played.
Summers flow by in the stream
To be washed away
White haired old men with vision
Looking to the past
His heart overrules the mind
That he can't complete
I made it back into the house well after midnight. I always wonder when the neighbors are going to call the county sheriff on me.
SORRY! The megaupload link is dead!
SORRY! The megaupload link is dead!
Tuesday, January 17, 2012
A place where no one listens
Stands against the world
Armed boys in camouflage
Shoot at the shadows
Claim to be the masters, at
Not telling the truth
People who have grown tired
The party's over
Think like an arrow
They see light in the darkness
On April 8, 1995 the New York Times wrote:
With integrity as important to alternative-rock as heartbreak is to country music, Fugazi should be king. The hard-core rock band, which grew out of the ashes of the influential Washington, D.C., band Minor Threat, sells concert tickets for no more than $5 (a third of what bands of their stature usually charge), refuses to make videos, declines to sell T-shirts and other merchandise at its performances, has not signed with a major record label, sells its self-pressed CD's for less than $9 and performs only at all-ages shows. At its sold-out performances at Irving Plaza on Tuesday and Wednesday, the band showed that even with a punk revival in full swing, it isn't afraid to chastise the fans to their faces ("Sir, do us a favor and don't roll on people's heads," the singer and guitarist Ian MacKaye said to one crowd-surfer on Tuesday) or to break down the boundaries of hard core.
This is an excellent audience recording from another source. See my earlier post of this concert, along with my recording of the event:
I still get a thrill from this recording when at the very start of the show he calls out "Turn up the volume Walter!"
Here's a comment left by someone on another site that was offering the recording for sale:
Blazing through twenty-three cuts in under an hour, Live, January 7, 1978 at The Palladium, NYC documents The Ramones at the peak of their powers. Ask me who the greatest Rock and Roll band that ever took the stage, eight days of the week I’ll tell you it was The Ramones. Their peak as a live act - the late seventies through to the mid-eighties - scale heights most bands are not able to dream of reaching. This album is so penetrating it rips a hole through my skull every time. It’s similar to the It's Alive LP, recorded a week previous - excluding ‘Judy is a Punk’, the set list is identical – but the performance may be a tad more intense. I know, that doesn’t sound possible…
The Ramones are probably the most definitive Rock and Roll band the world will ever have the pleasure of knowing. So enjoy. This is all we have left.
Sunday, January 8, 2012
Our party, including myself, consisted of 8 people, sharing the cabin with a slightly larger group of other visitors. No matter what the snow conditions are, hanging out with a fun group of people in such a scenic location beats any day down here in Denver. I had a great time. Watched the sunset from the flank of Peak 10 the first day. On the second day a group of us climbed up to the saddle below Peak 10, traveling mostly on foot across the brown grassy meadows and patches of snow. Very windy up on top, a quick lunch followed by taking a different route back to ski what appeared to be the best snow patch on the mountainside. A crusty sun baked and wind scoured snow patch yielded a few turns and falls. About a half inch of fresh snow fell over night, making for a smooth exit back to the parking lot Saturday morning.
The next ski trip happens in less than three weeks.
As always, nights were spent listening to music after most people head upstairs to bed, leaving me on the deck outside with headphones, cigar and flask of tequila. After a couple hours standing outside, the night's chill finally works its way through the several layers of clothing. The lightweight sleeping bag near the wood stove is all I need for a decent nights sleep.
Things we're told mean happiness
Everything but love
Snatched by cold peaks of gray stone
Feel the sudden chill
Its sunlit contrail curling
Hear the low rumble
Hunters shield up in defense
His happy dog jumps
Campaign words for votes to take
Lies they can't escape
"Notorious punk legends the Sex Pistols are reuniting again, this time to play a solitary gig at London's Brixton Academy on November 8 to celebrate the 30th anniversary of their incendiary debut album, Never Mind The Bollocks. While there may be whispers of discontent in Buckingham Palace and a smattering of irate Daily Mail readers may be moved to boot in their television screens in protest, the predominant reaction will no doubt be rapture as hordes of once spiky-haired but now bald old men dig out their bondage trousers for one last time."
Read it all here:
The Ocean Rain entry in Wikipedia says:
Echo and the Bunnymen were booked to headline a two-week youth festival at the Royal Shakespeare Theatre in Stratford-upon-Avon on the evening of 23 October 1983. Due to a high demand for tickets a matinee performance was added. The matinee concert at Stratford-upon-Avon saw the live debut of "The Killing Moon", "Seven Seas" and "Silver". With representatives from the band's record company and lead singer Ian McCulloch's mother in the audience, the performance was nervous and uncertain; although the evening performance, without the record company representatives and McCulloch's mother, was much improved.
After a succession of many Nirvana drummers, Kurt Cobain and Krist Novoselic finally lured David Grohl to join the band in 1990. This was the first show with Dave Grohl on drums.
The power went out multiple times toward the beginning of the show, causing the band to stop playing in the middle of "Molly's Lips" and "D-7," without finishing either song. It also caused them to stop in the middle of "Blew," but they finished the song when the power came back on.
See all the pictures here: