Sunday, May 10, 2009

TeleMagica Art and Music Festival 2009 in Jacumba, CA

TeleMagica Art and Music Festival is an annual event in the pristine natural landscape of Jacumba CA, 1 hour East of San Diego.

TELEMAGICA 2009, "ALIGNMENT: The Joining of The Tribes"
June 5-7
3 days/2 nights

TICKETS ON-LINE ONLY: $45 only for a 3 day pass!!! by June 5, by popular demand, recession special, a gathering for the Evolution of human perception.

The Promised Land: a landscape without limitations, where you can hear and discover music and performance art on stages, as well as in a mountain cave or on a high peak. A pristine sand-wash where your campsite is part of an entire tribal village celebrating each other, the expansive fresh air, as well as the moon & stars at night. This land enhances magic, and your silent understanding! Within the sounds, the sculptures, the pyramid and the water monument, you awaken your senses.... you will find answers to questions that have gone un-answered..... This is more than a festival gathering, this is about creating a new you, and a new community in a new time.

TeleMagica provides a stage for painters, sculptors, musicians, poets, photographers, film makers, performance artists, neo-vaudville, graffiti artists and creative ritualists to come together for exchange of ideas and talents, for connectivity and collaboration on projects, and for rejuvenation in a world where the support for the arts has been evaporating. This is our 6th annual... We are in Alignment...


TeleMagica is put on by The Institute of Perception.
The Institute of Perception and TeleMagica are dedicated to the Evolution of the human spirit through the Arts.

If you are interested in learning more about TeleMagica, check out these youtube clips made from material filmed at the 2008 TeleMagica Art and Music Festival.

Monday, April 13, 2009

Events Coming Up @ The Pharaohs Den for April

Below are all the events coming up at The Pharaohs Den Cultural Space Center, located in Downtown Riverside. For more information and flyers about each event, please visit the Pharaohs Den myspace page here:

April 18, 2009 6PM
SOS Bookings
Performers/Artists: 108, Pulling Teeth, Lewd Acts, Skin Like Iron, Xibalba, run with the hunted, Worship, Cathedrals

April 20, 2009 8PM
Spiritual Awakening Performance Night
Performers/Artists: Gajah, MC Homeless, DolphinBrain and DeadBird, Magnificent-Abolitionist, Luminous Mirror, DemonSlayer, Tainonegro y Tribu

April 24, 2009 8PM
HMS Studios Presents Heavy Metal Mayhem at The Den
Performers/Artists: Gutsaw, Rotting Stiffs, Arkaik, Oscification + More TBA

April 25, 2009 7PM
SOS Bookings
Performers/Artists: Get The Most, Final Flight, On, Circles, Keep It Clear

April 26, 2009 3PM
Circuit Bending Workshop and Performance
The circuit bending workshop will be curated by XDGEF and will be full of very special suprises, please inquire with us at the gmail or myspace if you would like to participate, no experience or age requirement needed for this event! For a set fee, you will get a toy, parts and access to all the tools to successfully circuit bend! The workshop will follow with experienced circuit bending musicians displaying the many fascist of what this world has done for music, full details on the night to come soon!

April 30, 2009 8PM
Swingin' Dingo and HMS Studios Presents: Hip Hop Not Bombs Benefit Show
Performers/Artists: Swivelpoint, Real Smokaz, Relative Patients, Mic Hempstead, Swift Dixshun w/ Mando The DJ, Jynxx and Yasin, E.I.G., Kid Presentable, Seko w/ DJ Erbe, Mickey Valentine, Apostrophe, Sherman Austin, In Then I, Cab, Moskedoe, Axockin, Blackannese, Ratio, Live Bands: The Welcome Kit and The Arch Dukes

Sunday, April 12, 2009


From: JERMx aka Jerm
To: Astro Nation Of The United Worlds Of Outer Space
Date: Apr 8, 2009 2:20 PM
Subject: do you believe funding the arts is important to the community?

what is needed is every type of letter imaginable!
Hand written, typed, or even signatures of supporters.

Letters answering questions like: Why is art important to the communities in the area? Why do they like art? How can the arts help this economy? And What do they need?

We need Funding, or a relief for artists, since help has not been granted in over five years to help support local artists or new venues displaying modern art.

The more letters/ signatures Rachel White gets to build this foundation for the Arts the more support the arts in the community will have from the Council and the more patrons will step up to the challenge of helping the arts. By means of numbers and out reach, we are the ones who make things happen. Artists need to step up and network! That is what is needed now. It takes 3 minutes to write a letter that will bring the arts in the community back on their feet. We just need to get the people, patrons, artists, friends, families involved with keeping the arts alive. Letters requesting that the local venues in the area get aid, in order to give a helping hand to the artists.

at least 2,000 signatures, and 500 2-3 minute letters are needed by Monday afternoon, before 3:30pm.

You can even write, "I support the foundation for the Arts in the Inland Empire, and ask the Council and community to support them by funding local venues displaying art.
" - Art from Scratch Exhibitions was made by artists, run by artists, and made to help artists.As well as the Riverside Art Exchange, among other art collectives in the Inland Empire! We are the representation of what the arts can do, want to do, and will do!

Please write your letters and names and statements of support for the funding of the arts in the Inland Empire to :
Rachel White
(Founder of the foundation for the arts in LA and IE)
(Founder of Art From Scratch Exhibitions)

She is the one bringing all of our voices to the arts council!
We need to stand up be counted and be heard!
Let all know what art funding will do for your community!

thank you and we hope everyone will take a stand and express what the arts have done and are doing for their lives and how funding will help the dreams of artists continue on and on!!

(please repost and pass the word along this is a huge deal)
thanks erik

Tuesday, February 24, 2009

Friday, February 13, 2009

Kawabata Makoto & Bruce McKenzie Solo Performance + Acid Mothers Temple & The Melting Paraiso U.F.O. Tour Dates + ATM Acoustic Show - Nagoya, Japan

Apr. 1st (wed) @ The Pharaohs Den (3579 University Ave Riverside CA)

KAWABATA MAKOTO & BRUCE MCKENZIE (Maquiladora, Buzz or Howl)

w/ White Marsh, Pegasissy, The Antarcticans, Bill Wesley and The Array Orchestra

+ Resident DJ DemonSlayer

Acid Mothers Temple & The Melting Paraiso U.F.O. US & Canadian Tour 2009
"Lord of the Underground Tour"

Tsuyama Atsushi : bass, voice, cosmic joker
Higashi Hiroshi : synth, guitar, voice, dancin' king
Shimura Koji : drums, latino cool
Kawabata Makoto : guitar, voice, speed guru

Apr. 2009
3 (fri) @ Echo LOS ANGELES CA (
4 (sat) @ Bottom Of The Hill SAN FRANCISCO CA (
5 (sun) @ Holocene PORTLAND OR (
6 (mon) @ Sunset Tavern SEATTLE WA (
7 (tue) @ Biltmore Cabaret VANCOUVER BC (
10 (fri) @ 7th Street Entry MINNEAPOLIS MN (
11 (sat) @ Empty Bottle CHICAGO IL (
12 (sun) @ Grog Shop CLEVELAND OH (
13 (mon) @ Magic Stick DETROIT MI (
14 (tue) @ El Mocambo TORONTO ON (
15 (wed) @ La Sala Rossa MONTREAL PQ (
16 (thu) @ Middle East Upstairs CAMBRIDGE MA (
17 (fri) @ Mercury Lounge NEW YORK NY (
18 (sat) @ Johnny Brendas PHILADELPHIA PA (
19 (sun) @ DC9 WASHINGTON DC (
20 (mon) @ Ottobar BALTIMORE MD (
21 (tue) @ Local 506 CHAPEL HILL NC (
22 (wed) @ The Earl ATLANTA GA (
23 (thu) @ Hi-Tone Cafe MEMPHIS TN (
24 (fri) @ Hailey's DENTON TX (
25 (sat) @ Emos Alternative Lounge AUSTIN TX (http://www.emosaustin.comnet/)
27 (mon) @ Plush TUCSON AZ (
28 (tue) @ Casbah SAN DIEGO CA (

the supprot band of This tour is SONIC SUICIDE SQUAD

We'll sell the limited Tour T-shirts and CDs, LPs, DVDs at Shopzone in each night.
Don't miss this chance!!


Download Here:

Acid Mothers Temple & The Melting Paraiso U.F.O.

"Tokuzo", Nagoya, Japan


Source : Audience Recording
Lineage : [Image] Victor GZ-MC500>CyberLink Power Director Express(MPEG-2 6.0Mbps)>Ulead DVD MovieWriter6>DVD Shrink3.2>DVD-Video(NTSC, 720x480 30fps)
[Audio] MM-HLSC-2>SP-SPSB-8>[line-in]Sony PCM-D50(16bit 44.1KHz)>DigionSound5Express>CyberLink Power Director Express(Dolby Digital 2.0 384Kbps)

Setlist : (Acoustic set) [37 min 55 sec]

The Band :
Tsuyama Atsushi - bass, voice
Higashi Hiroshi - synth, guitar, voice
Shimura Koji - drums
Kawabata Makoto - guitar, voice

Filmed & Transferred by fykfyk

Thursday, January 29, 2009

Enter the Void - 2009 - Gaspar Noé

Releasing: Summer '09

"'Making a film is difficult, but making a great film is an almost impossible task.'

This quote from Spielberg is perhaps not completely accurate, but that’s how I remember it. However, some examples of great films do exist, including the film which had such an influence on my existence: 2001, A Space
Odyssey. Without professing to be able to create such a masterpiece, trying to make a film that is, at the same time, a large-scale entertainment, suitable for adults and complex in cinematic terms, is one of the most exciting undertakings one could wish to tackle. And if one does not set out with the aim of making a great film, one can be sure that it will not turn out to be one.

Few of the arts can satisfy man’s need to be uplifted as immediately as film. And none (except interactive video games) can yet reproduce the maelstrom of our states of perception and consciousness.

In the past, certain films have tried to adopt the subjective point of view of the main character. enter the void will try to improve upon its predecessors and accompany the hero just as much in his normal state of awareness as in his altered states: the state of alertness, the stream of consciousness, memories, dreams...

The visions described in the script are inspired partly by the accounts of people who have had near-death experiences, who describe a tunnel of light, seeing their lives flashing past them and ‘astral’ visions, and partly by similar hallucinatory experiences obtained by consuming DMT, the molecule which the brain sometimes secretes at the moment of death and which, in small doses, enables us to dream at night.

The film should sometimes scare the audience, make it cry and, as much as possible, hypnotise it.

In recent years, films with labyrinthine structures have proved the audience’s ability to follow storylines in the form of a puzzle, and its desire to move away from linear narration.

But a complex form where the content does not move the spectator in any way would only amount to mathematic virtuosity. Whereas this film is above all a melodrama: the universal melodrama of a young man who, after the brutal death of his parents, promises that he will protect his little sister no matter what and who, sensing that he himself is dying, fights desperately to keep his promise. A film where the life of one person is linked to the love he has for another human being.

The reason for choosing the most modern areas of Tokyo as a setting is to further emphasize the fragility of the brother and sister by propelling them like two small balls in a giant pinball machine made up of black, white and fluorescent colours.
My previous two films, which were far less ambitious, were once described by a critic as being like roller coasters playing with the most reptilian desires and fears of the spectator. enter the void, whose themes and artistic choices will be far more varied and colourful, should, if I succeed, be the Magic Mountain which I, as a spectator, dream of riding on."

- Gaspar Noé

Friday, January 23, 2009

New Jimi Hendrix Recordings At Crosstown Torrents

1970-08-01 Honolulu

This show was partially recorded and surfaced in WMA format in early 2006.

It turned up on the EH site in Real Audio format, another lossy conversion....

This torrent is for the 'original' WMA files, and a FLAC version of a edit i did, some EQ etc.

The original recording had a 'echo from the future' in the left channel, since the recording itself appears to be mono this channel was dropped in the edit version.

1 Straight Ahead
2 Ezy Ryder
3 Hey Baby
4 Spanish Castle Magic
5 Red House

The partially synched 8mm that came with it is also included.

Those are the facts, now the opinions:

I think this was one of the best concerts of 1970.
Jimi appears to be in a very good mood which is reflected in his playing. Finally, an audience that doesnt scream for 'Wild Thing/Foxy Lady/Purple Haze/burn that guitar Jimi!'
inbetween all songs. This version of Hey Baby is -afaik- the only live version that has a intro and an ending, its not the usual ending where it would be a medley with the next song - or drum solo.

So, the show is really good, the audio really isnt.
Still hope it will be enjoyed!


1970-06-26: Record Plant, 321 West 44th Street, New York, New York, USA
APE (no information about lineage)

Thanks to Pali Gap for sharing.
Jimi and Billy only, in excellent studio recording quality.


01. Lil' Dog O' Mine
02-03. Chatter
04-05. Heaven Has No Tomorrow
06-18. Valleys Of Neptune
19-20. Jimi and Billy Listening to tape
21-22. Heaven Has No Tomorrow
23-24. Valleys Of Neptune


June 1969 (?)
Beverley Rodeo Hyatt House, Beverley Hills, CA (?)

Thx to Craig

1. Izabella I
2. Izabella II
3. Izabella III
4. instrumental jam (aka Distortion Blues)

1969-06?: Beverley Rodeo Hyatt House, Beverley Hills, CA?

* tracks:
1. Izabella I-III
2. instrumental jam (a.k.a. Distortion Blues)
* audio: Jimi and Billy only, home recording; 10 minutes, good quality (1,2)

Keiji Haino + Makoto Kawabata + Tatsuya Yoshida

"Club Mission's", Koenji, Tokyo, Japan



Artist: Tower Of Power
Location: Keystone Corner, Berkeley, CA
Date: November 30th 1972
Recording: KPFA-FM Broadcast
Artwork: No

Lineage: Silver>cdex151>wav>tlh>flac8>You

Here's a Post-Christmas bonus with a Santana link...
Excellent FM broadcast recording. This seems to be the first of two sets, don't know if set 2 is available.
This is taken from the Japanese boot 'Smokin' At Keystone Corner '72' on the 2000GFRR label.
The personnel list has been taken from other boots of the era, if there are any errors, please let me know.
I have put a sound sample on the comments section.

1.What Is Hip?
2.Flash In The Pan
3.You Strike My Main Nerve
4.You're Still A Young Man
5.You Got To Funkifize
6.Get Your Feet Back On The Ground
7.Down To The Nightclub
8.You Got To Feel It
9.KPFA DJ Outro...

Running Time: 41-54

Lenny Williams - Lead Vocals
Bruce Conte - Guitar/Vocals
Francis 'Rocco' Prestia - Bass
Chester D Thompson - Keyboards
David Garibaldi - Drums
Emilio Castillo - Tenor Sax/Vocals
Stephen 'Doc' Kupka - Baritone Sax/Vocals
Lenny Pickett - Flute/Clarinet/Sax/Vocals
Mic Gillette - Trumpet/Trombone/Vocals
Greg Adams - Trumpet/Flugelhorn


March 22, 1975
The Playhouse
Hofstra University
Long Island, Hempstead, New York

Miles Davis (tp, kb)
Sonny Fortune (ss, as, fl)
Reggie Lucas (g)
Pete Cosey (g, kb, pc)
Mike Henderson ( b)
Al Foster (d)
James "M'tume" Foreman (pc)

1. Tatu [Funk (Prelude, part 1)] (15:41)
2. Maiysha (18:11)
3. Right off (12:43)
4. Ife (11:09)
5. Calypso Frelimo (19:25)
6. Wili [For Dave, Mr. Foster] (13:20)
7. Moja/Nne [Turnaroundphrase ] (02:41)

Tracks 1, 2, 4 and 6 are complete.
Track 3 has a splice in the middle.
Track 5 has a splice in the beginning and a splice in the middle.
Track 7 has a fade in the end.

AUD > ?? > Trade > EAC (4x, secure) > FLAC (level 6, with sector align)
Sound quality: B, quite listenable

According to several sources this was the last gig with Sonny Fortune.
This gig is mentioned by Miles in his autobiography (Davis/Troupe, p 330).

According to Peter Losin this material is from two different concerts.
In his discography, Enrico Merlin mentions that this recording is from
the second concert on Saturday, March 22, 1975.


Thelonious Monk Quartet
- 1963-03-5,
Stockholm, Sweden


Short spoken intro 1'17
Bye-ya 8'36
Monk's dream 8'35
'Round Midnight 9'20
Criss cross 5'19
Drum Solo 3'59
Jackie-ing 8'22
Just a Gigolo 3'23
Bright Mississippi 9'13

Thelonious Monk - Piano
Charlie Rouse - Tenor saxophone
John ore - Bass
Frankie Dunlop - Drums

lineage is pre-fm > ? > cd-r or something like that. I tried and find a more precise lineage, butit's always just described as a"pre-fm" record and that's it...


George Benson - 1971 - Beyond The Blue Horizon and White Rabbit


1 So What 9:15
2 The Gentle Rain [From the Gentle Rain] 9:09
3 All Clear 5:32
4 Ode to a Kudu 3:49
5 Somewhere in the East 6:17
6 All Clear [alternate take/*] 5:48
7 Ode to a Kudu [alternate take/*] 4:41
8 Somewhere in the East [alternate take/*] 9:46

All Music Guide Review by Richard S. Ginell

Having taken Benson along with him when he founded CTI, Creed Taylor merely leaves the guitarist alone with a small group on his first release. The payoff is a superb jazz session where Benson rises to the challenge of the turbulent rhythm section of Jack DeJohnette and Ron Carter, with Clarence Palmer ably manning the organ. Benson is clearly as much at home with DeJohnette's advanced playing as he was in soul/jazz (after all, he did play on some Miles Davis sessions a few years before), and his tone is edgier, with more bite, than it had been for awhile. The lyrical Benson is also on eloquent display in "Ode to a Kudu" (heard twice on the CD, as is "All Clear"), and there is even a somewhat experimental tilt toward Afro-Cuban-Indian rhythms in "Somewhere to the East." A must-hear for all aficionados of Benson's guitar.


1 White Rabbit 6:55
2 Theme from Summer of '42 5:04
3 Little Train (From Bachianas Brasileiras #2) 5:46
4 California Dreamin' 7:19
5 El Mar 11:00

All Music Guide Review by Richard S. Ginell

"For George Benson's second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish-flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such. The idea works best on "California Dreamin'" (whose chords are based on Andalusian harmonies), where, driven by Jay Berliner's exciting Spanish rhythm guitar, Benson comes through with some terrifically inspired playing. On "El Mar," Berliner is replaced by Benson's protégé Earl Klugh (then only 17) in an inauspicious — though at the time, widely-heralded — recorded debut. The title track is another winner, marred only by the out-of-tune brasses at the close, and in a good example of the CTI classical/jazz formula at work, Heitor Villa-Lobos' "Little Train of the Caipira" is given an attractive early-'70s facelift. Herbie Hancock gets plenty of nimble solo space on Rhodes electric piano, Airto Moreira contributes percussion and atmospheric wordless vocals, and Ron Carter and Billy Cobham complete the high-energy rhythm section. In this prime sample of the CTI idiom, everyone wins."

Fundraiser Event @ The Pharaohs Den Janaury 30, 2009

The Pharaohs Den Cultural Space Center is run entirely on donations and on the talents of volunteers. There is no cover charge - we simply ask you to fill out a membership form and pay a nominal fee ($5) and donate at future events and gatherings to help support the Pharaohs Den. We are having this event to help further extend our possiblities of survival as an arts space. This is a private members only place for inspriation, creativity, education and knowledge, if you are looking for entertainment, turn your tv on, go to a bar or go see a sports game...

For more information on the artists involved, please go to the blog section of the myspace page for the Pharaohs Den:

Saturday, January 17, 2009

Boogie Down Productions - 1987 - Criminal Minded - 1988 - By All Means Necessary - 1989 - Ghetto Music: The Blueprint of Hip Hop

Criminal Minded


01 Poetry 5:03
02 South Bronx 5:11
03 9mm Goes Bang 4:19
04 Word from Our Sponsor 3:55
05 Elementary 4:06
06 Dope Beat 5:16
07 Remix for P Is Free 4:20
08 The Bridge Is Over 3:26
09 Super-Hoe 5:31
10 Criminal Minded 5:19

All Music Guide Review By Steve Huey:

"Criminal Minded is widely considered the foundation of hardcore rap, announcing its intentions with a cover photo of KRS-One and Scott La Rock (on his only album with Boogie Down Productions) posing with weapons — an unheard-of gesture in 1987. BDP weren't the first to rap about inner-city violence and drugs, and there's no explicit mention of gangs on Criminal Minded, but it greatly expanded the range of subject matter that could be put on a rap record, and its grittiest moments are still unsettling today. Actually, that part of its reputation rests on just a handful of songs. Overall, the record made its impact through sheer force — not only KRS-One's unvarnished depictions of his harsh urban environment, but also his booming delivery and La Rock's lean, hard backing tracks (which sound a little skeletal today, but were excellent for the time). It's important to note that KRS-One hadn't yet adopted his role as the Teacher, and while there are a few hints of an emerging social consciousness, Criminal Minded doesn't try to deliver messages, make judgments, or offer solutions. That's clear on "South Bronx" and "The Bridge Is Over," two of the most cutting — even threatening — dis records of the '80s, which were products of a beef with Queens-based MC Shan. They set the tone for the album, which reaches its apex on the influential, oft-sampled "9mm Goes Bang." It's startlingly violent, even if KRS-One's gunplay is all in self-defense, and it's made all the more unsettling by his singsong ragga delivery. Another seminal hardcore moment is "Remix for P Is Free," which details an encounter with a crack whore for perhaps the first time on record. Elsewhere, there are a few showcases for KRS-One's pure rhyming skill, most notably "Poetry" and the title track. Overall it's very consistent, so even if the meat of Criminal Minded is the material that lives up to the title, the raw talent on display is what cements the album's status as an all-time classic."


By All Means Necessary


01 My Philosophy 5:40
02 Ya Slippin' 4:56
03 Stop the Violence 4:42
04 Illegal Business 5:21
05 Nervous 4:12
06 I'm Still No. 1 5:13
07 Part Time Suckers 5:32
08 Jimmy 4:15
09 T'Cha-T'Cha 4:34
10 Necessary 2:59

All Music Guide Review By Steve Huey

"The murder of DJ Scott La Rock had a profound effect on KRS-One, resulting in a drastic rethinking of his on-record persona. He re-emerged the following year with By All Means Necessary, calling himself the Teacher and rapping mostly about issues facing the black community. His reality rhymes were no longer morally ambiguous, and this time when he posed on the cover with a gun, he was mimicking a photo of Malcolm X. As a social commentator, this is arguably KRS-One's finest moment. His observations are sharp, lucid, and confident, yet he doesn't fall prey to the preachiness that would mar some of his later work, and he isn't afraid to be playful or personal. The latter is especially true on the subject of La Rock, whose memory hangs over By All Means Necessary — not just in the frequent name-checks, but in the minimalist production and hard-hitting 808 drum beats that were his stock-in-trade on Criminal Minded. La Rock figures heavily in the album opener, "My Philosophy," which explains BDP's transition and serves as a manifesto for socially conscious hip-hop. The high point is the impassioned "Stop the Violence," a plea for peace on the hip-hop scene that still hasn't been heeded. Even as KRS-One denounces black-on-black crime, he refuses to allow the community to be stereotyped, criticizing the system that scoffs at that violence on the spoken recitation "Necessary." "Illegal Business" is a startlingly perceptive look at how the drug trade corrupts the police and government, appearing not long before the CIA's drug-running activities in the Iran-Contra Affair came to light. There are also some lighter moments in the battle-rhyme tracks, and a witty safe-sex rap in "Jimmy," a close cousin to the Jungle Brothers' "Jimbrowski." Lyrics from this album have been sampled by everyone from Prince Paul to N.W.A, and it ranks not only as KRS-One's most cohesive, fully realized statement, but a landmark of political rap that's unfairly lost in the shadow of Public Enemy's It Takes a Nation of Millions."


Ghetto Music: The Blueprint of Hip Hop


01 The Style You Haven't Done Yet 3:01
02 Why Is That? 3:57
03 The Blueprint 2:54
04 Jack of Spades 4:49
05 Jah Rulez 4:25
06 Breath Control 3:38
07 Who Protects Us from You? 2:25
08 You Must Learn 3:51
09 Hip Hop Rules 4:08
10 Bo! Bo! Bo! 5:21
11 Gimme, Dat, (Woy) 3:04
12 Ghetto Music 3:15
13 World Peace 4:45

All Music Guide Review By Steve Huey

"The second Boogie Down Productions album devoted mostly to consciousness raising, Ghetto Music: The Blueprint of Hip Hop finds KRS-One evolving into a fierce advocate for both his community and his chosen art form. He's particularly concerned about the direction of the latter: he's wary of hip-hop being co-opted by the pop mainstream, and the album's title comes from his conviction that real hip-hop is built on the vitality and rebelliousness of the streets. Accordingly, Ghetto Music contains a few more battle rhymes than usual, plus some showcases for pure MC technique, in keeping with the most basic elements of the music. The production, too, is still resolutely minimalist, and even if it's a little more fleshed-out than in the past, it consciously makes no concessions to pop or R&B accessibility. There are more reggae inflections in KRS-One's delivery than ever before, audible in about half the tracks here, and the production starts to echo dancehall more explicitly on a few. Meanwhile, as the Teacher, he's actually put together lesson plans for a couple tracks: "Why Is That?" and "You Must Learn" are basically lectures about biblical and African-American history, respectively. This is where KRS-One starts to fall prey to didacticism, but he has relevant points to make, and the rapping is surprisingly nimble given all the information he's trying to pack in. Elsewhere, "Who Protects Us from You?" is a bouncy anti-police-brutality rap, and KRS closes the album with the point that "World Peace" can only be achieved through a pragmatic, aggressive struggle for equality. Although Ghetto Music has a few signs that KRS is starting to take himself a little too seriously (he dubs himself a metaphysician in the liner notes), overall it's another excellent effort and the last truly great BDP album."

Friday, January 16, 2009

Martian Methane Reveals the Red Planet is not a Dead Planet

From NASA:

This image shows concentrations of Methane discovered on Mars. Credit: NASA

View Streaming Video
View Larger Image With Details

Mars today is a world of cold and lonely deserts, apparently without life of any kind, at least on the surface. Worse still, it looks like Mars has been cold and dry for billions of years, with an atmosphere so thin, any liquid water on the surface quickly boils away while the sun's ultraviolet radiation scorches the ground.

But there is evidence of a warmer and wetter past -- features resembling dry riverbeds and minerals that form in the presence of water indicate water once flowed through Martian sands. Since liquid water is required for all known forms of life, scientists wonder if life could have risen on Mars, and if it did, what became of it as the Martian climate changed.

New research reveals there is hope for Mars yet. The first definitive detection of methane in the atmosphere of Mars indicates the planet is still alive, in either a biologic or geologic sense, according to a team of NASA and university scientists.

"Methane is quickly destroyed in the Martian atmosphere in a variety of ways, so our discovery of substantial plumes of methane in the northern hemisphere of Mars in 2003 indicates some ongoing process is releasing the gas," said Dr. Michael Mumma of NASA's Goddard Space Flight Center in Greenbelt, Md. "At northern mid-summer, methane is released at a rate comparable to that of the massive hydrocarbon seep at Coal Oil Point in Santa Barbara, Calif."

Scientists don't yet know enough to say with certainty what the source of the Martian methane is, but this artist's concept depicts a possibility. In this illustration, subsurface water, carbon dioxide and the planet's internal heat combine to release methane. Although we don’t have evidence on Mars of active volcanoes today, ancient methane trapped in ice "cages" might now be released. Credit: NASA/Susan Twardy
> Larger image Methane -- four atoms of hydrogen bound to a carbon atom -- is the main component of natural gas on Earth. It's of interest to astrobiologists because organisms release much of Earth's methane as they digest nutrients. However, other purely geological processes, like oxidation of iron, also release methane. "Right now, we don’t have enough information to tell if biology or geology -- or both -- is producing the methane on Mars," said Mumma. "But it does tell us that the planet is still alive, at least in a geologic sense. It's as if Mars is challenging us, saying, hey, find out what this means." Mumma is lead author of a paper on this research appearing in Science Express Jan. 15.

If microscopic Martian life is producing the methane, it likely resides far below the surface, where it's still warm enough for liquid water to exist. Liquid water, as well as energy sources and a supply of carbon, are necessary for all known forms of life.

"On Earth, microorganisms thrive 2 to 3 kilometers (about 1.2 to 1.9 miles) beneath the Witwatersrand basin of South Africa, where natural radioactivity splits water molecules into molecular hydrogen (H2) and oxygen. The organisms use the hydrogen for energy. It might be possible for similar organisms to survive for billions of years below the permafrost layer on Mars, where water is liquid, radiation supplies energy, and carbon dioxide provides carbon," said Mumma.

"Gases, like methane, accumulated in such underground zones might be released into the atmosphere if pores or fissures open during the warm seasons, connecting the deep zones to the atmosphere at crater walls or canyons," said Mumma.

"Microbes that produced methane from hydrogen and carbon dioxide were one of the earliest forms of life on Earth," noted Dr. Carl Pilcher, Director of the NASA Astrobiology Institute which partially supported the research. "If life ever existed on Mars, it's reasonable to think that its metabolism might have involved making methane from Martian atmospheric carbon dioxide."

However, it is possible a geologic process produced the Martian methane, either now or eons ago. On Earth, the conversion of iron oxide (rust) into the serpentine group of minerals creates methane, and on Mars this process could proceed using water, carbon dioxide, and the planet's internal heat. Although we don’t have evidence on Mars of active volcanoes today, ancient methane trapped in ice "cages" called clathrates might now be released.

The team found methane in the atmosphere of Mars by carefully observing the planet over several Mars years (and all Martian seasons) with NASA's Infrared Telescope Facility, run by the University of Hawaii, and the W. M. Keck telescope, both at Mauna Kea, Hawaii.

The team used spectrometer instruments attached to the telescopes to make the detection. Spectrometers spread light into its component colors, like a prism separates white light into a rainbow. The team looked for dark areas in specific places along the rainbow (light spectrum) where methane was absorbing sunlight reflected from the Martian surface. They found three such areas, called absorption lines, which together are a definitive signature of methane, according to the team. They were able to distinguish lines from Martian methane from the methane in Earth's atmosphere because the motion of the Red Planet shifted the position of the Martian lines, much as a speeding ambulance causes its siren to change pitch as it passes by.

"We observed and mapped multiple plumes of methane on Mars, one of which released about 19,000 metric tons of methane," said Dr. Geronimo Villanueva of the Catholic University of America, Washington, D.C. Villanueva is stationed at NASA Goddard and is co-author of the paper. "The plumes were emitted during the warmer seasons -- spring and summer -- perhaps because the permafrost blocking cracks and fissures vaporized, allowing methane to seep into the Martian air. Curiously, some plumes had water vapor while others did not," said Villanueva.

According to the team, the plumes were seen over areas that show evidence of ancient ground ice or flowing water. For example, plumes appeared over northern hemisphere regions such as east of Arabia Terra, the Nili Fossae region, and the south-east quadrant of Syrtis Major, an ancient volcano 1,200 kilometers (about 745 miles) across.

It will take future missions, like NASA's Mars Science Laboratory, to discover the origin of the Martian methane. One way to tell if life is the source of the gas is by measuring isotope ratios. Isotopes are heavier versions of an element; for example, deuterium is a heavier version of hydrogen. In molecules that contain hydrogen, like water and methane, the rare deuterium occasionally replaces a hydrogen atom. Since life prefers to use the lighter isotopes, if the methane has less deuterium than the water released with it on Mars, it's a sign that life is producing the methane. The research was funded by NASA's Planetary Astronomy Program and the NASA Astrobiology Institute.

Fania All-Stars Live

Live at the Red Garter, Vol. 1

Live at the Red Garter, Vol. 2

Live at the Cheetah, Vol. 1

Live at the Cheetah, Vol. 2


Live at Yankee Stadium, Vol. 1

Live at Yankee Stadium, Vol. 2


Habana Jam

Fania All-Stars in Japan

Live in Africa

Live: June 11-1994, Puerto Rico

Tower of Power - 1975 - Urban Renewal

All Music Guide Review By Alex Henderson

"Tower of Power was very much in its prime in 1974, when the Bay Area outfit tore up the soul charts with the outstanding Urban Renewal. Lenny Williams, a passionate, wailing, gospel-influenced dynamo of a singer, had joined Tower the previous year, and he worked out remarkably well; whether digging into tough funk or romantic ballads, Williams is in top form. Funk doesn't get much more invigorating than horn-driven gems like "Maybe It'll Rub Off," "Give Me the Proof" and "Only So Much Oil in the Ground" (a commentary on the mid-'70s energy crisis), and soul ballads don't get much richer than "Willing to Learn" and "I Won't Leave Unless You Want Me To." Tower (an influence on everyone from L.T.D. to the Average White Band) recorded a number of essential albums in the '70s, and Urban Renewal is at the top of the list."

Thursday, January 15, 2009

Fela Kuti - 1973 - Gentlemen

All Music Guide Review By Jack LV Isles

"Gentleman is both an Africa 70 and Afro-beat masterpiece. High marks go to the scathing commentary that Fela Anikulapo Kuti lets loose but also to the instrumentation and the overall arrangements, as they prove to be some of the most interesting and innovative of Fela's '70s material. When the great tenor saxophone player Igo Chico left the Africa 70 organization in 1973, Fela Kuti declared he would be the replacement. So in addition to bandleader, soothsayer, and organ player, Fela picked up the horn and learned to play it quite quickly — even developing a certain personal voice with it. To show off that fact, "Gentleman" gets rolling with a loose improvisatory solo saxophone performance that Tony Allen eventually pats along with before the entire band drops in with classic Afro-beat magnificence. "Gentleman" is also a great example of Fela's directed wit at the post-colonial West African sociopolitical state of affairs. His focus is on the Africans that still had a colonial mentality after the Brits were gone and then parallels that life with his own. He wonders why his fellow Africans would wear so much clothing in the African heat: "I know what to wear but my friend don't know" and also points out that "I am not a gentleman like that!/I be Africa man original." To support "Gentleman," the B-side features equally hot jazzy numbers, "Fefe Naa Efe" and "Igbe," making this an absolute must-have release."

Wednesday, January 14, 2009

John Fahey

Biography from Rolling Stone:

John Fahey preferred album titles like Death Chants, Breakdowns and Military Waltzes, and Blind Joe Death, suggesting either a dark private humor or plain morbid fixation, but this Maryland guitarist's forte is music of an exhilarating, almost rapturous beauty. Uplifting or soothing, tinged with melancholy, his sets of country blues, Scotch-Irish folk, or classically derived melodies showcase often dazzling acoustic-guitar work. Generally unaccompanied and without overdubs, he crafts complex tapestries of sound; his virtuosity is less a matter of speed or jazzy convolution than tone, and Fahey's guitar resounds like no other. Big, bell-like, immediate, helped out by very clear production, his tone comes through like a signature. Confusingly, he rerecorded a number of LPs because he thought his technique had improved, and one of his finest releases, Of Rivers and Religion, features a whole band with horn charts. A very consistent artist -- the assured delivery of "Old Southern Medley" off The Transfiguration of Blind Joe Death, from 1973, isn't dissimilar to his rousing take on Eric Clapton's "Layla" (from Let Go) -- Fahey kept to a very high standard through much of his 40-year career. Gorgeous mood music that can provoke trance and reverie, his albums might appeal to New Age listeners -- but his music is denser and smarter than that genre. He survived for years as a perennial Christmas-music favorite.

Fahey's stubborn, outsider nature and his '60s experimental works led to his rediscovery as an indie hero; his final albums, however, are feeble echoes of the more clever curios on Voice of the Turtle and The Great San Bernardino Birthday Party. Newcomers will do well with Return of the Repressed or the best-of anthologies; Vol. 2, selected by guitarist Henry Kaiser, is particularly well programmed. Fahey's stoic combination of deep sadness and unshakeable resolve to transcend will keep his work forever in fashion. (MILO MILES)

This Biography Came From 2004's The New Rolling Stone Album Guide


"Red Pony" 1969

"Wine and Roses" 1978