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« February 2005 | Main | April 2005 »

March 31, 2005

Paralysed people can now control artificial limbs by thought alone.

This is the coolest story we've read in a while. From The Guardian:

There's a hand lying on the blanket on Matt Nagle's desk and he's staring at it intently, thinking "Close, close," as the scientists gathered around him look on. To their delight, the hand twitches and its outstretched fingers close around the open palm, clenching to a fist.

In that moment, Nagle made history. Paralysed from the neck down after a vicious knife attack four years ago, he is the first person to have controlled an artificial limb using a device chronically implanted into his brain.

The experiment took place a few months ago as part of a broader trial into what are known in the business as brain-computer interfaces. Although it is early days, aficionados of the technology see a world where brain implants return ability to those with disability, allowing them to control all manner of devices by thought alone. There are huge hurdles ahead. No one knows how much information we can usefully decipher from the electrical fizz of the brain's 100bn neurons. More importantly, scientists are still in the dark as to what effect, if any, long term implants will have on the human brain, or how its circuitry will cope with the new tasks demanded of it.

Nagle got involved in the latest trial after hearing about John Donoghue, a professor of neuroscience at Brown University on Rhode Island, whose company Cyberkinetics has developed an implant called BrainGate. Under Donoghue's instruction, Nagle was given a general anaesthetic before a disc the size of a poker chip was cut from his skull. After making an incision in the brain's protective membrane, a tiny array of 96 hair-thin electrodes, each protruding about a millimetre, was pressed onto the surface of his brain, just above a region of the sensory motor cortex that is home to the neuronal circuitry governing arm and hand movement. With the electrodes in position, the bony disc was replaced, leaving room for a tiny wire to connect the electrodes to a metal plate the size of a 10p piece that sits on Nagle's head like a button.

To read brain signals from Nagle's motor cortex, Donoghue's researchers attach an amplifier to the metallic button on his head and run a cable to a computer. When he's hooked up, the tiny voltages of the sparking neurons beneath the electrodes produce a series of brainwaves that dance on the computer screen.

Since having the electrodes implanted in June last year, Nagle has been test-driving the technology, seeing what he, and it, are capable of. "We're evaluating his ability to do a whole range of things. We've hooked him to a computer that lets him turn a TV on and off, change channel and turn the volume up and down," says Donoghue.

The success of the technology relies on being able to decipher accurately the electrical activity within Nagle's brain and turn it into useful actions. The trials started tentatively. Nagle had been unable to move any of his limbs for nearly four years. The scientists had no idea how this would have affected the brain signals that normally control movement. Would they have fizzled out through lack of use, much as muscles waste away in the wheelchair-bound? "No one knew if it would work in someone with these injuries, but simply by asking him to imagine moving we got useful signals and it was amazing. I was overwhelmed by how beautifully the cells were still working," says Donoghue.

Getting the signals is one thing; deciphering them is another. But Donoghue's team found that some simple rules held - if the brain wanted to move the hand to the right, certain cells would fire a rapid series of impulses. If the brain was willing the hand to move left, the cells fired a different number of times. Other information, such as where the hand should end up, what trajectory it should take, and how quickly it should move, is also embedded in the electrical signals.

Part of the difficulty in reading brain signals is that while even a simple movement such as raising a hand requires electrical signals from many regions of the brain, the implanted electrodes pick up just a tiny fraction of those that fire. "We're recording only a dozen or so, when a million might be active," says Donoghue, who likens the process to dropping a microphone into a crowded room and trying to get the gist of all the conversations going on.

The limitations of taking signals from just a few active neurons have become apparent in the trial. Many of the tasks Nagle is set involve moving a cursor around a screen by thinking which way it should move. But the cursor jiggles, making it difficult to select icons on the screen with any precision. "We could smooth it out using software, but at the moment, we want to see if Matthew can learn to control the wobble," says Donoghue, who is recruiting four other patients to complete the trial. "If he can do that, he can use computer software to answer emails, and if he can do that, he could be employed."

Ultimately, Donoghue says there should be no need to connect cables to peoples' heads to read their minds. Miniaturisation should bring smaller devices that can be powered through unbroken skin and transmit signals wirelessly from the brain to a processor worn on a belt that triggers the intended device.

If all goes according to plan, Donoghue's trial, designed to explore how well a variety of people can control different devices by the power of thought, will be completed in about 18 months. He's not the only one keen to find out just how useful such devices could be. At Duke University in North Carolina, Miguel Nicolelis is in the final stages of getting permission to fit 16 quadriplegic patients - half in the US, half in Brazil - with brain implants for a period of 30 days. Initially the trial will look at whether the patients' brains still produce useful motor signals. "Then, we want to see if these patients can control a robotic arm that can reach and grab objects, and how well their brains get used to it," says Nicolelis.

In previous studies, his team showed that when monkeys had their brains hooked up to robotic arms, they assimilated the arm, effectively making it their own. "Their brains actually incorporated the robotic arm by dedicating neuronal space to it. We want to see if the same thing happens in humans," he adds.

For all the promise brain implants hold, there are some that believe they are not the best bet for many patients. Implants suffer from a number of drawbacks, the first being that they demand invasive surgery, with attendant risks. Second, implanted electrodes cause at least some inflammation of the brain tissues they push into. As well as obvious medical concerns, if the inflammation is significant, it can smother any signals the electrodes might pick up.

"Every one you put in gives some inflammation, but it's minor. We're still working on making electrodes more biocompatible, but we've got monkeys who have so far survived for nearly five years with implants and they are fine," says Nicolelis. "The thing is, to do what we want to do, to get that level of control, you have to get into the brain."

Nicolelis says his goal is to use brain implants to allow the disabled to walk again. He has already started designing a wearable robotic "exoskeleton" that could help power paralysed legs - think Wallace and Gromit's The Wrong Trousers, only with better control. Nicolelis is also developing something called "shared control" in which a robotic limb is triggered by a basic command from the brain, but refines and carries out the movement itself, using pre-programmed intelligence. "The hurdles ahead, after finding even better electrodes, are developing prosthetics that are more amenable to brain control," he says.

Many of the labs looking at brain implants started out doing basic research into understanding how small numbers of neurons worked. The research required the development of thin wire electrodes that could cosy up to individual neurons, a legacy that led to fully implantable devices. But for many applications, simpler signals, that can be picked up without undergoing major surgery, may suffice.

At the Wadsworth Centre, the laboratory arm of the New York State health department, John Wolpaw and his team recently proved that a hat not unlike a swimming cap peppered with electrodes could pick up clear enough signals to allow the wearer to move a cursor around a computer screen. "There was an unsupported assumption that to get that kind of control, you needed to implant, but our work showed that's not the case. These systems can do better than a lot of people give them credit for," says Wolpaw.

Instead of tapping into the brain's natural signals for moving limbs, Wolpaw's system picks up changes in general brain activity that the patient must learn to control. "We look at rhythms on the EEG that are normally just idling, but we've shown that by using mental imagery, people can learn to make the signals stronger or weaker and we can translate that into cursor movement," says Wolpaw.

Wolpaw's patients are trained over 10 sessions, during which about 80% learn to control their brainwaves well enough to move a cursor around a screen. In time, most can do other things, such as think of answers to questions to select on screen, without it interrupting their control. The risks of the technique are undoubtedly fewer than for full brain implants, though questions remain about the effects of forcing the brain to change its activity, in a way the electrodes can pick up. "It's probably just like learning anything else. There's been no indication that any of this does anything harmful, and it's hard to see how it could, but we can't say for sure," says Wolpaw.

While Wolpaw has achieved control many thought impossible without implanting electrodes directly into the brain, he feels a third technique, called electrocorticography, or Ecog, might have the brightest future. Ecog involves a smaller operation to place a small sheet of electrodes on the surface of the brain. "With this, you get strong signals, you can pick them up from smaller areas but you're not sticking something into the brain," he says. Preliminary trials show patients can learn to use Ecog devices much faster than electrodes placed on their scalps.

More than likely is that all three techniques will co-develop, each finding its own niche. Full implants may only be worthwhile for the severely disabled, who need to control complex machinery, such as prosthetic limbs, with their thoughts. For many though, regaining even the most minor level of independence would help. "One fellow said to me, 'I just want to be able to scratch my nose'," says Donoghue. "It's easy to forget the kinds of extraordinary things people can't accomplish. If you can do something that lets them reach out to the world even a little, it can make a huge difference."

March 30, 2005

"We sometimes were too loud, too direct, maybe too blustery"

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Bush puppet, Colin Powell, speaks out 2 years too late.

(AP) - Former Secretary of State Colin Powell said the Bush administration was sometimes "too blustery" in its rhetoric during the buildup to the Iraq war, but he still believed toppling Saddam Hussein was the right thing to do, according to a German magazine interview published Wednesday.

Powell also was quoted by Stern magazine as saying that the ongoing insurgency in Iraq is "much bigger" than anticipated. The magazine published the interview in its German translation and could not immediately offer the English version.

"I suppose we sometimes were too loud, too direct, maybe too blustery," Powell was quoted as saying. "That must have had the Europeans shuddering quite a few times."

He also said Defense Secretary Donald H. Rumsfeld's famous jibe at France and Germany, when he labeled them "old Europe" for refusing to join the war in Iraq, did not help.

"Terms like 'old Europe' didn't exactly have a confidence-building effect," Powell was quoted as saying, "and clearly helped turn public opinion in Europe against us."

Powell, who retired as secretary of state in January, also said he still is angry about his Feb. 5, 2003, speech to the U.N. Security Council in which he said Iraq had weapons of mass destruction that violated U.N. sanctions.

No such weapons were found, but Powell told Stern he had no reason to doubt intelligence from the CIA and other agencies suggesting Saddam had them.

Powell said he spent four days and three nights at the CIA before making the presentation, Stern reported.

"Some of this information was wrong. I didn't know that at the time," Powell was quoted as saying. "I have to live with that."

But he defended the U.S.-led invasion in 2003 that toppled Saddam and paved the way for elections in Iraq - despite the continuing anti-U.S. insurgency.

"Yes, the insurgency is much bigger than we assumed. But I'm happy that Saddam is in jail. And I'm darn glad that we will never again have to talk about weapons of mass destruction in connection with Iraq," Powell said.

March 29, 2005

Too bad Rubin didn't pick a real legend, like George Jones

From Rolling Stone:

Rick Rubin is hoping to do for Neil Diamond what he did for Johnny Cash. The producer -- who revived the Man in Black's career in the Nineties with the Grammy-winning American Recordings series -- has revealed to Rolling Stone that he is producing Diamond's next album, the follow-up to 2001's Three Chord Opera.

The record will mark a slight change in direction for Diamond, moving away from his recent, lavishly arranged crooner material to his stripped-down singer-songwriter style of the late Sixties. "This is more of a songwriter's album than a singer's album," says Rubin

White Stripes Set Release Date for Forthcoming LP

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From Pitchfork:

What's it been, like five weeks since we reported that creepily-pale blues exploders Jack and Meg White had just begun recording duties for their fifth studio album? Well, you can reset your egg timer, as according to an email from the band's label, V2 Records, the latest LP from the White Stripes has been given a release date of June 14.

The album, which was produced by singer/guitarist/thespian Jack White, doesn't seem to have an album title or tracklist yet, but their PR company notes that unlike the Stripes' previous release, 2003's Elephant, no guest artists appear on the disc. And considering Jack's recent crossover success with Loretta Lynn's Van Lear Rose, you know our good friend Kenny Rogers is somewhere sulking in his chicken bucket right now.

List of Schiavo Donors Will Be Sold by Direct-Marketing Firm

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Terri Schiavo's father, Robert Schindler

From NY Times:
The parents of Terri Schiavo have authorized a conservative direct-mailing firm to sell a list of their financial supporters, making it likely that thousands of strangers moved by her plight will receive a steady stream of solicitations from anti-abortion and conservative groups.

"These compassionate pro-lifers donated toward Bob Schindler's legal battle to keep Terri's estranged husband from removing the feeding tube from Terri," says a description of the list on the Web site of the firm, Response Unlimited, which is asking $150 a month for 6,000 names and $500 a month for 4,000 e-mail addresses of people who responded last month to an e-mail plea from Ms. Schiavo's father. "These individuals are passionate about the way they value human life, adamantly oppose euthanasia and are pro-life in every sense of the word!"

Privacy experts said the sale of the list was legal and even predictable, if ghoulish.

"I think it's amusing," said Robert Gellman, a privacy and information policy consultant. "I think it's absolutely classic America. Everything is for sale in America, every type of personal information."

Executives of Response Unlimited declined to comment. Gary McCullough, director of the Christian Communication Network and a spokesman for Ms. Schiavo's parents, confirmed that Mr. Schindler had agreed to let Response Unlimited rent out the list as part of a deal for the firm to send an e-mail solicitation raising money on the family's behalf.

The Schindlers have waged a lengthy legal battle against their son-in-law Michael Schiavo to prevent the removal of the feeding tube from their daughter, who doctors say is in a persistent vegetative state.

Mr. McCullough said he was present when Mr. Schindler agreed to the arrangement in a conversation with Phil Sheldon, the co-founder of a conservative online marketing organization, RightMarch.com, who acted as a broker for Response Unlimited.

"So the Schindlers do know the details," Mr. McCullough said on Monday. How much attention they paid to the matter is hard to assess, he added. "The Schindlers right now know that their daughter is starving to death, and if I ask about anything else, they say, 'I don't want to hear about it.' "

Direct mail and mass e-mailings are ubiquitous fund-raising tools of interest groups on the left as well as the right, and others in the direct-mail business defended the sale of lists like the roster of donors to the Schindlers as a useful way for potential donors to learn of causes that might appeal to them.

Pamela Hennessy, an unpaid spokeswoman for the Schindlers, said she was initially appalled when she learned of the list's existence.

"It is possibly the most distasteful thing I have ever seen," Ms. Hennessy said. "Everybody is making a buck off of her."

Ms. Hennessy, who operates the Schindlers' Web site, www.terrisfight.org, said the family had not released any of the names or e-mail addresses gathered there. "Obviously these people are enterprising, and they are taking advantage of this very desperate father," she said.

On Sunday, as the Schindlers gave up on their legal battle and their daughter passed her 10th day without food, others continued to rally supporters and solicit money in an effort to restore the feeding tube.

"This time, we have a real chance to break through the 'roadblocks' that the enemies of life have been putting up in front of us," said a mass e-mailing from RightMarch.com, asking supporters to urge Gov. Jeb Bush to intervene somehow.

The message added: "We're asking you to give a donation to help with our activism efforts to save Terri's life. Battles cost money; resources cost money; media costs money; we could go on, but you get the picture."

Mr. Sheldon - whose father, the Rev. Lou Sheldon, founder of the Traditional Values Coalition, has also sent appeals urging support for Ms. Schiavo - apparently played a dual role as a partner in RightMarch.com, which is working with the anti-abortion activist Randall Terry, and as a broker for Response Unlimited. Mr. Sheldon did not respond to phone calls yesterday.

"I think it sounds a little unusual right now because of the situation where she is in the process of dying," said Richard Viguerie, another major conservative direct-mail operator. "If you came across this information six months or a year from now, I don't think you would give it too much thought."

March 28, 2005

Black Lipstick

Sincerely
Peek-A-Boo Records
Review by Monte Holman

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Remember that party you went to in east Austin during SXSW that didn't really get started until two a.m.? The one at that decrepit house on the trashy lot even the vagrants had vacated prior to this lightless gathering of sweaty-ass hip kids doing coke off record dust jackets? And remember that band delivering an hour (or was it three days?) of mellow rock and roll?

Ok, yeah. That was Black Lipstick. Sure it was impossibly stuffy in that house, and there was only one light in the whole place emitting a depressing orange incandescence, but admit it: that trancelike repetitious rock made you feel cool.

With Sincerely, the band's second LP, Black Lipstick once again litter the air with their dark and dirty brand of rock and roll. Their incarnation of party rock offers more than the typical three chords and poppy bounce. Songs ease into and out of themselves. The band smears warm distortion all over the recording and languidly toys with dissonance, both vocally and instrumentally. Themes of drugs, death, religion, and love lost uphold a consistent tone, a bleary-eyed dedication to the self-destructive rock myth.

The record's packaging is appropriate, its main colors orange-yellow, deep red, black. We see the sun rising over a tiny Austin skyline after a long night of numbing indulgence. Its rays spell out "Sincerely, Black Lipstick," a nod to listeners as the band slinks away until darkness returns.

The album begins with a fitting production additive-the fuzzy bass line and drums sound muffled, as though listeners are walking up to a house inside of which a band is starting to play. We open the door a few seconds into "B.O.B. F.O.S.S.E.," and the sound fills out the speakers. Not so rowdy, mind you, just loud. The tune keeps rolling through repeating guitar licks, though the noise grows. A few lines of male/female call and response give the song a sweet pop kiss before it melts into hotly reverbed and melodic strings.

From there Sincerely unfolds nicely. Songs are smooth but versatile. "No Mercy" slurs out lines like "Some things are worth it, and baby, I think you may be one" in a two minute, nine second punch of pop - instrumentally bright, lyrically shaded with violence. And fuck staying on key. "Grandma Airplane" features droning vocals atop a simple chord progression that eventually spins into several lead lines a la Sonic Youth.

Sincerely champions the rock cause: burn out and repent just before you die. "Viva Max" states in a deadpan drawl, "Over the nation all the haters bow to thee / One foot on the dance floor, the other in the grave," while "The Bad Catholic" muses, "Mary Mary, thank your SON [it's capitalized appropriately in the liner notes] for mercy, for salvation. When I'm done having fun I'm sure to need some." Indeed.

The other moody tracks on the album maintain their rock and roll spirit, conjuring shades of the Velvet Underground and the Stones inoffensively. Black Lipstick aren't trying to alter the face of independent music here-they're simply offering a warmer, less robotic version of dance rock.

Listen to this record when the sun goes down. For kicks and for effect, introduce the adolescent black light to your adult self and then go to that party you were thinking of skipping. Black Lipstick remind us that you don't have to reshape rock history to make a kick ass rock record.

March 24, 2005

Get your Terri Schiavo On

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click here for the full Terry Schivo collection.

Foghat guitarist dead at 57

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From AP

WILTON, New Hampshire (AP) -- Guitarist Rod Price, founding member of the blues boogie band Foghat, died Tuesday after falling down a stairway at his home, a family friend said. He was 57.

The London native's solos drove Foghat to three platinum and eight gold records during the band's quarter-century career.

Foghat released its self-titled debut album in 1972. The group was best known for the hit single, "Slow Ride," from the 1975 album, "Fool for the City."

After many years of touring he settled in Wilton in 1994. Many in town knew Price as a loving dad who never missed his son's baseball, soccer or basketball games. Fewer people knew of Price's musical background.

Price had played with Champion Jack Dupree, Duster Bennett, Eddie Kirkland, Muddy Waters, John Lee Hooker, Willie Dixon and Honey Boy Edwards.

In recent years, Price concentrated on his blues projects, cutting several CDs and giving private guitar lessons at his home.

March 22, 2005

An Interview With Bloc Party

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So much has already been said about Bloc Party, from the early clamor around "She's Hearing Voices" right up through today's release of Silent Alarm. All that hype is tough to live up to, but Silent Alarm definitely delivers. It's one of the best things we've heard this year, and we can't wait for Bloc Party's sold-out appearances at the Bowery Ballroom on April 7 and 8. Needless to say, we were pretty excited to sit down and chat with guitarist/lead singer Kele Obereke and drummer Matt Tong a few weeks ago. Fresh off of performing at the Motherf*cker party, they stepped away from VH1 Classic for a few minutes to talk to us. This interview was done in conjunction with our friends at OneLouder.

******************************

Are you surprised by the reaction you're getting in New York?
Your shows were sold out well before the album's release date.

Matt Tong: It's the downloading that's going on.

Does that bother you?

M: I remember the people who are singing the words
[laughter] and we meet them afterwards.

Kele Obereke: We get the roadies to go out and shut
those people down. We give them the shakedown. [laughs]

Is there any concern from you or your label about downloading? Some artists are worried about losing sales, but you've sold out two shows at the Bowery Ballroom.

M: Complaining about downloading really seems to be the province of people like Metallica; immensely successful people who want more, more, more.

K: I read somewhere that Madonna was really worried she wouldn't be able to give her kids an education because of people
downloading her records. It's really ridiculous.

A lot of the media lump you in with the post-punk revival - some call you the next Franz Ferdinand. How do you feel about that?

K: It's not something you enjoy, but who cares. If it wasn't the next Franz Ferdinand, it'd be the British Rapture or it'd be something else. I think the media is always going to try to compartmentalize you. In the UK, I remember when bands like Muse and Coldplay were being called the next Radioheads. No one says that now because they've established what they are.

Success seems to all be happening quickly for you guys. Is it
surprising how easy it's been so far? You haven't been around that long, at least over here.

K: Well, we haven't spent that long in the public eye, like a year or something, but we were playing as an unsigned band for a year before that. I've been in a band with Russell [Lissack, Bloc Party's guitarist] since 1998. So it's taken us about five years to finally find the right lineup. Once we found that, it's all fallen into place rather quickly.

What did you sound like back in '98?

K: We were a much more conventional rock band, I suppose. We had big ideas but we didn't know how to express them in a band situation. That really came after writing a lot of songs together and becoming more confident about our abilities between the four of us.

Was there a breakthrough song or moment?

K: The breakthrough moment was when we wrote "She's
Hearing Voices." That would have been around the spring of 2003, about three months after Matt joined. Because we had had so many drummers come and go, we spent so much time teaching drummers parts of our songs, trying to get something to play live. Then it wouldn't work out and we'd have to go back to the beginning.

When Matt joined we were able to write more songs together. We were able to evolve. I remember when we wrote the song, we were immediately pleased because it was something we were always aiming for. It was the first song that we wrote that had a lot of space in it. It was really just a drum beat, which was something we couldn't do before because we relied on writing songs only with guitars.

M: I remember being shocked when Kele said "just take it easy, don't change the beat." I just had to have a lot of trust in him as a leader. It was one of the first times we all realized it was more important to sacrifice aspects of your individuality for the greater good of the song.

Is that when labels started to take notice?

K: There were a few that were interested around that
time. When we released that song on our first demo, no one really liked it all.

M: It was quite a departure at the time. It was the
first time we recorded something that was on our own terms. Even though we were limited by our lack of equipment at the time, it was still a song we recorded as intended, in terms of getting down our ideas.

Listening to the album, it was most surprising to hear the
slower, more atmospheric songs. Were these written early on or later in the process of recording the album?

K: Some of those songs were the last set written before we began recording the album. We always wanted to express more than being a fast, disco rock band. We've always like bands that can vary what they do. It was something we weren't as confident earlier on we were first started touring. I'm really excited about the next record because I think there will be a great exploration of those ideas.

Have you started writing new songs already?

K: Yes, we have about 12 songs already. We going to do more recording at the end of this tour. We write very quickly. If you sit us down for an hour we can come up with a song because we always have ideas. Unfortunately when you're on tour for a long time you don't get to sit down and not worry about playing shows. We've been filling our spare time in the studio, recording.

What's your process for recording a new song?

K: Usually I have an idea about a rhythm. I have an
idea about how the song is going to start or how it will end. Sometimes I will have the music; sometimes I won't have anything at all. I usually ask Matt to play something on the drums, which will start me thinking of something to add to it. Usually the original idea will be superceded by other ideas that are thrown out.

All of the songs on Silent Alarm were written before we entered the
studio. Nothing was written in the studio. We had already recorded demos of them all before we went in. But of course it is a creative process and you have to let yourself be inspired while you're in the studio as well. That's what we were aiming for. Nothing was set in stone. We had a blueprint, but the songs had to sound better, bigger.

What inspires you to write?

K: Usually I'll hear something in a club or I'll listen to something and one little thing will stick out to me. Then I'll go away and obsess about it and it will spark ideas.

What kind of clubs do you like to visit?

K: One of the turning points for this band was when
Russell and I got into dance music. When we first met we were just two kids who liked playing guitars and were into traditional rock and roll. Then we both discovered house and trance music. It sounds odd, but it really did affect how we put music together. It made us more aware of space, atmosphere and rhythm in music. It's an integral part of our sound now.

Are there any certain DJs or electronic artists in particular
who did it for you?

K: I still don't know that much about dance music. We really like DJ Shadow and Squarepusher. It's enough to me to go to a club and dance for three hours and be made aware that there's lots of different rules about music.

For me, as someone who was interested in playing guitar and experiencing dance music for the first time, it was something that I didn't want to immerse myself in. It was enough that I could hear it in a club and be inspired by it.

How did your collaboration with the Chemical Brothers happen?

K: They got in touch with our manager and asked if I
could sing on one of their songs. I've seen them a couple times and
thought they were quite good. So I was approached and thought it would be good.

They had ideas for what they wanted and I tried to accommodate them. I didn't really add anything to the structure or tone of the song. It's not really my song, I just sing on it.

The Japanese version has an impressive list of artists remixing your songs: M83, Four Tet, and Mogwai. Did you pick them out?

K: We got in touch with lots of different people and
asked for remixes. We got them all back and some were better than
others. Some of them were real disappointing, but some were interesting. You have no idea how someone is going to change a song. It's interesting to hear someone reinterpret a song.

What I can't stand is when people change just one thing about it. It
seems really lazy. I hate that.

Anything that implies someone has actually engaged with the song is
really exciting. The M83 remix of "Pioneers" is really lush and ambient. Overall we received about 10, but many of them weren't that good.

Did you find a difference at all in the crowds in NYC compared to LA? Those are the two places you guys have played in the US so far.

M: LA seemed a bit sleazier. [laughs]

K: We had two really odd shows in New York and LA, so we can't really compare them yet. It'll be interesting to see what happens when we come back on tour properly. Then we'll get to see every city. I'm quite curious to see which cities are going to take to Bloc Party and which cities are not going to take to Bloc Party. America is such a big place.

I always find it odd when British bands declare that they're going to
break America immediately. You have to keep coming back and back and
back if you want to be really successful in the States. It takes a lot of hard work. When you're a big band in the UK, you can think that you've made it pretty quickly.

This is a question we always like to ask - what were your first concerts?

K: I saw the Cranberries at Wembley with my mom and my
best friend and his mom when I was fifteen or so.

Was that the Everybody Else Is Doing It tour?

K: Yeah, it was that period.

M: I didn't know that.

I think the first concert that I saw was Blur. It was in a big arena.
It was just when The Great Escape came out.

Didn't you guys just do something with Graham Coxon?

M: Yeah, we toured with him for about 3 or 4 days.

That must have been pretty cool, if you're big Blur
fans.

K: Yeah it was. It really was.

M: Definitely.

K: We're all Blur fans, and he's certainly one of my
favorite guitar players.

M: I think he's probably our favorite member of Blur as well.

What's your take on Blur without Graham then?

M: I'm pleased that they're at least trying to do
something interesting, because Graham pretty much was Blur.
K: I think the point about Blur, and one of the reasons that I liked them, was the different personalities were making something more than just pop songs. Graham was into really noisy, heavy music, and Damon was trying to make really parochial-sounding pop music, and it was really interesting watching that sort of tussle between them. And I think now that he's gone, they've lost a lot of their appeal to me because there's no tension. It doesn't sound interesting to me.

It's quite bad, because I thought they were getting better. I know it's not a popular view, but 13 and Blur were my favorite Blur albums, Blur especially. It's completely dark. I wasn't really a fan of the twee English ones like Modern Life is Rubbish or Parklife. I couldn't stand that sort of chirpiness.

M: Really - when did Parklife start to piss
you off?

K: It's just something that I never listen to now. I listen to Blur and 13 when I listen to Blur.

M: There's a real underlying sense of sadness in
Parklife, I think, wouldn't you say? About half the album is pretty sad.

K: I think The Great Escape is a sad album.
There's a real sense of weariness in it. But yeah, Blur's my favorite.

What was the last album you went out and bought?

K: I just got a Fleetwood Mac live CD. We were
watching some Fleetwood Mac on the tour bus and I'd always thought that they were a rubbish band. But actually watching them, I was really impressed with their musicianship. Matt's already a really big fan of theirs. Really awesome — I was listening to it last night.

What do you think of New York, by the way?

K: I like New York. I like the fact that it's a grid, so you always know where you are in relation to everything else. It's empowering!

Indeed. Thanks for your time!

*****************************

Bloc Party MP3's
-- "The Answer"
-- Banquet (Phones Disco Edit)
-- Tulips

March 21, 2005

Keane's Greater Brooklyn Art Crawl

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I suppose I should be at PS1's Greater New York congratulating my friend D about his ascension into the ranks of the emerged artist. Instead, I find myself alone with a wretched hangover and a bucket of cynicism. I'm soaking my feet in it to soothe the bitterness that washes over me as I read over the list of artists that have emerged since the 2000 exhibit. The sad thing about this one is that instead of going out and finding artists that haven't quite emerged, they went looking for people that already had.

Basically the curators pillaged the last Whitney Biennial and the Working in Brooklyn show. What a shame. It's all in the press release. They decided to show who had emerged since the last one, instead of looking for themselves. So much for curators.

Fuck it.

Without having even seen the show, I can already see David Opdyke's meticulously crafted sculptures next to Dana Schutz's lush passages of thick paint across the room from Banks Violet and Sue de Beer's teenage angst ridden rifts. Ah, Opdyke probably deserves to be in the show, but the rest? Schutz was in the last fucking Venice Bienelle, while Violet and de Beer are an entire sub-genre unto themselves that garnered most of the critical attention at the Whitney Biennial. While they obviously represent strains of new art in New York, this is certainly not a show of emerging artists. It's kind of a lazy, predatory curatorial effort. Well, all I can hope for is that someone writes about D's work and Peter Caine offends everyone involved. I'll be organizing an art crawl through it this weekend. I'll be talking loudly while I work on my map of the commercial representation. Ask for me a sip of whiskey.

Last night between shots of booze and pissing on sidewalks, I did see a few shows that I couldn't be bothered with last go around. Everyone was all gussied up to woo collectors who dared forsake the Artforum after party for the humble confines of Williamsburg. I started my drunken descent into madness at Schroeder Romero, where I slugged a bottle of white wine in the little hallway gallery while everyone was schmoozing. In the main space, Susan Graham (work pictured) was projecting super-8 films of a parallel universe, mid-western tundra populated by sugar-sculptures of antennas, radio towers, and satellites. The series of varying monochromatic loops are projected onto sheets of Plexi hung from the ceiling. The short compositions are ephemeral and dreamlike spaces that exist on the periphery of vision. You can't even see the things until you are directly in front of the panes otherwise they drift out of sight like the moments themselves. Apparently, some of the films have already burned out, which I kind of dig. Physically, these films are barely here, already on the edge of fading away. It's damn poetic, like the baleful photographs of the sets in the second room of the gallery. Here, Graham shows us the place, perhaps, that the films traverse in understated images. The world she creates reminds me of a sci-fi outpost on some bleak, wintry world. Maybe it was the cheap wine, but I got all choked up and had to fight back the tears. Well, not really, but I wanted to feel like that. Feel something, anything. I waded through the sea of gallery goers and walked over to Parker's Box.
(3 1/2 Greenbergs. Susan Graham's portal to a parallel universe closes March 28th)

I always go to Parker's Box because A, I like the two crazies that run the place, and B, they've always got the most booze, which they 'suggest' you throw in for. Throb, which opened awhile back, and has a really, really big... title. The show is a fairly effective representation of the direction the gallery has taken over the last two years. Mike Roger's multimedia installation concerns the drum playing of his young neighbor. The weird home theater presentation includes a stereo pumping out the kid's roaming and unstructured sessions and a LCD monitor running an image of the house and garage where the music originates. Roger's transforms private creativity, the kind of aimless, egoless work that artists' pine for, into suburban audio sculpture. Patrick Martinez presents footage of a human body being dissected in millimeter slices on a high-speed loop turning it into a boiling abstraction. The body is reduced to a series of shrinking and expanding organic shapes that edge more into painterly abstraction than scientific analysis. I've seen the thing before, and I liked it, but it is still vaguely disturbing. Steven Brower also has a video of his unemployed astronaut climbing a ladder in a simulated vacuum of space. The endless climb sums up of Brower's cutting cynicism and critique of progress. My personal favorite may very well be Tere Recaren's video of a makeshift pole-vaulting mat in an alley somewhere in Europe I think. It's strangely analogous to American backyard wrestling, reeking of the same desperation. Simon Faithfull has a bizarre installation in the back cellar stairs of the gallery, where the degraded video signal of a wireless camera attached to a balloon is on display. The video is shown in a circular black frame in some attempt to convey deep space. Maybe, but I had to stand back so I wouldn't topple into the thing and get permanently banned from the gallery.

The back space also has a complimentary exhibit of drawings by the artists. I got a kick out of Brower's drawing of a fat kid contemplating the skeletal lunar lander he built in the gallery last year. I felt like that fat kid, standing there with my beer and insecurity. Recaren's pen drawings of monkey and panther make a joyous return to the gallery, although without the company of more of them, they look pretty silly. I like the attitude, which seems at odds with Roger's dutifully rendered basement room. It'd be a good fight between the styles. Martinez also has a series of tiny, stamp-like ballpoint drawings that continue his exploration of the beginnings of the universe. Overall, Throb, sort of throbbed, but not as much as the gigantic title. It deserves an honorable mention as biggest title of the decade. I can't remember a bigger title anywhere else, er well maybe that hack Eric Fischel's copperplate font title at Mary Boone Gallery. His isn't funny though. It just says "Hey, I'm still a big ass!"
(3 Greenbergs. Throb has been... extended through the 27th).

Sweet Jesus, I was fairly wasted as I stormed out into the darkness in search of more beer when I stumbled over to Dam Stuhltrager. Carol Salmanson had built some kind of New Agey light show in the gallery, which I had a hard time squeezing into through the aging crowd. My green wagmag turned from green to brown in the strangely calming patterns of light. The front of the gallery is broken up into planes with long 'crystals' of colored lights. Honestly, I started to feel a bit like Superman in Superman II when he gives up his powers for Lois, and becomes human. I didn't want to get all in touch with my feelings or aura, so I charged into the backspace where Jae-Hi Ahn had populated the walls with resin 'creatures' that look like the artist plucked them from some bizarre ocean. The organic, spiny sculptures progressively get smaller as they traverse the gallery walls and descend towards the basement. The colorful creatures were an interesting counterpoint to Salmanson's fairly serious endeavor, yet I think I preferred Ahn's playful use of abstraction. It's really hard to top the good light artists.
(2 1/2 Greenbergs. Luminous Layers and Rubberworms are shimmering and swimming through April 14th)

I don't remember much about the walk home, but from the looks of most of the revelers at Supreme Trading Company, I'm probably not alone.

March 20, 2005

Disgusting and callous GOP memo says the Terri Schiavo issue offers political rewards

It's important to keep in mind what this whole the Terri Schiavo BS is really about; the 2006 elections:

From Seattle Times: Republican leaders believe their attention to the Terri Schiavo issue could pay dividends with Christian conservatives whose support they covet in the 2006 midterm elections, according to a GOP memo intended to be seen only by senators.

The one-page memo, distributed to Republican senators by party leaders, called the debate over Schiavo legislation "a great political issue" that would appeal to the party's base, or core, supporters. The memo singled out Sen. Bill Nelson, D-Fla., who is up for re-election next year.

"This is an important moral issue, and the pro-life base will be excited that the Senate is debating this important issue," said the memo, reported by ABC News and later given to The Washington Post. "This is a great political issue, because Senator Nelson of Florida has already refused to become a co-sponsor and this is a tough issue for Democrats."

Your rent is about to go up again.....

"More than 130 buildings are under construction in a haven for artsy young people."

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click image for building slideshow - care of NYTimes (reg req)

From NYTimes [read it here (reg required) or below]

Williamsburg Reinvented
In the last decade, Williamsburg in Brooklyn has been a first stop for young people new to the city, just out of college. As they have grown up, the neighborhood has too, evolving from dive bars and movie rental joints to chic sushi restaurants and designer furniture emporiums.

Most of these Williamsburg devotees are now young professionals, often working in creative fields. They tend to be in their 20's and 30's and earning $60,000 to $150,000 a year, according to David Maundrell, president of Aptsandlofts.com, a real estate company in Williamsburg.

"It is a small town of late 20- to 30-somethings," said Mr. Maundrell, who is 30 and grew up in East Williamsburg. "They recognize people on the train going to work in the morning. Saturday mornings you go to walk your dog and get your coffee at 8 in the morning and someone else has the same routine."

In an area with little real estate to buy, these renters have been hungering for some equity of their own in a neighborhood that has become home, and not just a stopping-off point.

They are about to get their wish.

This little hamlet is going to get bigger. Like a whole town bigger. Imagine all the owner-occupied housing stock of a town like Princeton, N.J., moved to this part of Brooklyn. Twice.

More than 130 buildings are currently planned in Williamsburg and Greenpoint, the neighboring area to the north. They are but a curtain raiser for the large-scale waterfront developments that are anticipated with the proposed rezoning along the East River that will transform 75 blocks from industrial to residential use. Last Monday, the plan was approved by the New York City Planning Commission and now makes the next and last stop in the City Council before an expected approval in May.

The buildings under construction now - some small, and tucked between low-slung neighbors, others rising above the rooftops with more than 200 apartments - are just the beginning of a transformation that will some day make the neighborhood look very little like Brooklyn, and more like parts of the far West Village, with sleek glass high-rise buildings and waterfront residences.

Elan Padeh, the president and chief executive of the Developers Group, a consulting and marketing firm with 30 projects currently planned in this area, estimates that in the next two years there will be 3,000 to 4,000 new units in Williamsburg and Greenpoint. "In the next four to five years," he said, "10,000 to 12,000."

For people who are not only priced out of Manhattan, but shut out of the brownstone neighborhoods of Brooklyn like Park Slope or Brooklyn Heights because of price creep, the idea of a deluge of new construction is seductive: it will sell for $500 to $700 a square foot, half the price of Manhattan, and the tax abatements of 15 to 25 years will lower monthly costs. With a 30-year fixed mortgage on a $399,000 two-bedroom apartment with a tax abatement, buyers will spend about $2,500 a month, about the same as they would spend on rent in the neighborhood.

But it isn't just economics. It is also aesthetics.

"I like to design and build my space," said Jennifer Chan, 30, an architect who recently signed a contract on a one-bedroom apartment with high ceilings and a mezzanine in the Union Lofts building on South Second Street, around the corner from where she has lived for four years. "It seemed like enough of a blank slate."

She said she had looked in Queens and other areas of Brooklyn for something that she could renovate, but after weighing the money and time decided that "it seemed a lot more affordable to buy new construction." And she wanted to stay in Williamsburg. "I'm very attached because my friends are there, the base of my social network," she said.

Mr. Maundrell said he sees it all the time in his buyers. "These people don't want to live in brownstone Brooklyn," he said. "They are individuals or young couples. They aren't going to have much in common with the 50-year-old couple in Brooklyn Heights. Park Slope is another world. They look in Dumbo a little. But Dumbo doesn't have the sense of community."

Other brokers agree. "Aesthetically, Park Slope is beautiful, but if you don't want to live in a house from 1860 and don't like gargoyles, it isn't for you," said Kara Kasper, an agent with the Corcoran Group who specializes in Williamsburg. "To people coming from the East Village, Williamsburg feels like home and Park Slope feels like the suburbs."

But with so many developers breaking ground across the 11222 and 11211 ZIP codes and hiring architects with typically contemporary notions, will that community and cultural sensibility be maintained? Or will it run out in a wash of construction?

They are building from Broadway in South Williamsburg, where the smoky aroma from the Peter Luger Steak House wafts, to the far northern reaches of Greenpoint and deep into East Williamsburg, where leafy streets like Ten Eyck and Scholes Streets recall "A Tree Grows in Brooklyn" by Betty Smith. With most of the vacant lots already built on, three-story vinyl-clad houses and two-story garages are being replaced by glass towers that mimic those sprouting in Manhattan.

Many developers are rushing to get foundations laid to take advantage of existing zoning. New height limitations will go into effect when the new zoning plan is approved. Others are simply trying to capitalize on the interest in the market.

The neighborhood has come a long way in the past five years. Developers were long dubious that anyone would do anything but rent in Williamsburg. Originally, the conversion of the Smith Gray Building at 138 Broadway in 2001 was conceived as rentals. Mr. Padeh, who was with the Corcoran Group at the time and worked on the project, said that when the owner decided to sell the units, the expected price was $375 a square foot. The building sold for an average of $455 a square foot. (A 1,997-square-foot, three-bedroom penthouse is now available for $1.55 million, or $776 a square foot.)

"Based off of that success, the Gretsch Building was developed," Mr. Padeh said. "No one would have taken a shot if 138 Broadway would have flopped."

The Gretsch Building, a 130-unit luxury building at 60 Broadway, was first offered for sale at the end of 2003 and sold for an average of $575 a square foot.

Many of the largest developments in Williamsburg have not been done in the neighborhood's prime areas, which Mr. Padeh describes as the area immediately surrounding the L line subway station at North Seventh Street and Bedford Avenue, the streets on the perimeter of McCarren Park and, of course, the waterfront.

Those who do sell apartments in the prime areas will get a premium. One building, an eight-unit building at 171 North Seventh Street, about 20 steps from the subway, recently sold for $735 a square foot.

Not long ago, North and South Williamsburg were areas where people could find deals. Now, they are just another option. The best bargains are in East Williamsburg, where buildings in territory better known as "second stop" and "third stop" on the L are selling out in a matter of days.

During an open house last week in East Williamsburg at a new condo building called the Nola, young buyers traipsed out into the cold and cooed at the view as the skyline of Manhattan turned pink on its jagged edges.

By the end of his first weekend of showings at the Nola, Mr. Maundrell, whose firm is selling the apartments, had accepted offers for seven of the eight units ranging from $399,000 to $650,000. Mr. Maundrell keeps a list of interested buyers and holds open houses for people to have an advance look at property coming to market. Next week he will have an open house for those on the reserve list for an 11-unit building on Ten Eyck Street with views of Manhattan called Tower 78. His list is already 200 people long.

East Williamsburg became a viable place to sell, he said, when Manhattan went "through the roof." And it helps, he said, that the new buildings have appealing design.

Robert M. Scarano Jr., an architect based in Dumbo whose 60-person firm is leading the way, is working on 100 buildings in East Williamsburg alone. With a following mainly gained through word of mouth and support from developers who have seen the firm's work, Mr. Scarano does not have an exclusive broker for the properties but works with Corcoran, Prudential Douglas Elliman, the Developers Group and Aptsandlofts.com. "We're like a Switzerland," he said.

But the firm is really more like a young United Nations with architects, whose average age is 29, pulled from around the world. Thumbing through a two-inch-high pile of papers on a file shelf he said: "This? This year's resumes." Moving to the shelf below it with a similarly intimidating pile, "Last year's resumes."

It is no surprise. Mr. Scarano bestows an incredible amount of responsibility on his young staff, whom he wisely dispatches to design for people like themselves.

When Carmen Larach, a 25-year-old Honduras-born architect at the firm who lives in Greenpoint, finished designing 171 North Seventh Street with double heights and mezzanines, she knew exactly which unit she would love to live in. The top level, east side. "The developers said, 'Let me make money on this one.' Maybe next time I can have one," she said.

In Mr. Scarano's office, one wall is all but covered with renderings. The mode for Scarano projects in Williamsburg and Greenpoint is a layered contemporary exterior with glass curtain walls. The quality of the finishes varies, based on the building, but stainless-steel appliances and granite countertops are practically standard issue. Buyers also want high ceilings, lots of light and outdoor space, he said.

Mr. Scarano is excited about the future of the waterfront and anticipates building in the rezoned area. He credits the likely changes to Amanda Burden, the chairwoman of the City Planning Commission. She "is doing for Williamsburg what C. Virginia Fields did for Frederick Douglass Boulevard" in Harlem, he said.

Of course, with so much building, everyone involved is wary of saturation.

Karl Fischer, the architect who designed the conversion of the Gretsch Building, has two of the most ambitious current projects: four buildings on Bayard Street, which runs along one side of McCarren Park, and a waterfront complex, Schaefer Landing, a joint venture with Gene Kaufman, an architect. He expects that the market will be flooded within a year or two after the rezoning takes effect.

"It will actually be very good for the buyer," Mr. Fischer said. "They will be able to shop around and have lots of product to choose from. Developers will have to try different things to compete."

For all its emulation of that island across the river, this northern knob of Brooklyn will remain the anti-Manhattan in at least one sense: it's a buyer's market.

What's Available in Williamsburg By ANNA BAHNEY

Published: March 20, 2005 IN NYTIMES


MOST of the condos now available in Williamsburg, Brooklyn, are selling for $500 to $700 a square foot. In the prime areas like the waterfront, parts of North Seventh Street and around McCarren Park, prices are $800 to $1,000. Here are properties currently available and a small sampling of things to come:

SCHAEFER LANDING, 446 Kent Avenue

The former site of the Schaefer Brewery, on the waterfront, will have two buildings: a 14-story tower with 75 condo units and 140 rentals for those who meet the income limits, and a 24-story tower with 135 condos. Both sit behind a promenade along the river in South Williamsburg. The 14-story tower is 90 percent sold with two- and three-bedroom apartments with two baths available from $865,000 to $1.475 million; sales in the 24-story tower begin at the end of April. Helene Luchnick or Linda Rubin, Prudential Douglas Elliman (212) 965-6008; www.schaeferlanding.com or www.elliman.com.

THE CASA, 92 Conselyea Street

Of the 24 loftlike units in this corner building in East Williamsburg designed by Scarano & Associates Architects, only one, a 1,309-square-foot, ground-floor duplex for $688,000, is available. Aptsandlofts.com (718) 384-5304; www.thecasalofts.com.

THE NOLA, 31 Conselyea Street

One of the eight units in this East Williamsburg building is left, a one-bedroom ground-floor duplex for $550,000. Aptsandlofts.com, www.thenola.com.

252-258 RICHARDSON STREET

Five of 12 units in this traditional-looking masonry building in East Williamsburg are available. Four two-bedroom apartments are on the ground floor with patios; a three-bedroom is on the third floor, and has a terrace. Prices range from $675,000 to $699,000. The Developers Group (718) 222-1545;

www.thedevelopersgroup.com.

WITHERS PLACE, 246 Withers Street

Six two-bedroom, two-bath condos in this 25-unit building in East Williamsburg, designed by Karl Fischer Architect, are available, ranging from a 1,021-square-foot apartment for $590,000 to a 2,324-square-foot ground-floor duplex for $925,000. Helene Luchnick and Patrice Mack (212) 965-6031, Douglas Elliman.

THE STAGG, 63-69 Stagg Street/52 Ten Eyck Street

Seven one-bedroom apartments, five of them duplexes, are available in this building in East Williamsburg designed by Scarano & Associates Architects. Most have two bathrooms and outdoor space and range from $595,000 to $715,000. The Developers Group.

BROADWAY RIVERVIEW, 20 Broadway

In South Williamsburg, five out of 14 units in this converted four-story former hotel are available, ranging from $539,000 for a one-bedroom to $1.225 million for a 1,243-square-foot penthouse with a 900-square-foot terrace. Aptsandlofts.com.

THE GRETSCH BUILDING, 60 Broadway

There are six units left in this loft conversion in South Williamsburg, all with two bedrooms and two bathrooms ranging from $795,000 to $1.025 million. The Corcoran Group, (718) 388-0537, www.corcoran.com.

Coming This Spring and Summer

LUXE226, 226 Richardson Street

A 6-story, 10-unit building designed by Gene Kaufman with an elevator opening directly into the units. The Developers Group.

TOWER 78, 78 Ten Eyck Street

An 11-unit building designed by Scarano & Associates Architects with two duplex apartments, six mezzanine lofts and three penthouse tri-level lofts, priced from $425,000 to $750,000. Aptsandlofts.com.

THE AURORA, 30 Bayard; THE IKON, 50 Bayard

The 58-unit Ikon is a warehouse building converted to lofts, with four additional glass enclosed floors and the Aurora is a 51-unit, 12-story building next to it. Both are in North Williamsburg opposite McCarren Park. The Developers Group.

55 BERRY STREET

A 35-unit loft conversion in North Williamsburg designed by Karl Fischer with one- and two-bedroom apartments on the corner of Berry and North 11th Street, ranging from $710,000 to $1.39 million. Helene Luchnick, Douglas Elliman.

March 18, 2005

New Exhibition at PS1: Greater New York 2005

We were going to post this last week as a "to do" but knew the opening weekend crowd would be too annoying. Check it this weekend:

P.S.1 Contemporary Art Center
Greater New York 2005
MARCH 13 - SEPTEMBER 26, 2005

click for directions/info

Greater New York 2005, jointly organized by P.S.1 and The Museum of Modern Art, will go on view at P.S.1 on March 13,2005 showcasing more than 160 artists from the New York area. This exhibition builds from the spirit of its first incarnation, Greater New York, which opened at P.S.1 in 2000, shortly after the two institutions became affiliated.

Greater New York 2005 presents artists who have emerged since 2000. Their work explores both this specific time period, during which New York City has changed dramatically; shows vitality, energy, and exciting promise; and anticipates new artistic directions. The exhibition includes artists from New York's five boroughs, as well as nearby towns in New Jersey.

If it happens in the past or outside of the US, it doesn't count....

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From NY Times:

Under sharp questioning at a hearing before the Senate Armed Services Committee, Mr. Goss sought to reassure lawmakers that all interrogations "at this time" were legal and that no methods now in use constituted torture. But he declined, when asked, to make the same broad assertions about practices used over the last few years.

"At this time, there are no 'techniques,' if I could say, that are being employed that are in any way against the law or would meet - would be considered torture or anything like that," Mr. Goss said in response to one question.

When he was asked several minutes later whether he could say the same about techniques employed by the agency since the campaign against Al Qaeda expanded in the aftermath of the 2001 attacks in the United States, he said, "I am not able to tell you that."

He added that he might be able to elaborate after the committee went into closed session to take classified testimony.

And of course, it's not torture if you kill them. It's a good thing we're nipping that steroids/baseball thing in the bud!

March 17, 2005

Jennifer Gentle - Valende

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[Sub Pop - 2005]
Review by Monte Holman

So your favorite bands are the Beatles and Led Zeppelin. And during the last decade you listened to a lot of Guided By Voices. Oh, and you're a big fan of Alvin and the Chipmunks. Well then, Jennifer Gentle is your band.

Jennifer Gentle isn't really Jennifer and is only sometimes gentle. This Italian male duo explores rough lo-fi recording and the rock aesthetic lightheartedly, finding music in laughter, kazoos, cowbells, and even squeaking balloons. But there's another side to the band that helps us accept the jokiness and continue listening both critically and carelessly. Despite its superficial high jinks, Valende, Jennifer Gentle's third album and first Sub Pop release, impresses.

Marco Fasolo and Alessio Gastaldello, the core of the band, write songs that are multifaceted. Sort of schizophrenic. Two tracks, "The Garden" (parts one and two), sound like they're sung by the real-life female embodiment of Jennifer Gentle. Breathy and delicate falsetto vocals unravel atop acoustic guitars in "The Garden, Part One" and build back up in "The Garden, Part Two." In between the garden songs convulses "Hessesopoa," the kind of frenetic chaos Sun-Ra would enjoy (all seven minutes, thirty-three seconds of it). Beginning in light, quick cymbal hits, the song spirals out into hysteria, evoking the image of the Indians from the Good, Bad, and the Ugly soundtrack chasing Elmo through the percussion section of a music store.

These tracks represent the extremes of Jennifer Gentle: the band appreciates quiet harmonies, but they're also really hyped up on coffee as one song title, "Liquid Coffee," suggests. The other seven tracks on the album consist of possible combinations of the garden songs and "Hessesopoa."

The backbone of most songs is a tinny acoustic guitar, a ride accompanying a loose drum kit, and a bass line. But Fasolo and Gastaldello fill everything out with extras, xylophone, Stones guitar, dreamy vocals, a recorder, whatever fits. "I Do Dream You" contains distorted guitar bends and warm organs topped off with hand claps. It's a fast-paced go-go song. And I'm pretty sure the helium inhaled for this one carries over into the next track, "Tiny Holes," which begins with a rising chord progression, lazily floating as if the musicians, well, inhaled too much helium and are now paying the price.

In the balance between chaos and beauty, Fasolo and Gastaldello discover a natural inclination toward the absurd. Lyrically, yes-for example one refrain repeats, "On the sofa / if you please / I spilled some coffee / on my trousers,"-but also sonically. The aforementioned balloons and other nontraditional instruments, production antics that pit instruments against each other in opposite speakers, and cartoony yee-haws, oohs, and ahhs.

"Nothing Makes Sense," a fitting title and the last song on the record, bounces around, starts and stops, and pops in and out amusingly. Lines like "honey bunny Sunday morning Sunday boring by the way" could've been spoken by the Mad Hatter himself. And if all this hasn't satisfied our inner children, the vocals elevate to a squealing chipmunk pitch before song's end.

But Jennifer Gentle have the ability to rein it in. You have to like a band with a sense of humor combined with talent and an overall sense of cool. It's smart, it's Italian, it's a nice sampling of different eras of rock and roll, it's Jennifer Gentle-fresh with welcomed unpredictability.

March 16, 2005

U.S. Military Says 26 Inmate Deaths May Be Homicide

From NY Times:
At least 26 prisoners have died in American custody in Iraq and Afghanistan since 2002 in what Army and Navy investigators have concluded or suspect were acts of criminal homicide, according to military officials.

The number of confirmed or suspected cases is much higher than any accounting the military has previously reported. A Pentagon report sent to Congress last week cited only six prisoner deaths caused by abuse, but that partial tally was limited to what the author, Vice Adm. Albert T. Church III of the Navy, called "closed, substantiated abuse cases" as of last September.

The new figure of 26 was provided by the Army and Navy this week after repeated inquiries. In 18 cases reviewed by the Army and Navy, investigators have now closed their inquiries and have recommended them for prosecution or referred them to other agencies for action, Army and Navy officials said. Eight cases are still under investigation but are listed by the Army as confirmed or suspected criminal homicides, the officials said.

Only one of the deaths occurred at the Abu Ghraib prison in Iraq, officials said, showing how broadly the most violent abuses extended beyond those prison walls and contradicting early impressions that the wrongdoing was confined to a handful of members of the military police on the prison's night shift.

Among the cases are at least four involving Central Intelligence Agency employees that are being reviewed by the Justice Department for possible prosecution. They include a killing in Afghanistan in June 2003 for which David Passaro, a contract worker for the C.I.A., is now facing trial in federal court in North Carolina.

Human rights groups expressed dismay at the number of criminal homicides and renewed their call for a Sept. 11-style inquiry into detention operations and abuse in Iraq and Afghanistan. "This number to me is quite astounding," said James D. Ross, senior legal adviser for Human Rights Watch in New York. "This just reflects an overall failure to take seriously the abuses that have occurred."

Pentagon and Army officials rebutted that accusation. Lawrence Di Rita, the chief Pentagon spokesman, said that he was not aware that the Defense Department had previously accounted publicly for criminal homicides among the detainee deaths in Afghanistan and Iraq, but insisted that military authorities were vigorously pursuing each case.

"I have not seen the numbers collected in the way you described them, but obviously one criminal homicide is one too many," said Mr. Di Rita, who noted that American forces had held more than 50,000 detainees in Iraq and Afghanistan over the past three years.

Army officials said the killings took place both inside and outside detention areas, including at the point of capture in often violent battlefield conditions. "The Army will investigate every detainee death both inside and outside detention facilities," said Col. Joseph Curtin, a senior Army spokesman. "Simply put, detainee abuse is not tolerated, and the Army will hold soldiers accountable. We are taking action to prosecute those suspected of abuse while taking steps now to train soldiers how to avoid such situations in the future."

In his report last week, Admiral Church concluded that the abuse of prisoners in Iraq and Afghanistan had been the result primarily of a breakdown of discipline, not flawed policies or misguided direction from commanders or Pentagon officials. But he cautioned that his conclusions were "based primarily on the information available to us as of Sept. 30, 2004," and added, "Should additional information become available, our conclusions would have to be considered in light of that information."

In addition to the criminal homicides, 11 cases involving prisoner deaths at the hands of American troops are now listed as justifiable homicides that should not be prosecuted, Army officials said. Those cases included killings caused by soldiers in suppressing prisoner riots in Iraq, they said. Other prisoners have died in captivity of natural causes, the military has found.

An accounting by The New York Times in May 2004, based on reports from military