Wikipedia: "Beth Gibbons (born 4 January 1965) is the vocalist for the trip-hop band Portishead.
She met bandmate Geoff Barrow in a Government business start-up scheme. Barrow and Gibbons joined jazz guitarist Adrian Utley, and the sessioners John Baggott, Jim Barr and Clive Deamer to record three successful and critically-praised Portishead albums. Admired by artists as diverse as Dr. Dre and Robert Plant, the latter used Gibbons's musical associates in his own projects.
Gibbons has also collaborated on a separate project with Paul Webb, aka Rustin' Man. In October 2002, the album, Out of Season, was released in the UK, and in October 2003 it was released in the US.
She was reported in the spring of 2005 to be working on the soundtrack of a French language film, her Piafesque singing making her especially popular in that country. She also produced lyrics for Joss Stone.
"Suffering for your art is most definitely overrated but I do get a certain, I don't know, satisfaction from being able to deal with my paranoia and insecurity." —Beth Gibbons"
npr.org: "Before the iPod and the random playlist of the MP3, there was the original: the mix tape.
The advent of the cassette tape some 30 years ago made it possible for anyone with a tape deck and some tunes to be a record producer, mixing and matching songs, genres and bands. And become at-home record producers we did.
Cheap and convenient, customized mix tapes made the perfect personal gift. We made tapes for friends, lovers -- we shared the depths of our souls through the carefully chosen songs. We aggregated our favorite party songs, ballads for suffering through heartbreak and our loudest, angriest punk rock anthems.
Thurston Moore, of pioneering art-rock-noise band Sonic Youth, explores the magic of the mix tape in a new book, Mix Tape: The Art of Cassette Culture."
Die kanadische Elektroakustik gilt weltweit als herausragend. Ihre Anfänge reichen bis in die 1940er Jahre zurück, als Hugh LaCaine in Ottawa einen Vorläufer des heutigen Synthesizers entwickelte. In den 50er Jahren entstanden die Studios an den Universitäten in Toronto und Montréal. Die Szene ist lebendig und kreativ wie kaum eine andere. Im Februar 2005 traf sie sich beim ZKM-Festival "trans_canada" in Karlsruhe." Mehr
(Untitled) is a devastating set of almost pure white light from the newly upgraded Pelt lineup. The intense drone music on (Untitled) represents a return to "sonic-ism" for the quartet of Jack Rose, Mike Gangloff, Patrick Best, and Mikel Dimmick. Like Pelt's 2003 effort Pearls from the River, (Untitled) is an all-acoustic affair. On (Untitled) the group concentrates on producing dense clouds of overtones from guitar, cello, tibetan bowls, gongs, sruti, and esraj." Read more + MP3 downloads
dradio.de: Was SPD-Chef Müntefering hierzulande als "Heuschrecken-Kapitalismus" anprangerte, ist in den USA schon längst gang und gäbe. Während sich im alten Europa zunehmend Menschen gegen den Ausverkauf sozialer Errungenschaften wehren, haben in den USA die konservativen Ideologen des freien Marktes und der angeblich christlichen Werte das Herz Amerikas erobert. Thomas Frank hat dieses Phänomen am Beispiel seines Heimatstaates Kansas genauer untersucht. Mehr
Thomas Frank, author of “What’s the Matter with Kansas?” talks with Richard Wolinsky of KPFA Public Radio about the new bankruptcy law,Terri Schiavo, globalization and more.
Why do so many people in America vote against their own self-interest? Thomas Frank’s 2004 best seller, “What’s the Matter with Kansas?” attempts to answer this question by examining the midwestern state, its radical roots, and why and how it has become a Republican bastion.
There are multiple answers, of course, ranging from the corporatization of the Democratic Party to the what Frank calls “the great '60s backlash” fto the overwhelming onslaught of right-wing propaganda and the demonization of liberals.
In this 40-minute follow-up to the paperback edition of his book, Frank discusses these issues and brings into play recent events and trends in American politics.
Brave New Waves is dedicated to new underground music. This could mean anything from indie rock to dance, experimental electronic and avantgardisms of every shape. We include the widest universe of genres possible every single night.
The essential rhythm of Brave New Waves includes profiles (extended discography/biography), interviews (filmmakers, composers, cartoonists, bands, regional correspondents), and occasionally our own Brave New Waves sessions. Every Friday night we get loose and wiggly from 2am onwards with the Official State Radio Disco Hour.
thirstyear.com: "Established in the late 70s as an independent marketing company, Thirsty Ear pioneered the concept of specialized marketing to the yet-unnamed alternative music world in the U.S. As such, Thirsty Ear was hired to implement campaigns in this new area for virtually every major label, working with such now-legendary artists as David Bowie, The Talking Heads and The Police, among many others.[...]
Since its beginning in 2000, the story of the Blue Series has been one of focused, organic evolution. From free jazz masters, legends in their own time, to some of the most innovative producers working in the world of modern hip-hop and electronic music, the Blue Series has come to encompass some of the most exciting developments in creative music since the turn of the new millennium. Featuring such present-day jazz legends as William Parker, Tim Berne, David S. Ware and Matthew Shipp, and augmented by DJ Spooky, U.K. electronica titans Spring Heel Jack, and hip-hop innovators El-P and Antipop Consortium (to name just a few,) the Blue Series acknowledges jazz's luminescent past without allowing it to smother its artists' desires to pave new ground." More
Thirsty Ear has been featured at Jazz on 3 (BBC Radio 3). The whole show can be downloaded from the Thirsty Ear homepage.
allmusic.com: "When attempting to describe what Keiji Haino does to a guitar, the verb "play" seems terribly insufficient. Mauling might be a more appropriate choice, maybe even destroying. Whatever, whether it is as a solo performer or leading his tremendous trio Fushitsusha, Haino has been leading the loud, free form, noise-loaded, jazz/rock guitar movement in Japan for nearly three decades, starting with seminal noise-jazz/rockers Lost Aaraaff in 1971." More
dradio.de Vor zwanzig Jahren wurden noch Filme über Immigranten gemacht. Das hat sich im Lauf der letzten Jahre geändert: Jetzt gibt es auch Filme, die von Immigranten gedreht werden - zum Beispiel "Gegen die Wand" von Fatih Akin. Dieser preisgekrönte Streifen ist geradezu repräsentativ für eine ganze Bewegung. Die Kebab-Connection oder: Warum das deutsche Kino durch die türkisch-deutschen Filme jeden Tag besser wird. Mehr
sfburning.com: AFRIRAMPO is a Japanese female wildcat duet-cute, loud and a little crass. Their over all sound oscillates between wild and loose to tight and complex arrangements. Like a rock supernova caught in a perpetual loop, exploding and imploding upon itself. This is all done with minimal gear: vocals, guitar and drums." More info + MP3 download
Der Splatterfilm gilt als Schmuddelgenre. Dabei verdankt sich Splatter den Erkenntnissen der Psychoanalyse: Er lässt die Gewalt im Zentrum der Gesellschaft aufbrechen.
Der Versuch einer historischen Grundlegung des modernen Horror- und Splatterfilms kommt nicht ohne Edward Theodore Gein aus. Es war am 17. November 1957, als die Polizei von Wisconsin einen beinahe unaussprechlichen Fund in seinem abgeschieden gelegenem Haus machte. Die ausgeweidete Leiche der Ladenbesitzerin Benice Warden und Teile anderer toter Körper, eine ganze Sammlung von Nasen, weiblicher Geschlechtsorgane und Gesichtsmasken führten die Beamten auf die Spur einer ganzen Serie schlimmstmöglicher Verbrechen." Der ganze Artikel auf netzzeitung.de
Australische Physiker untersuchen die Akustik des Aborigines-Instruments
Das Didgeridoo, ein archaisches Instrument der australischen Aborigines, ist auch in deutschen Großstädten, im Park oder in der Fußgängerzone, oft zu hören, gerne begleitet von unermüdlichen Bongotrommeln. Was beim Didgeridoo-Spiel akustisch passiert und was den Meister vom Anfänger unterscheidet, haben australische Wissenschaftler jetzt mit neuen Methoden untersucht.
dradio.de: "Zum Start des ersten deutschen Weblog-Verlags haben sich unter dem Namen Spreeblick nun sechs solcher Weblogs oder kurz Blogs zusammengefunden, in denen es um die verschiedensten Themen geht: Das Blog Antifreeze" zum Beispiel beschäftigt sich mit Off-Kultur und Independent-Musik, d-frag ist ein Blog für Computerspielfans, auf der Seite lautgeben.de geht es um Gedanken der Macher zur aktuelle Politik und zoomo wirft einen kritischen Blick auf alles, was in Fernsehen und Radio läuft und die Blogger für empfehlenswert halten.
Bislang arbeitete jede Seite für sich, und so ist das unter Bloggern auch üblich. Der Zusammenschluss der sechs professionellen Weblogs zu einem Verlag erscheint so erst einmal ungewöhnlich, ist aber dennoch auch in der digitalen Welt sinnvoll, erklärt der Spreeblick-Kreativleiter und Journalist Johnny Haeussler:" Mehr. Hier auch als MP3 Datei verfügbar.
netzwelt.de: Im August werden sich einige Podcast-Produzenten zum Verband deutschsprachiger Podcaster zusammenschließen. Der eingetragene Verein soll die Interessen der Download-Radio-Aktivisten vertreten und Öffentlichkeitsarbeit betreiben. Netzwelt sprach mit Gerrit van Aaken von Loudblog.de über seine Motive zur Mitarbeit." Mehr
Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.
Whatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete [...], Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.More
news.bbc.co.uk: All this week the BBC News website is speaking to people whose creativity has been transformed in the digital age.
From blogging to podcasting, millions of ordinary people are becoming writers, journalists, broadcasters and film-makers thanks to increasingly affordable and accessible tools" More
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allmusic.com: "When attempting to describe what Keiji Haino does to a guitar, the verb "play" seems terribly insufficient. Mauling might be a more appropriate choice, maybe even destroying. Whatever, whether it is as a solo performer or leading his tremendous trio Fushitsusha, Haino has been leading the loud, free form, noise-loaded, jazz/rock guitar movement in Japan for nearly three decades, starting with seminal noise-jazz/rockers Lost Aaraaff in 1971." 
Der Splatterfilm gilt als Schmuddelgenre. Dabei verdankt sich Splatter den Erkenntnissen der Psychoanalyse: Er lässt die Gewalt im Zentrum der Gesellschaft aufbrechen.
Der Versuch einer historischen Grundlegung des modernen Horror- und Splatterfilms kommt nicht ohne Edward Theodore Gein aus. Es war am 17. November 1957, als die Polizei von Wisconsin einen beinahe unaussprechlichen Fund in seinem abgeschieden gelegenem Haus machte. Die ausgeweidete Leiche der Ladenbesitzerin Benice Warden und Teile anderer toter Körper, eine ganze Sammlung von Nasen, weiblicher Geschlechtsorgane und Gesichtsmasken führten die Beamten auf die Spur einer ganzen Serie schlimmstmöglicher Verbrechen." 
Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.