tag:blogger.com,1999:blog-45795253340495220552024-03-24T18:11:28.673+11:00conscious entity'i am putting myself to the fullest possible use, which is all i think that any conscious entity can ever hope to do'Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-4579525334049522055.post-75680860716957866332024-02-25T01:50:00.004+11:002024-02-25T11:32:08.238+11:00The Music of Steve Roach<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/videoseries?si=TpHR0UUhUmbrdP_6&list=PL6PRUprO-7R082ra-s1C6O8x03_-_yjHk" title="YouTube video player" width="400"></iframe><p><br />I've been a fan of Steve Roach from around the time his Dreamtime Return release came out in 1988. My friend Hans Stoeve played a lot of his music on The Quiet Space on 2SER radio in Sydney.</p><p>Steve Roach's music was often lumped in with 'New Age' but it was so much better than nearly all the music put into that category. The synth textures he uses are never cloying or syrupy, but have a drier and darker feel that evoke timeless moods of wide landscapes and the night sky.</p><p>He started out strongly influenced by the likes of Tangerine Dream but in 1988 he took an extended trip to outback Australia, meeting didgeridoo player David Hudson which resulted in the Dreamtime Return album.</p><p>According to Roach, his interest in Australian aboriginal culture was sparked by the Peter Weir film The Last Wave.</p><p>Through the early 90's his music became increasingly tribal sounding, inspired by the desert landscapes of his home in Arizona, and incorporating traditional instruments.</p><p>Significant collaborators during this period include Kevin Braheny, Robert Rich, Vidna Obmana and Jorge Reyes.</p><p>Although Roach was from a completely different and earlier scene to later electronic dance, he found a new audience on that fringe through being picked up by dark ambient / gothic label Projekt in the late 90's.</p><p>He has continued to release music on Projekt and on his own label to the present.</p><p>I made this playlist covering his best tracks from the start of his career until 2000. Tracks ordered chronologically:</p><p>cloud motion<br />structures from silence<br />the memory<br />towards the dream<br />the continent<br />the other side<br />magnificent gallery<br />specter<br />desert solitaire<br />origin<br />closer<br />fearless<br />the grotto of time lost<br />la luna<br />touch<br />glimpse<br />the face in the fire<br />your own eyes<br />begin where i end<br />flow stone</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-56554956447952570942023-12-30T10:47:00.001+11:002024-02-25T01:59:02.810+11:00Books 2023<p>Transport for Suburbia (Beyond the Automobile Age) - Paul Mees<br />On the Road - Jack Kerouac<br />Weight of Evidence (The Newtown Ejectment Case) - Matt Murphy<br />Dune Messiah - Frank Herbert<br />Their Blood Got Mixed (Revolutionary Rojava and the War on ISIS) - Janet Biehl<br />Life of Mammals - David Attenborough<br />A Century of Film - Derek Malcolm<br />The News - Alain de Botton</p><p>Articles written:<br /><a href="https://www.greenleft.org.au/content/no-demolition-public-housing" target="_blank">No demolition of public housing</a><br /><a href="https://www.greenleft.org.au/content/business-vote-gerrymander-abolished-city-sydney" target="_blank">Business vote gerrymander abolished in City of Sydney</a><br /><a href="https://www.greenleft.org.au/content/nsw-govt-told-not-demolish-explorer-street-public-housing" target="_blank">NSW government told not to demolish Explorer Street public housing</a><br /><a href="https://friendsoferskineville.org/index.php/2023/07/21/victory-against-unwanted-advertising-billboards/" target="_blank">Victory against unwanted advertising billboards</a><br /><a href="https://friendsoferskineville.org/index.php/2023/06/25/nimby-name-calling-a-developer-distraction/">Nimby Name Calling: A Developer Distraction</a><br /><a href="https://www.greenleft.org.au/content/housing-crisis-needs-housing-action" target="_blank">The housing crisis needs housing action</a><br /><a href="https://www.greenleft.org.au/content/paying-land-shines-light-first-nations-struggle-northwestern-canada" target="_blank">'Paying the Land' review</a><br /><a href="https://www.greenleft.org.au/content/classic-graphic-novels-explore-rise-german-fascism-and-holocaust" target="_blank">'Maus' and 'Berlin' combined review</a><br /><br />Course notes reviewed:<br />MATH1021 Calculus of One Variable<br />MATH1023 Multivariable Calculus and Modelling<br />MATH2061 Linear Mathematics and Vector Calculus<br />MATH2069 Discrete Mathematics and Graph Theory</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-90199298624610397162023-12-23T22:48:00.003+11:002023-12-23T22:54:38.827+11:00"A Century of Films" in twenty years<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik44FH6T1B4cNFSC7OlN9qR13xJv6P1n2goklpHSnSeWS46kS1aFUcgElKhFHoDLzUYeFqIRUaHUAJTgszsNVpp1weX90NZXrEdl3y9ULfjcJqvCUOan2-7_2D7Xghbst6n6DMjBpGIiuRCzQBX6fh_dwguPT52z0TqB2nRA9V6aHvixXCXiSNjWTLEPM/s2178/20231223_222328.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2178" data-original-width="1225" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik44FH6T1B4cNFSC7OlN9qR13xJv6P1n2goklpHSnSeWS46kS1aFUcgElKhFHoDLzUYeFqIRUaHUAJTgszsNVpp1weX90NZXrEdl3y9ULfjcJqvCUOan2-7_2D7Xghbst6n6DMjBpGIiuRCzQBX6fh_dwguPT52z0TqB2nRA9V6aHvixXCXiSNjWTLEPM/w234-h416/20231223_222328.jpg" width="234" /></a></div><br /><p>Twenty years ago, I got this book A Century of Films by film critic Derek Malcolm. In it, Malcolm decided his 100 favourite directors and then chose the best film from each of them. I had already seen maybe 20 of the films in the book and liked those, so I started watching some of the other ones on the list. I kept coming back to it, and eventually I decided I'd make a serious effort to watch all of them. I finally finished the list this month.</p><p>Here are some synopses I wrote of a few of them.</p><span><a name='more'></a></span><p><br /></p><p>Antonio das Mortes - Glauber Rocha, 1969</p><p>Part of the 'cinema novo' movement which sought to create a uniquely Brazilian cinema that was socially conscious and politically engaged.</p><p>The film uses the figure of the cangaceiro, a type of bandit from the northeastern region of Brazil, to symbolize the struggle of the rural poor. The main character, Antonio das Mortes, is a former cangaceiro-killer who is hired by a land baron to kill a group of cangaceiros. However, Antonio eventually switches sides and joins the cangaceiros in their fight against the landed elite.</p><p><br /></p><p>Shock Corridor - Samuel Fuller, 1963</p><p>A kind of schlocky film that nonetheless pulls together. It's about an aspiring journalist that fakes his own insanity in order to infiltrate a mental hospital and get clues to an unsolved crime. He solves the crime but goes crazy in the process.</p><p><br /></p><p>The Round Up - Miklos Jancso, 1966 </p><p>In 1848 there was a revolution against Hapsburg rule in Hungary that was quelled in the formation of the Austro-Hungarian empire. This film portrays a round up of partisans into a prison camp where the staff are trying to weed out the leaders. The widescreen composition contrasts confinement with the potential freedom of surrounding open grass plains. The film was surely intended to be allegorical of the 1956 Soviet invasion, which the director was forced to deny in order for it be seen more widely.</p><p><br /></p><p>Fires Were Started - Humphrey Jennings, 1943</p><p>A dramatisation of a day in the life of firefighters during the firebombing of London in WW2. The use of non-actors and a very matter-of-fact presentation make this a very understated look at the bravery and sacrifice made by ordinary people in the fight against fascism.</p><p><br /></p><p>Welfare - Frederick Wiseman, 1975</p><p>Wiseman is an amazing documentarian who has trained his camera on American life and institutions, amassing hours of footage to be edited down to reveal the most telling moments. This film covers the conversations and interactions between the staff and the people struggling for help within the bureaucracy of a New York city welfare office. Fifty years on, the exchange between a racist veteran and a black security guard at the 1h21m mark is remarkable and disturbing to watch and reflect on how little things have changed.</p><p><br /></p><p>The Scarlet Empress - Josef von Sternberg, 1934</p><p>Marlene Dietrich plays Catherine the Great in this heavily fictionalised account of her rise to the top of the Russian empire. Features sumptuous costumes, detailed sets and expressionist lighting. Catherine is pushed into a royal marriage with Peter III who is presented as a comic idiot always playing with toy soldiers. She uses her charm and intelligence to conquer hearts and minds and bring Enlightenment values to Russia but failed to abolish serfdom which contributed to growing social unrest.</p><p><br /></p><p>The Collector - Eric Rohmer, 1967</p><p>Adrien, an aspiring art dealer, takes a quiet holiday in a rich friend's villa while his fiance is modelling in London. He's determined to do nothing but his plans are interrupted by Haydee, a 'collector' of men. For a while she sleeps with his conceptual artist friend, Daniel, which ends badly. On one level it's just about attraction and casual relationships, but subtle symbolism within the film point to themes of detachment and purpose. Some have seen it as prophetic of the events of May 1968, but that's probably taking it a bit too far.</p><p><br /></p><p>Sullivan's Travels - Preston Sturges, 1941</p><p>A playful story about a Hollywood director of popular but shallow films that wants to make something more serious. He decides to become a bum in order to find out how real people live. A bunch of improbable adventures ensue. I can see how it influenced the Coen brother's style who used the non-existent novel within the film, 'O Brother Where Art Thou?' as the title of one of their own films.</p><p><br /></p><p>Love - Karoly Makk, 1971 Hungary</p><p>Janos is a political prisoner in Stalinist-era Hungary. His wife cares for his dying mother by spinning tall stories about his success as a film maker in the USA. Janos is eventually granted his freedom but is unsure about what he is returning to. Still relevant today when we think about the hardships and personal sacrifices of people like Julian Assange, Edward Snowden and their families.</p><p><br /></p><p>Manila in the Claws of Light - Lino Brocka, 1975</p><p>A tragic love story set in the harsh conditions of the Marcos era.</p><p><br /></p><p>McCabe & Mrs Miller - Robert Altman 1971</p><p>A kind of anti-western that constanly subverts expectations. The characters are all debased by the grubby and squalid struggle to make a quick buck. Altman slowly builds a detailed picture of the times and the plot doesn't really kick in until the final climatic 30 minutes, but by then you are really invested in the characters. McCabe's death (played by Warren Beatty) from a gunshot wound in freezing snow while the rest of the townsfolk are preoccupied is brilliant and full of irony.</p><p><br /></p><p>Pakeezah - Kamal Amrohi, 1972</p><p>A musical romantic drama about a beautiful and talented 'tawaif' entertainer struggling to find love and acceptance within the nobility. Melodramatic but with superb Indian classical music and gorgeous sets, it took 15 years to make and was the director's love letter to his wife Meena Kumari who starred in it. She died just weeks after its release.</p><p><br /></p><p>Closely Watched Trains - Jiri Menzel, 1966, Czechoslovakia</p><p>A tragi-comic coming-of-age story set in a provincial Czech railway station during the late stages of WW2 German occupation. A powerful mixture of anti-fascism and sexual liberation. It won the Academy Award for best foreign language film at the time.</p><p><br /></p><p>La Femme Infidèle - Claude Chabrol, 1969</p><p>An incredibly tense psychological thriller. The wife has a secret love affair, the husband secretly finds out and ends up killing the lover and tries to cover it up. Hitchcockian vibes with touches of ironic humour.</p><p><br /></p><p>The Time to Live and the Time to Die - Hou Hsiao-hsien, Taiwan 1985</p><p>A semi-autobiographical coming-of-age film set in 1940-60's Taiwan. Gently paced but rewarding, rich in details of family and human themes.</p><p><br /></p><p>Spirit of the Beehive - Victor Erice, 1973</p><p>A haunting and enigmatic film set in Francoist Spain and a coded critique of the regime that managed to avoid the censors.</p><p><br /></p><p>Greed - Erich von Stroheim, 1924</p><p>An early silent film with high artistic aims to present the struggles of working people and a warning of the chase for the mighty dollar. It was originally 9 hours long but severely cut by studio bosses for commercial release and then buried. The final scenes where the lead characters have all the gold but are destined to die in the middle of the desert with no water seems especially relevant as global capitalism pushes us into climate emergency.</p><p><br /></p><p>Pickpocket - Robert Bresson, 1959</p><p>Bresson employed non-actors for his films and often had many takes for each scene. The lead character, Michel, steals money and watches from strangers and feels no guilt about it. The understated delivery seems to enhance the feeling of his emotional detachment from the world around him, until the powerful final scene. Camus's The Stranger meets Detective Dale Cooper.</p><p><br /></p><p>Salvatore Giuliano - Francesco Rosi, 1962</p><p>Giuliano was a bandit active in the Sicilian independence movement in the aftermath of WWII. This film shows both the left and right wing sympathies of a complex character. It has beautiful black and white photography of Sicilian scenery and villages. I was reminded of The Battle of Algiers. Apparently a favourite film of Martin Scorcese.</p><p><br /></p><p>'Madame de...' - Max Ophuls, 1953</p><p>A film that follows the improbable movements of a pair of diamond earrings and the ephemeral nature of human happiness.</p><p><br /></p><p>Memories of Underdevelopment - Tomás Gutiérrez Alea, Cuba, 1968</p><p>A portayal of a wealthy writer who decides to stay in Cuba after the revolution and his wife and family leave for the US. Mixes drama with documentary footage. A subtle film that gives the viewer space to make their own judgement about the lead character and his disengagement from the politics surrounding him.</p><p><br /></p><p>Shonen (Boy) - Nagisa Oshima, 1969</p><p>If you liked Shoplifters or Parasite, this much earlier film may interest you. It's kind of like a Japanese 400 Blows and stands as a strong critique of the post war Japanese 'economic miracle'. Based on the true story of a couple who faked car-pedestrian accidents in order to extort money from drivers.</p><p><br /></p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-87472248044189220312022-12-24T12:57:00.002+11:002024-02-25T01:59:26.243+11:00Books 2022<p>Autonorama: The Illusory Promise of High-tech Driving - Peter Norton<br />The Last Days of Socrates - Plato<br />Our Members Be Unlimited - Sam Wallman<br />Green Bans and Beyond - Jack Mundey<br />Paying the Land - Joe Sacco<br />New Treasure Island - Osamu Tezuka<br />Maus I & II - Art Spiegelman (re-read)<br />Heart of Darkness - Joseph Conrad<br />Sapiens (a brief history of humankind) - Yuval Noah Harari</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-46265277295869705692022-05-05T10:33:00.005+10:002024-02-25T01:59:58.116+11:00Speech at Seat of Sydney Candidates Forum 4/5/2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnR2fUhRKJO45yr2_OnOjkxacuo5ZCIM4E-iG1dQr0zMmshrSDY3-DPpt7Q1HQrPrtBeEHsUUheqOEfOz714S91ZT5eqPTvJI88K2GNI3_w3EIGW5LpLqUC5NyPQgCOljh319LPiZtJSP7DOGs3hy7SrA6jQefHxeiI0HfLib0WzkQQUsmDITWOovN/s1170/278994385_3097550637153539_1441721713125450073_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="1170" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnR2fUhRKJO45yr2_OnOjkxacuo5ZCIM4E-iG1dQr0zMmshrSDY3-DPpt7Q1HQrPrtBeEHsUUheqOEfOz714S91ZT5eqPTvJI88K2GNI3_w3EIGW5LpLqUC5NyPQgCOljh319LPiZtJSP7DOGs3hy7SrA6jQefHxeiI0HfLib0WzkQQUsmDITWOovN/w365-h274/278994385_3097550637153539_1441721713125450073_n.jpg" width="365" /></a></div><br /><p>Every election time, Alexandria Residents Action Group, REDWatch and Friends of Erskineville come together to hold candidate forums. It's an important part of local democratic participation and allows voters to ask questions, get answers and find out more about the issues that concern them.</p><p>I've helped to put them on many times myself over the years, but this was my first time as a candidate, where I'm standing for Socialist Alliance.</p><p>We were asked to cover 3 top areas voted on by an online survey. They were climate change, housing affordability and a federal ICAC.</p><p>This is what I had to say:</p><p>-----</p><p>Firstly I want to acknowledge the Gadigal people of the Eora nation and pay my respects to elders past, present and emerging. </p><p>Our First Nations people have a concept of the Dreaming. When I was 10 years old, I learned about a related idea, which the astronomer Carl Sagan called ‘<a href="https://www.youtube.com/watch?v=HjrmK8t6VYk" target="_blank">Cosmos</a>’: everything that is, was and ever will be. And he talked about how we are the local embodiment of the Cosmos grown to self-awareness, an intelligence able to understand the world around us. And because we emerged from the Cosmos, we have an obligation to use that understanding to care for it, and each other.</p><p>That’s what led me to a passion for science, to become a maths teacher, then an activist and socialist.</p><p>It was through <a href="https://www.youtube.com/watch?v=Wp-WiNXH6hI" target="_blank">Carl Sagan's words</a> that I first learnt about global warming. I’ve been concerned about it ever since.</p><p>It’s funny how we now use a much weaker term, ‘climate change’. That is actually a public relations trick conjured up by George W Bush’s campaign strategist, <a href="https://en.wikipedia.org/wiki/Frank_Luntz" target="_blank">Frank Luntz</a>. Google it!</p><p>It was a deliberate way of making it seem less serious, something fossil fuel companies weren’t responsible for.</p><p>We’re now starting to get back control of the language. Three years ago the City of Sydney declared a <a href="https://news.cityofsydney.nsw.gov.au/articles/sydneys-climate-emergency-why-we-need-to-act-now" target="_blank">climate emergency</a>. That’s the way we must frame the problem.</p><p>We have to shift to 100% renewable energy by the end of the decade to have a decent chance of a safe result at around 1.5 degrees above pre-industrial levels. Remember, two degrees was agreed in Paris as ‘<a href="https://climateactiontracker.org/methodology/paris-temperature-goal/" target="_blank">not safe</a>’.</p><p>We must scrap the $12 billion the government provides in annual fossil fuel subsidies. It stands to reason that to counteract the effect of $12 billion in subsidies, you need another $12 billion just to cancel it out. It’s like putting an oven inside a fridge and turning both up to maximum – a total waste.</p><p>Of course, we must have no new coal or gas, no Adani, no coal seam gas. Market mechanisms are not working – carbon credits are like the negative gearing of climate action. We must have public ownership and democratic control of the energy grid.</p><p>We have to tackle transport emissions, which will soon be the second largest source of carbon pollution. The elephant in the room of course, is car dependency. Fifty years ago in his <a href="https://whitlamdismissal.com/1972/11/13/whitlam-1972-election-policy-speech.html" target="_blank">1972 campaign speech</a>, Gough Whitlam said, and I quote: “Australia must overcome the tyranny of the motor car, or face the destruction of its major cities as decent centres of our culture, our community, our civilisation.”</p><p>The situation now is much more serious but neither major party is taking this on. Electric cars won’t cut it. Fifty percent of a car’s lifetime emissions are embedded in its manufacture. When I say to you ‘electric vehicles’, we should of course be thinking of electric trains and electric trams, which don’t even need batteries, unlike cars.</p><p>And we need a massive shift to active transport – walking and cycling.</p><p>Fortunately, this will all be a massive cost saving. Household private expenditure on cars in the Sydney metropolitan area costs us $20 billion a year. Transport is the second largest item of household expenditure. We’d all benefit too from reduced congestion, road rage and road trauma, from clean air and more physical activity.</p><p>I’ve been pushing these things for over a decade as co-convenor of No WestCONnex, Ecotransit, Fix NSW Transport and as president of Friends of Erskineville, where we recently <a href="https://cityhubsydney.com.au/2022/03/stations-across-the-inner-west-set-for-accessibility-upgrades-after-tireless-effort-from-locals/" target="_blank">won a campaign for lifts and a southern entrance at the train station</a>. I’m convinced that together we can win another campaign for an <a href="https://actionnetwork.org/letters/build-a-bridge" target="_blank">active transport bridge across the tracks at Eveleigh</a>, which would cut 20 minutes off the walking time from here to Sydney Uni.</p><p>Let’s put a stop to corruption with a Federal corruption commission modelled on the NSW ICAC. Try to name another government department that is so popular that people happily display ‘I heart ICAC’ bumper stickers. The critics of ICAC are buffoons. You know NSW must have a good watchdog if it backfired on the very person who created it, Nick Greiner.</p><p>I would like to see the originating idea of colonial Australia – that of punishing the most downtrodden for minor crimes, to be flipped so as to punish the most powerful for their most serious ones. I think that would be poetic justice.</p><p>The housing crisis, where do we start? By recognising that housing is a human right.</p><p>There are currently 200,000 households on public housing waiting lists around the country and double that are either homeless or in unsuitable housing.</p><p>But right now, in Waterloo South, just a bit over that way, the NSW government wants to <a href="https://actionnetwork.org/letters/waterloo-south-submission" target="_blank">demolish 750 public homes</a> in order to upzone it to 3000 apartments, flog it to private developers and sell over 70% on the private market. The net increase for the needy will be a pitiful 98 ‘social’ homes, managed by private community housing providers. It’s shameful.</p><p>We actually faced a similar crisis just after WW2 when the commonwealth stepped in and built <a href="https://www.facebook.com/actionforpublichousing/videos/319095810297917/" target="_blank">750,000 homes in a decade</a>. We’ve got nearly 4 times the population now so at least doubling that volume is quite possible. Let’s clear the lists with a large-scale Green New Deal for Public Housing.</p><p><a href="https://www.youtube.com/watch?v=tdoHqUUoMiI" target="_blank">What would this mean?</a> Well just a little bit in the other direction, is the Arkadia building on the corner of Euston and Sydney Park Rds. It’s Australia’s largest recycled brick building with a community garden making honey, rooftop BBQ with city skyline views, and a communal music room. And it’s built by Defence Housing Australia – public built housing.</p><p>The build cost was an average of only $400,000 per apartment, that’s one-third the price of comparable housing in the area.</p><p>Australia is set to <a href="https://www.smh.com.au/politics/federal/defence-spending-boost-will-put-1-trillion-price-tag-on-next-two-decades-says-expert-20160223-gn1jel.html" target="_blank">spend $1 trillion over the next 20 years on ‘defence’</a>. Let’s cut that by half and use the money to provide universal public housing to everyone who wants it with rents capped at 20% of income.</p><p>There is much more to discuss, hopefully in the Q&A section, or check out <a href="https://socialist-alliance.org/policy" target="_blank">our website</a> where Socialist Alliance has similar visionary policies: First Nations, women, LGBTIQ+, workers & unions, refugees, civil liberties, taxation, education, health and more.</p><p>This is all within our grasp. But can capitalism, the system of private, competitive profit-seeking, solve these problems? No. We need a new, socialist, vision, one based on, as Billy Bragg put it ‘organised compassion’, that puts people and planet before profit.</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-31610137127408580732021-12-27T14:38:00.001+11:002024-02-25T02:00:14.758+11:00Books 2021<p>The Hunting Party - Enki Bilal<br />Stuck Rubber Baby - Howard Cruse<br />Why Does the World Exist? - Jim Holt<br />The Nikopol Trilogy - Enki Bilal<br />Gulliver's Travels - Jonathan Swift<br />Monster - Enki Bilal<br />Berlin - Jason Lutes</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-15134751865359344002021-04-08T22:27:00.005+10:002024-02-25T02:00:41.365+11:00Review of Stuck Rubber Baby<p><a href="https://www.greenleft.org.au/content/stuck-rubber-baby-coming-age-jim-crow-south"> https://www.greenleft.org.au/content/stuck-rubber-baby-coming-age-jim-crow-south</a></p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-77024022716061585072020-12-31T16:00:00.002+11:002024-02-25T02:00:58.381+11:00Books 2020Tekkon Kinkreet: Black & White - Taiyo Matsumoto<br />
Terrorism Theirs & Ours - Eqbal Ahmad<br />
The Memoirs of Barry Lyndon, Esq - William Makepeace Thackeray<br />
Introduction to Marxism - Peter Boyle<br />
Marx for Beginners - Rius (Eduardo del Rio)<br />
Motor Vehicles, the Environment, and the Human Condition - Hans Baer<br />
How to make a revolution Liberalism, Ultraleftism & Mass Action - Peter Camejo<br />
Green Bans Red Union - Meredith Burgmann & Verity Burgmann<br />
Introduction to Discrete Mathematics - Koo-guan Choo & Donald Taylor<br />
The Age of Selfishness (Ayn Rand, Morality and the Financial Crisis) - Darryl Cunningham<br />
I Saw It: The Atomic Bombing of Hiroshima - Keiji Nakazawa<br />
War in the Neighbourhood (a story of people in struggle) - Seth Tobocman<div>Democracy - Alecos Papadatos, Abraham Kawa, Annie Di Donna</div><div>V for Vendetta - Alan Moore, David Lloyd</div><div>Fun Home - Alison Bechdel</div><div>Skin - Peter Milligan</div><div>The Odyssey (Classics Illustrated edition) - Homer</div><div>Climate Changed (A personal journey through the science) - Philippe Squarzoni</div><div>The Prince - Niccolo Machiavelli</div><div>Silent Spring - Rachel Carson</div><div>Foundation - Isaac Asimov</div>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-64425323548954278952020-10-30T22:30:00.002+11:002020-11-01T20:20:08.280+11:00Rage Guest Programmer: DJ Florian<div style="padding: 56.25% 0px 0px; position: relative;"><span style="background-color: #fff2cc;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/473738311?byline=0&portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></span></div><span style="background-color: #fff2cc;"><script src="https://player.vimeo.com/api/player.js"></script>
</span><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" lang="FR" style="background-color: #fff2cc; font-size: 21pt;">RAGE
GUEST PROGRAMMER: DJ FLORIAN</span></b></p><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">DANCE / ELECTRONIC PLAYLIST<o:p></o:p></span></b></p><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">12:00am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Autobahn</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Radioactivity</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>The Model</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">YELLOW MAGIC ORCHESTRA</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Firecracker</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Pocket Calculator</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Tour De France</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">12:30am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>The Robots</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KRAFTWERK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Music Non Stop</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">SPACE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Magic Fly</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">VISAGE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Fade to Grey</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">TUBEWAY ARMY</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Are ‘Friends’ Electric?</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">GARY NUMAN</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Cars</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l6 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">SHANNON</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Let The Music Play</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">1:00am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">HERBIE HANCOCK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Rockit</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">HAROLD FALTERMEYER</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Axel F</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">PAUL HARDCASTLE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>19</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">M.A.R.R.S.</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Pump Up The Volume</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">BOMB THE BASS</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Beat Dis</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">FREEEZ</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>IOU</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">YAZOO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Only You</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l2 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">YAZOO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Don’t Go</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">1:30am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">NEW ORDER</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Blue Monday</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">YELLO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Oh Yeah</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">YELLO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Desire</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">INNER CITY</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Good Life</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">INNER CITY</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Big Fun</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">S’EXPRESS</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Theme From S’Express</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">REBEL MC</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Rebel Music</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">2:00am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ADAMSKI</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Killer</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ADVENTURES OF STEVIE V</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Dirty Cash</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KLF</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>What Time Is Love?</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KLF</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>3AM Eternal</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">KLF</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Last Train To Trancentral</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" lang="PT" style="font-size: 12pt; mso-ansi-language: PT; mso-fareast-font-family: "Times New Roman";">ALTERN 8</span></b><span face=""Helvetica",sans-serif" lang="PT" style="font-size: 12pt; mso-ansi-language: PT; mso-fareast-font-family: "Times New Roman";"> <i>E-Vapor-8</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l3 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">808 STATE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Pacific State</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">2:30am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">808 STATE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Cubik</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">808 STATE ft BJORK</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Ooops</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ORBITAL</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Belfast</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">THE FUTURE SOUND OF LONDON</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Papua New Guinea</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">STAKKER</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Humanoid</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">LFO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>LFO</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l0 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">LFO</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Freak</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">3:00am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l7 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" lang="ES" style="font-size: 12pt; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman";">APHEX TWIN</span></b><span face=""Helvetica",sans-serif" lang="ES" style="font-size: 12pt; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman";"> <i>Windowlicker</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l7 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">SQUAREPUSHER</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Come On My Selector</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l7 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">GOLDIE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Inner City Life</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l7 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">BOARDS OF CANADA</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Dayvan Cowboy</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">3:30am<o:p></o:p></span></b></p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">BOARDS OF CANADA </span></b><i><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Reach For The Dead</span></i><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">MARK PRITCHARD</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Sad Alron</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ART OF NOISE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Moments In Love</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ART OF NOISE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Beat Box</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ART OF NOISE ft MAX HEADROOM</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Paranoimia</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">JEAN MICHEL JARRE</span></b><span face=""Helvetica",sans-serif" style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> <i>Zoolookoologie</i><o:p></o:p></span></span></li>
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #3b3b3c; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" lang="FR" style="font-size: 12pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman";">JEAN MICHEL JARRE</span></b><span face=""Helvetica",sans-serif" lang="FR" style="font-size: 12pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman";"> <i>Equinoxe V</i><o:p></o:p></span></span></li>
</ul><p class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 27pt; margin-bottom: 7.5pt; mso-outline-level: 2;"><b><span face="Helvetica, sans-serif" style="background-color: #fff2cc; font-size: 21pt;">4:00am<o:p></o:p></span></b></p><p>
</p><ul type="disc">
<li class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: normal; mso-list: l4 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="background-color: #fff2cc;"><b><span face=""Helvetica",sans-serif" lang="FR" style="color: #3b3b3c; font-size: 12pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman";">JEAN MICHEL JARRE</span></b><span face=""Helvetica",sans-serif" lang="FR" style="color: #3b3b3c; font-size: 12pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman";"> <i>Oxygene IV</i></span></span><b style="background-color: white;"><span face=""Helvetica",sans-serif" lang="FR" style="color: #3b3b3c; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></b><span lang="FR" style="background-color: white;"><o:p></o:p></span></li>
</ul><ul type="disc">
</ul>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-61533666838836224432020-09-28T18:41:00.003+10:002020-09-28T18:41:48.994+10:00Sam Wallman profile<p>My profile of comic artist Sam Wallman was published in Green Left and also picked up by Monthly Review:</p><p><a href="https://mronline.org/2020/09/25/sam-wallman-a-peoples-comic-artist/">https://mronline.org/2020/09/25/sam-wallman-a-peoples-comic-artist/</a></p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-18078020413834577872020-09-02T09:36:00.009+10:002020-09-02T09:38:28.275+10:00Fun Home (A Family Tragicomic) - Alison Bechdel, 2006<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0oo4Z2gBGB7rKDVWFDNBTkycmNNGUnsbUj08XJAQVjQjhHAvHcDpVC1PPj62LzGDr6VQVqxmrGaDi8ejji4BdgjY8HNEkWAwMo9cUhx5Az0zm-ngctWO3U3QXWTqz8VJpJ6Qpg7KDAuQ/s500/fun_home_review_pic.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="333" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0oo4Z2gBGB7rKDVWFDNBTkycmNNGUnsbUj08XJAQVjQjhHAvHcDpVC1PPj62LzGDr6VQVqxmrGaDi8ejji4BdgjY8HNEkWAwMo9cUhx5Az0zm-ngctWO3U3QXWTqz8VJpJ6Qpg7KDAuQ/w266-h400/fun_home_review_pic.png" width="266" /></a></div><p></p><p>Fun Home is Alison Bechdel’s graphic memoir of growing up with her emotionally distant and closeted gay father, Bruce.</p><p>The memoir is set partly in rural Pennsylvania, through the 1960s to the 1980s. Bruce is an army veteran obsessed with literature, antiques and heritage restoration of the family home.</p><p>His problematic attraction to teenage boys is eventually exposed through the legal system, leading to his suicide at the same time Alison is coming out as a lesbian.</p><p>Fun Home refers to the family’s funeral home business. Being from a small town, Bruce is also an English teacher at the local high school. In an Addams Family-esque way, they develop a cavalier attitude to death.</p><p>As Alison grows up, she comes to share Bruce’s love of literature: Albert Camus, Greek myths, James Joyce, Oscar Wilde, F Scott Fitzgerald and Proust, among others.</p><p>Bechdel’s gentle, bluish, two-tone artwork serves to soften the emotionally-scarring events of her life. The position of an eyelid, a dot for a mouth or the slightest extra line on Bruce’s face is enough to convey the right emotional reaction. Alison’s acts of self-pleasure and lesbian encounters are treated in an understated way.</p><p>Occasional family trips to bohemian New York reveal another side of her parents’ former lives to Alison — versions of themselves they jettisoned in order to “fit in”. I wondered whether, in a more accepting society, Bruce might not have killed himself. Through her reflections, Alison comes to understand the hidden ways through which her father expressed his love for her.</p><p>Bechdel is also known for her influential comic strip Dykes to Watch Out For, which ran from 1983 to 2008, and is the source of the “Bechdel Test” — a measure of the representation of women in fiction.</p><p>The test asks whether a work features at least two women who talk to each other about something other than a man. It should come as no surprise that a high proportion of films, TV shows, books and other media fail the test. There is a distinct lack of gender diversity in the industry.</p><p>Fun Home has been adapted into an award-winning Broadway musical and actor/producer Jake Gyllenhaal is planning to produce a movie-version of the memoir.</p><p>(Published in Green Left Weekly <a href="https://www.greenleft.org.au/content/alison-bechdels-family-tragicomic">here</a>.)</p>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-16162546467082047582020-08-18T23:35:00.001+10:002020-08-18T23:37:10.231+10:00V for Vendetta - Alan Moore, 1982-1989<div class="separator" style="clear: both; text-align: center;">
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<div>V for Vendetta holds the distinction of so far being the only graphic novel to have a direct influence on a political movement. The stylized Guy Fawkes mask of the lead character was first worn by members of the hacker-activist group Anonymous in 2008 during a protest against the Church of Scientology, but have since spread throughout the global protest movement.</div><div><br /></div><div>English comics author Alan Moore started writing V for Vendetta in the early 1980's as a reaction to the rise of Thatcher and Reagan, and his fears of the growing far-right National Front. Set in a near future after a nuclear war that has left most of the world in tatters, the UK has escaped the bombs but has fallen under fascist control by the racist and homophobic 'Norsefire' party.</div><div><br /></div><div>Enter 'V', an unhinged masked anarchist bomber intent on revenge and the establishment of a land of "Do-as-You-Please". V starts by rescuing a young woman Evey about to be raped by a gang of secret police, then proceeds to bomb the Houses of Parliament. The sexual identity of V is ambiguous and as the back story is revealed it turns out he/she was imprisoned at a concentration camp and subjected to cruel scientific experiments. V's methodical attacks eventually target the regime's leader, Adam Susan, who obsesses constantly over the all-seeing central computer that analyses a massive network of surveillance cameras.</div><div><br /></div><div>David Lloyd's chiaroscuro and cinematic artwork is dense with information that is as much a part of the story as Alan Moore's text, rich with literary associations. The morality of V's actions are open to interpretation. Moore was starting to critique the traditional vigilante comic book superhero that so often serves to police a conservative status quo, a theme he would continue in his magnum opus, Watchmen. These works lent the American comics business an intellectual credibility that led to wider readership and increased use of the term 'graphic novel', although Moore just sees it as a marketing ploy.</div><div><br /></div><div>Many of V for Vendetta's dark visions have proved prescient - pervasive state surveillance, big data and the rise of the far right. In October 2010, Wikileaks founder Julian Assange wore a Guy Fawkes mask at an Occupy London protest before making a speech. A month later a warrant was out for his arrest. Clearly comics have the power to ask big political questions and sometimes even inspire people to action.</div>
Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-32054698964721216052020-08-02T20:08:00.000+10:002020-08-02T20:08:22.125+10:00Persepolis (The Story of a Childhood) - Marjane Satrapi, 2000<div class="separator" style="clear: both; text-align: center;">
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Persepolis is an autobiographical graphic novel detailing the childhood of a young girl growing up in Tehran during the period of the Islamic revolution. 'Marji' is the headstrong only child of middle class parents of Marxist persuasion and who fought against the monarchy of the Shah.<br /><br />The book begins with a short summary of Persian history, including the CIA organised coup of 1953, which ousted Prime Minister Mossadeq after his government nationalised the oil industry. Daily events in Satrapi's life included attending protests that would often end in violence, arrest and release of family friends from jail and state-sanctioned whippings. The revolution takes a fundamentalist turn and reluctantly she starts wearing a veil. The Shah is ousted but the situation becomes more dangerous for her family as Iraq invades Iran, supported by the western powers.<br /></div>
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Marji's experiences feed her growing political awareness, supplemented by her voracious appetite for reading about Palestine, Cuba, Vietnam and Marxism. Her uncle Anoosh, a communist revolutionary, is arrested, accused for being a spy and ultimately executed for his beliefs. Marji's family begins to worry about her safety and decides to send her to Austria where volume 1 ends. Volume 2 covers here subsequent life in Vienna and then later back in Iran.<br /><br />Persepolis' direct and emotional black and white drawings both humanise and universalise the events of Iran's recent history. Originally published in French, the largest comics market in the world, it has sold millions of copies, translated into over 10 languages and was made into a film in 2007. It has become a popular text in US middle and high school classrooms, challenging Iranian stereotypes and helping American students understand the west's legacy of imperialism in the middle-east. This in turn has led to calls for it to be banned in some school districts, which have been successfully resisted by supporters.</div>
Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-48064498521765228522020-07-27T23:19:00.002+10:002020-07-31T13:31:10.396+10:00War in the Neighbourhood (a story of people in struggle) - Seth Tobocman, 1999<div class="separator" style="clear: both; text-align: center;">
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New York's Lower East Side has had a long association with radical politics of anarchist, socialist or communist persuasions. By the late 70's up to 80% of the area's housing was abandoned and a squatter movement developed amid gentrification and a growing arts scene. Seth Tobocman's War in the Neighbourhood chronicles a period of intense activism and personal struggle of many of the squatters through the Reagan era up to the Mayoralty of Rudy Giuliani.</div>
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The New York City Department of Housing Preservation and Development (HPD) was set up in 1978, and took ownership of many LES buildings, ostensibly to turn them into 'affordable housing'. Tobocman recounts how ultimately yuppies started moving in and the poor were evicted. The acronym came to mean instead Housing Prevention and Destruction for those opposed to the process.</div>
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Battles raged for the rights of the homeless, the right to walk a dog at night in the local park, to not be attacked by police and to not have the abandoned building you called home be demolished. There are also deeply personal stories with people of many different backgrounds forced together out of the shared need for housing. Problems of drugs, HIV, racial bias, police violence and domestic violence abound. The lyrics of Grandmaster Flash's 'The Message' come to mind: "Got no money to move out, I guess I got no choice."</div>
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Tobocman's style is bold high contrast black and white. What it lacks in detail it makes up for in expressiveness. The text is often written over the surfaces of walls, doors, stairs and furniture, as though the locations themselves hold the memories of the events that occurred there. A strong theme throughout is the difficulty in keeping the peace between different personalities and factions while staying true to one's principles. The road to democracy and true community is through struggle against oppression, to learn from one's mistakes and to also know ourselves.<br />
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Tobocman is also the co-founder of comics anthology magazine World War Three Illustrated. Collectively run since 1979, and continuing to this day, it features artists with a left-wing focus covering issues such as housing rights, feminism, the environment, religion, police brutality, globalization, and global conflict zones.</div>
Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-14522715664899067792020-07-12T23:59:00.000+10:002020-08-02T20:09:23.846+10:00I Saw It (The Atomic Bombing of Hiroshima) - Keiji Nakazawa, 1972<div class="separator" style="clear: both; text-align: center;">
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Keiji Nakazawa was just 6 years old when the atomic bomb struck his hometown of Hiroshima. By sheer luck he survived but his father and two siblings were killed, pinned under their collapsed home and unable to be freed before fire destroyed everything. His mother, pregnant at the time, in shock, gave birth, but the baby died due to complications only a few months later.<br />
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'<a href="https://archive.org/details/SCAN0084/page/n11/mode/2up" target="_blank">I Saw It</a>', later expanded into the 'Barefoot Gen' series, is sometimes credited as the first example of comics used to document factual events that went on to influence works such as Art Spiegelman's Maus. This first-person account of the events from August 6th 1945 onward is utterly unforgettable. Nakazawa's images use the comics medium to convey the internal and external horror in a way that photography cannot.<br />
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Nakazawa's father was an artist and craftsman opposed to Japan's imperial system, known for his left-wing and anti-war views. As a young boy Keiji was dimly aware of his father's views, but growing up in the grinding poverty and struggle of post-atomic Hiroshima, his perspective matured and he became determined to make a living as a cartoonist and use his skills and experience to warn the world of the horrors of nuclear war.<br />
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Keiji's first experience of comics was in 1947, reading Osamu Tezuka's 'New Treasure Island', the first ever hit full-length graphic novel. Tezuka would soon go on to his greatest success with Astro Boy ('Mighty Atom' in Japanese). Nakazawa's life itself is like an inverted version of Astro Boy. In Astro Boy, a grieving father re-creates his dead son in robot form using atomic power, whereas Nakazawa was a boy who lost his father due to the atomic bomb and seeks to honour his memory by spreading his anti-war message.<br />
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Related to 'I Saw It', is Studio Ghibli's profoundly moving animation 'Grave of the Fireflies'. The definitive account of why Hiroshima was destroyed, not in fact to avoid the US a costly ground invasion, as many have been taught to believe, but as the first blow in the coming Cold War with the Soviet Union, can be found in Gar Alperovitz's 'The Decision to Use the Atomic Bomb and the Architecture of an American Myth'.<br />
<br />Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-79045471500603308232020-07-11T17:59:00.001+10:002020-07-11T17:59:42.058+10:00The Age of Selfishness (Ayn Rand, Morality, and the Financial Crisis) - Darryl Cunningham, 2015<div class="separator" style="clear: both; text-align: center;">
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I lived for 18 months in the US and was surprised by how frequently right-wing libertarian author Ayn Rand's books would pop up on bookshelves or in conversation. Her most popular novels, The Fountainhead and Atlas Shrugged, illustrated her philosophy of selfishness as a virtue and altruism as a moral failing. Darryl Cunningham here explains her influence on neoliberal politics and the current global economic crisis.<br />
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The book is divided into 3 sections: a biographical account of Rand's life, the events leading to the 2008 economic crisis, and the state of play towards the end of the Obama presidency.<br />
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Rand cuts a paranoid and controlling figure. Her first book was made into a film in 1949 but was a critical failure. Nevertheless, she received thousands of fan letters and soon developed a tight clique of obedient followers, one of whom was Alan Greenspan. The book's mid-section starts at the end of the Great Depression and the passing of the Glass-Steagall Act (1933) which separated retail from investment banking.<br />
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Greenspan re-enters the picture in 1987 when President Reagan appoints him as chairman of the Federal Reserve. The book sags a bit in the last section in discussing the pros and cons of the 'liberal' and 'conservative' mindset and defending the many flaws in Obama's Affordable Care Act but comes good in outlining the threat of UKIP and the Tea Party movement. At the time of writing Trump and Boris Johnson would not have been on the radar.<br />
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Cunningham's text is very readable and his artwork, while fairly simple, adds mood to the story and helps explain the key concepts well.Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-12321245667256401842020-07-11T16:29:00.003+10:002020-07-11T16:33:56.419+10:00Marx for Beginners - Rius, 1972<div class="separator" style="clear: both; text-align: center;">
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Rius was a self-educated Mexican cartoonist and political activist. 'Marx para principiantes' was translated from spanish into english in 1976 and became a huge success, sparking off the '...for Beginners' series of graphic explainers on countless other topics from Einstein and Darwin, to Freud and Postmodernism. These books are still commonly seen in stores with their own dedicated displays.</div>
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The book commences with a biographical sketch of Marx's life. Rius then gives an historical account of western philosophy from pre-historical speculations and the ancient Greeks to the Renaissance and Marx's dialectical materialism. In looking at earlier thinkers, Rius draws out ideas with radical potential that were to influence Marxism. The last third explains Marx's political and economic theories with a detailed analysis of the Communist Manifesto.</div>
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Rius' style weaves simple and whimsical cartoon interludes with longer blocks of detailed text. The reader will surge through 20 pages only to be stopped by a dense page of Das Kapital. There's a cut and paste photocopied feel about it and a self-deprecating humour here that is neither patronising overly high-brow. Although definitely of its time, the ideas are weighty and it still reads well today.</div>
Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-83213473995737127672020-05-28T12:34:00.003+10:002022-11-12T22:58:39.063+11:00Spoilers SpoiledThe concept of ‘spoilers’ is a trick foisted upon us by the creators of entertainment in order to sell more tickets. Our experience is more likely to be enhanced by anticipation and the greater understanding of what is happening and where it is heading.<br />
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Some more evidence: think about how often people ask and talk about their ‘favourite’ movies. If I told you I had only seen all my favourite movies only once, you would be somewhat doubtful that they were really my favourites. Surely I’d want to watch them again? That logic appeals to us because we know that watching a really good movie again is often more enjoyable the second time, ie when everything has been spoiled already.<br />
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If a movie is ‘spoilable’, that’s a tacit admission that it’s not worth watching again, ie it’s not a very good movie. In that case the person ‘spoiling’ it for you is doing you a favour if that means you save the time and money to see it.<br />
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Another way to think about it is to break up the experience of a movie into the immediate sensation and the narrative information we extract from that. If there is some enjoyment to be gained from the narrative information itself, then the quantum of that enjoyment is independent of when I receive that information. If someone ‘spoils’ me, I just get the info (and hence enjoyment) earlier on. On the other hand the immediate sensation aspect itself is unchanged whether the viewer possesses prior knowledge of the narrative information or not.<br />
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To perpetuate the concept of 'spoilers' is to be a patsy of the media imperialism of Disney, Viacom, Sony, TimeWarner and NewsCorp. So there!<br />
<br /><a href="https://www.bbc.com/news/entertainment-arts-14521627">
https://www.bbc.com/news/entertainment-arts-14521627</a><br />
<br /><a href="https://www.researchgate.net/publication/51571027_Story_Spoilers_Don't_Spoil_Stories">
https://www.researchgate.net/publication/51571027_Story_Spoilers_Don't_Spoil_Stories</a>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-48228880491406184702020-04-25T18:06:00.000+10:002020-04-26T10:36:01.120+10:00We Need Distance from the Car Virus Too<br />
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<tr><td class="tr-caption" style="text-align: center;">Karl Jilg/Swedish Road Administration</td></tr>
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At the dawn of the motor vehicle era over a century ago, it was quickly recognised that cars would require a vast amount of space. This would be a huge problem restricting the usefulness of cars in cities. To the detriment of society, the auto lobby corrupted decision makers to allow cars to rule the road, despite losing all the arguments around efficiency, safety and even fairness. As a result our cities became car-cities - reconfigured to suit all the demands of the car. Anything that stood in the way was swept aside.<br />
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The cars thirst for space was unquenchable. Inside cities, whole neighbourhoods were razed so roads could be widened. On the edges, cities expanded to multiples of their former sizes. Now underground, new space is created in the form of vast tunnel systems constructed at eye-watering cost. The result has been to relegate human powered transport to thin strips - footpaths mostly, rendering it dangerous and only marginally useful. The lion's share of the costs of this arrangement are borne by everyone, even if we aren't the ones in the cars themselves.<br />
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Now, in the midst of the corona crisis, urban dwellers, who make up more than half the earth's inhabitants, needing both physical activity and physical distance, walk these thin strips, pressing virus-friendly beg buttons every few hundred metres to wait for cars that never pass. The only passing is that of pedestrians past parallel rows of parked cars astride the empty boulevards.<br />
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Walking single file in these environments is better than nothing but provides little of the rejuvenation we need from the green outdoors. The parks are few and far between. So people flock to beaches and scenic coastal paths, some of which are now closed due to the unsafe swelling crowds. It never crosses anyone's mind to demolish waterfront homes to widen <i>these </i>congested routes. But out of necessity, some cities are closing streets to cars to allow people to move safely.</div>
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This monopoly on space must be broken up. The climate crisis and the fragile post-COVID19 economic circumstances will demand it. We can no longer afford to move long distances on wide black tarmac, powered by carbon. We should use this opportunity to say goodbye to the auto era. The power to change is in our legs, in electric mass transit and our collective will.</div>
Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-39772157328552831702020-01-03T22:07:00.001+11:002020-05-31T17:23:25.616+10:00Les rivages de la compréhensionI made a new music video for the Vangelis track, Rêve. This is sort of an homage to Frederic Rossif's wildlife films. Suggested reading: essay 'Why Look at Animals' by John Berger. Thanks to Gavin Gatenby of Werrong Lane films for the sooty oystercatcher footage.<br />
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<br />Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-65512343465853880472020-01-03T21:24:00.001+11:002020-01-04T08:56:44.201+11:00Books 2018-19Ender's Game - Orson Scott Card<br />
Rules for Revolutionaries (how big organising can change everything) - Becky Bond and Zack Exley<br />
Economics for Everyone (A short guide to the economics of capitalism) - Jim Stanford<br />
The Nichomachean Ethics - Aristotle<br />
Phoenix Vol. 6: Nostalgia - Osamu Tezuka<br />
Sally McManus - On Fairness<br />
The Hobbit - JRR Tolkein<br />
13 Years of hard Labor (Lessons of the Accord experience) - Pat Brewer and Peter Boyle<br />
The Origins of the ALP - Jim McIlroy<br />
Fighting Traffic: The Dawn of the Motor Age in the American City - Peter Norton<br />
To Save Everything, Click Here - Evgeny MorozovAndrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-24802243456900298312018-11-25T12:05:00.000+11:002018-11-25T22:53:41.578+11:00Beyond the Beat - Techno compilations on CD 1988-1993<div class="separator" style="clear: both; text-align: center;">
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<br />
Techno was music that had to be experienced directly in a particular environment: warehouses, clubs and rave parties. It was music that hit you in the face when you opened the door. But it exploded in popularity at the same time that vinyl record sales fell through the floor, and the recorded music itself was hard to find. Through a succession of thoughtfully curated compilation CDs the music reached its audience outside the parties, with the ideas behind the music expounded in the sleeve notes.<br />
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By 1992, vinyl sales had dropped to less than 3% of their late 1970's peak. CDs reached that level in the same year and went on to double that by 2000. Through the early 90's, what little vinyl sales remained were mostly made up of dance music on 12" EPs. Pitch control CD players were not yet up to the task of beatmixing necessary to keep the dancefloor pumping. (The current 2010's vinyl revival is very different, being nearly all album sales.)<br />
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It's hard now in the internet age, to appreciate how difficult it was to find information about underground dance music in the early 90's. The UK music magazines such as The Face, NME, Mixmag and i-D sometimes carried relevant articles with playlists. In Australia they were slapped with an 'import' sticker and priced at around $10. Internet usenet newsgroups got going but were used mainly by the technically adept.<br />
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If you liked a tune at a party, you could peek into the DJ booth and try to read the spinning label, or ask the DJ, who would likely be too busy to answer or just shout something unintelligible above the din. Late night community radio shows that played the music would hopefully announce the tracks. Calling in and asking the DJ was an option. Unlocking the codes was hard work.<br />
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You might try an import record store, and since the music was usually without lyrics, you were forced to impersonate the sounds: "it had that sucking vacuum sound, beep b-b-beep, then BOOM, you know the one I'm talking about?". Stories like this were common. If you no longer owned a record player, you had to be content with one of a handful of CDs the staff would recommend. The big record stores at the time like HMV and Virgin stopped carrying vinyl but would keep a serviceable selection of dance music CDs.<br />
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Although they were somewhat uncool, compilation CDs were a good bet for a punter. They defined the genre, setting the bounds but sometimes trying to push against them. The variety of artists meant there was likely to be at least a few worthwhile tracks. Many new artists only had a few 12"s released without enough material for a complete album and were eager to get exposure through a compilation. The liner notes could be gleaned for clues to other releases worth checking out. Sure, there were plenty of poor quality compilations hastily put together for a quick buck, but in the early period, many were thoughtfully curated. Sometimes the tracks would even be rare classics difficult to get on vinyl. The longer playing time of CDs at up to 80 minutes compared to 50 minutes for a vinyl LP often meant that these compilations had bonus tracks not present on the vinyl versions. The only way that vinyl could keep up would be by release on a more expensive double vinyl pack.<br />
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This list is a compilation of compilations, released on CD in the period 1988-93. It's all techno music, not to be precious about the term, but just music that is arguably in that lineage. I've also made a Youtube playlist which has a couple of standout tracks from each compilation:<br />
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The limited scope of this criterion was necessary to keep this selection to a manageable size. From 1994 the number of releases and sub-genres explodes. But nevertheless, having gone through this exercise I was surprised that it's possible to tell quite a complete version of the story of techno just through the perspective of these CDs. Enjoy the future sounds of 30 years ago.<br />
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Andrew Chuter / DJ Florian, Nov 2018<br />
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<u><a href="https://www.discogs.com/Various-Techno-The-New-Dance-Sound-Of-Detroit/release/65112" target="_blank">Techno! The New Dance Sound Of Detroit</a></u><br />
<br />
The first techno compilation was Techno! The New Dance Sound Of Detroit. In 1987, UK Northern Soul DJ and journalist Neil Rushton was into the distinctive sound and called the Detroit phone number on a Transmat release and found himself speaking to Derrick May. In December Derrick came to the UK and stayed at Neil's place. Later Neil, and journalists Stuart Cosgrove and John McCready visited Detroit where they met Juan Atkins and Kevin Saunderson. Neil compiled the tracks and sold the concept to Virgin records who released it in May 1988. The tentative title was 'The New House Sound of Detroit' but after the late entry of Juan's track 'Techno Music' it was changed to describe their whole style.<br />
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Stuart Cosgrove wrote the extensive liner notes where he described techno as "one of the most experimental forms of music black america has ever produced". He also wrote a piece for the May 1988 issue of The Face promoting the compilation and John McCready did the same for NME shortly after. None of the tracks had been released on CD before. They ranged from Derrick's flamboyant strings on "It is what it is" to the more commercial appeal of Inner City's "Big Fun". It sold over a million copies as a single.<br />
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Despite the major label backing, magazine articles and a London launch event featuring Boy George and Soul II Soul's Jazzy B, the compilation itself didn't sell that well. The story and idea of techno however took off from here and provided the blueprint for much that followed.<br />
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Stuart Cosgrove's liner notes:<br />
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think of detroit and you automatically think of motown, but be careful not to think too loud because the new grandmasters of detroit techno hate history.<br />
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juan atkins, 26 years old, and the self proclaimed captain of the techno sound is an articulate enemy of motown's supreme being. "berry gordy built the motown sound on the same principle as the conveyor belt at the ford plant. today the automobile plants use robots and computers to make their cars and i'm more interested in fords robots than gordy's music."<br />
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techno music is unashamedly modern in it's out-look. it is a mesmerising underground of new music which looks to the future, breaks with the past and blends european industrial pop with black american garage funk. according to derrick may, the immensely gifted young producer who works under the pseudonyms rhythim is rhythim and mayday, his music goes "beyond the beat". it is not simply dance music but a series of sound experiments that often defy the logic of more uncomplicated dance sounds like chicago house.<br />
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the origins of techno date back to the late 70's to the supressed identity of european synthesiser groups like kraftwerk and yello and to british electronic funk groups like heaven 17, new order and the human league. their music established the synthesiser as the creative core of new music, encouraging a whole generation of young musicians to turn their basements into makeshift studios. unknown to europe the ears of black america were listening with increasing facsination reversing the age-old flow of musical influence.<br />
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in west detroit, juan atkins a student at the city's belleville high school and an obsessive fan of kraftwerk, began to compose basic drum patterns on an old roland d115 eventually graduating to more complex synthesiser tracks which borrowed heavily from europe.<br />
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juan's first group cybotron released several records at the height of the electro-funk boom in the early 80's, the most succesful being a truly progressive homage to the city of detroit simply entitled 'techno city'. at the time he believed the record was a unique and adventurous piece of synthesiser funk, more in tune with germany than the rest of black america, but on a dispiriting visit to new york, juan heard afrika bambaataa's 'planet rock' and realised that his vision of a spartan electronic dance sound had been upstaged.<br />
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he returned to detroit to renew his friendship with 2 younger students from belleville high, kevin saunderson and derrick may, and quietly over the next few years the three of them became the creative backbone of detroit techno.<br />
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most of the tracks on this lp are the work of the belleville 3, juan's 'techno music' and the kevin saunderson experience's 'electronic dance' reflect the basic studio beat of techno, whilst derrick may's rhythim is rhtyhim track takes the music into the most unlikely areas turning new age ambience and film-soundtrack instrumentation into complex dance music.<br />
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derrick may is undoubtedly the philosopher of techno! he sees the music as post-soul and believes it marks a deliberate break with previous traditions of black american music. "the music is just like detroit" he claims, "a complete mistake, it's like george clinton and kraftwerk are stuck in an elevator with only a sequencer to keep them company."<br />
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amidst the experimental strangeness of this album are other more obviously commercial dance records. 'share this house' by members of the house which actually features george clinton as an uncredited visiting producer, takes its main influences from the chicago jack virus.<br />
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inevitably the detroit techno sound will be compared to the music of the nearby city of chicago,a problem that neither angers nor concerns the producers of techno! blake baxter, detroit's soft spoken sex symbol, and the whispered mind behind the promiscous 'ride em boys', has already had several hits in the chicago area, and derrick may's best known records to date - 'nude photo' & 'strings' - were instrumental in taking chicago's music into the abstract and lysergic mood now described as 'acid house.'<br />
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but derrick believes there's a huge differance between chicago house and detroit techno! "it's a question of respect, house still has it's heart in 70's disco, we don't have any of that respect for the past, it's strictly future music. we have a much greater aptitude for experimentation."<br />
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techno is undoubtedly the music of detroit but it has none of the latter day optimism of motown. the city is reflected in the music in an unsettling way. "factories are closing and people are drifting away" says derrick, "the old industrial detroit is falling apart, the structures have collapsed. it's the murder capital of america. six year olds carry guns and thousands of black people have stopped caring if they ever work again. if you make music in that environment it can't be straight music. in britain you have new order, well our music is the new disorder."<br />
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techno's sudden shift of tempo and relentless war on familiarity makes it sound like free form jazz for the computer era. it may well be the music of the new disorder but it promises to join george clinton's funkadelia and prince's minneapolis sound as one of the most experimental forms of music black america has ever produced.<br />
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The origins of this compilation are recounted by Neil Rushton here:<br />
<a href="http://daily.redbullmusicacademy.com/2017/07/neil-rushton-interview">http://daily.redbullmusicacademy.com/2017/07/neil-rushton-interview</a><br />
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Stuart Cosgrove also wrote a piece for the May 1988 issue of The Face at the time:<br />
<a href="http://testpressing.org/2010/10/the-face-detroit-dance/">http://testpressing.org/2010/10/the-face-detroit-dance/</a><br />
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John McCready wrote for New Musical Express on 16 July 1988<br />
<a href="https://www.theguardian.com/music/2014/apr/30/techno-detroit-music-of-the-future-classic-feature">https://www.theguardian.com/music/2014/apr/30/techno-detroit-music-of-the-future-classic-feature</a><br />
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<a href="https://www.discogs.com/Various-Techno-2-The-Next-Generation/release/62532" target="_blank">Techno 2: The Next Generation</a><br />
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It took until 1990 for the second techno compilation to be released, Techno 2: The Next Generation. Since the first compilation, techno and acid house had become the soundtrack for the UK summers of love in '88 and '89. Again compiled by Neil Rushton, it features Carl Craig, who would go on to become one of the most prolific and creative artists of the Detroit 2nd wave. Mark Kinchin's "Mirror, Mirror" has a dubby techno house sound. John McCready's liner notes explain how quickly the music had gone from underground to the top of the charts, but still maintained its integrity and experimentation.<br />
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John McCready's liner notes:<br />
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The Techno sound now controls. From a chart congested with club-pop where 'Big Fun' is still the blueprint, to an underground still trying to catch up with Derrick May's four year old 'Nude Photo', Detroit's machine-code rhythm assault is the hidden force behind the modern dance with home keyboards now featuring 'techno' presets, how far can we be from a dictionary definition?<br />
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Try this: 'TECHNO' - A hyperactive electronic dance music still perceived as an underground phenomenon despite influence now beyond all control'. If Kevin Saunderson ever runs out of sunglasses he could always go spotting 'Good Life' chords with his lawyer. This records underlines the integrity of Detroit Techno when a compilation of half a dozen "Good Lifes", a 'No UFOs' and perhaps a 'Strings Of Life' might have done the job. This is a music of such vibrancy it has no time to stop and spin back though the samples and similarities, Juan Atkins may never be inducted into the Rock 'N' Roll Hall Of Fame, but Techno continues to develop not as some tributary influence on European dance but as a creative force with a life of its own. Here the complexity of those initial circuit burning rhythms are matched by the ambient textures of Carl Craig's 'Elements' and Marty Bonds''Aftermath'. It goes deeper during Tim Brown's subsonic 'Stark'and higher on Octave One's almost spiritual 'I Believe'. As music obviously inspired by the first compilation continues to emerge on a week basis, it's difficult to estimate just how many versions of 'Elements' will exist after this record has been absorbed into the sampler and the psyche of a world in love with the sound of Roland TR 909 hi-hats. This is a rare opportunity to hear into the future. This is the groove that won't stop.<br />
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<a href="https://www.discogs.com/Various-Bio-Rhythm-2-808-909-1991/release/68683" target="_blank">Bio Rhythm - "Dance Music With Bleeps"</a><br />
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Neil Rushton also ran the Network label which released two great Bio Rhythm compilations in quick succession. These featured some of the same artists as on the Techno 1 and 2 compilations, but expanded the field with UK producers. The hilarious liner notes recount the absurd tales of laundromat raves in the Birmingham area allowed to continue all night due to a legal loophole.<br />
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The sound here has evolved into bleep and bass territory with Nexus 21's 'Self Hypnosis'. Later they would change name to Altern 8 and become a hugely influential semi tongue-in-cheek rave act loaded with early breakbeats and catchy samples. Kate B's 'Free' touches on the emerging ambient house scene with italo house piano vibes.<br />
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John McCready's liner notes:<br />
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the first question is obvious. what are biorhythms? there are no simple answers. biorhythms are anything you want them to be. they are the chemical groove that won't stop, a techno disinfectant that kills all known germs, from don pablo's animals to guru josh.<br />
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these are the 1990's and it's time for the poll tax. why should you care about these things? because this is the sound that salvador dali would have made had he bought an 808 drum machine instead of a paintbrush. this sequenced surrealism is a new music for an old age, the kind of sonic art created when human beings fall in love with machines and computers. this is special.<br />
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but there is another story. biorhythms is a phrase which came to our attention in late 1989 when plans for the launch of the label were almost finalised and the last key phrases in our oblique promotion strategy were being chosen.<br />
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biorhythms is the name of a revolutionary idea which remains unknown outside of the birmingham area. local rave promoter, an italian ex patriate called sueno de niro came up with the idea of turning his midlands chain of coin-op laundrettes shops into small scale legal raves. a loophole in the law means the authorities can't stop people dancing in public places where washing is also being done. de niro's biorhythms chain made the most of this. his shops were fitted with 5k sound systems. most of them were so small that bouncing castles couldn't be inflated inside. the city's ravers would queue up outside the shops with bags full of soiled naf naf sweatshirts. the local constabulary were outraged. they could do nothing to stop the dancers while the washing machines were spinning round.<br />
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the soundtrack at the infamous biorhythms raves of '89, an endless techno trance made up of aggresively ambient tracks like nexus 21's 'self hypnosis', was provided by upfront local djs like neil macey and kid persil who would crossfade the dancers into ecstasy - cutting and blending using the sound of machines on their final spin as part of their sets. the biorhythm rave djs originated the term 'spinback' meaning to fade the music to create a background for the sound of the machines revolving.<br />
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seminal tracks like mr fingers 'washing machine' were popular but early tape versions of tracks such as rhythmatic's 'take me back' and neal howard's 'indulge' would receive the most enthusiastic reception.<br />
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the authorities tried every way they could to stitch de niro up but they knew he was clean. after several months of non stop laundrette parties he was caught at home freebasing a well known washing powder.<br />
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biorhythms is the sound of outer london, a collection of mathematic modern dance music with bleeps. it also serves as our tribute to de niro (now serving 6 years) and the biorhythm raves.<br />
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'take me back', so obviously inspired by joshie jo armistead's northern classic 'i've got the vibes', ensures you know where we stand. those unable to make sense of this manic percussive symphony may as well leave the building now. 'take me back' is a subsonic network bass record. a warning that its ultra-low frequencies could damage speakers was ignored by many who purchased it and we've received several compensation claims.<br />
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symbols and instruments, 'mood', a computerised re-reading of life's 'tell me why' is another biorhythms classic. perhaps it doesn't sound quite the same without the washing machine accompaniment but its power isn't diminished for that. the inclusion of rhythim is rhythim's previously unreleased 'emanon' makes this album an essential purchase for lovers of derrick may's spaced out techno chamber music. this piece shows that derrick, once described as the lee perry of house due to eccentric behaviour matched only by the eccentricity of his music, remains light years ahead, a man alone on another planet. his madness has inspired and informed the network ethic. but it's sueno de niro this compilation is dedicated to - an originator with a plan that sent the dance world spinning.<br />
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network totally wired<br />
network forever dance<br />
network destination unknown<br />
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john mccready 1990<br />
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<a href="https://www.discogs.com/Various-Bio-Rhythm-2-808-909-1991/release/68683" target="_blank">Bio Rhythm 2 - "808 909 1991"</a><br />
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Bio Rhythms 2 continues where part 1 left off, both Model 500's 'Info World' and XON's 'Dissonance' are bleep symphonies. The CD versions use the extra length to put in more material, this one has 4 more tracks than the vinyl version.<br />
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John McCready's liner notes:<br />
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we've given you precious little time to recover. the first biorhythm compilation is just a few months old. here we try to impair your hearing once more with a similar disregard for noise abatement, moderation and sensible levels. quincy jones won't make much sense of this. but wait. network exists to create something more than mere sonic excess. you can find that in certain quarters of the rock world. you can get it from the many white label imitators who equate skeletal amateur techno with the sublime complexities of originators like derrick may. check "heychild's theme", a fast forward pulse reading designed to induce hyperactivity in small children. this is how it's done.<br />
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biorhythm 2 emerges as a new metal machine music, a music as cold as ice. still it has an emotional quality too. you can't just turn the machines on and walk away. this is always forgotten by the imitators. there has to be emotion and interaction. kraftwerk knew this. they are the only root for this new school of electronic purism. - they existed before the first bleep, before the first speaker gave way, when the acknowledged masters of techno were putting the first batteries in their toy robots. kraftwerk's mathematical precision is the only influence biorhythm 2 acknowledges. ralf and florian knew the score. listen to the spaces in this music. that's where the magic happens. that's when your shoulders twitch. that's when you wish you were somewhere dark.<br />
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biorhythm 2 teases the mind but it's still dance music. it's intentions are clear - to induce movement at both ends of the body. those still static after constant ritual's "hard way to come" are beyond hope.<br />
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does this intrigue you? i should hope it does. an interest in the kind of rhythmic martial art contained here means you are still alive. biorhythm 2 is music for living bassheads - those electro mutants who have yet to go soft.<br />
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network the second coming<br />
network the third wave<br />
network is this the future<br />
<br />
john mccready 1990<br />
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<br />
<a href="https://www.discogs.com/Various-In-Order-To-Dance-Two/release/34212" target="_blank">In Order To Dance Two</a><br />
<br />
The first techno compilation from continental Europe was on Belgian label, R&S. Renaat Vandepapeliere and his wife Sabine Maes forged links with many of the most innovative musicians of the time, including Aphex Twin. The first In Order To Dance compilation was primarily New Beat and EBM, but this second comp features harder techno tunes from the likes of Joey Beltram. Hailing from Queens, New York, a scene which found its own path to a deep house and techno sound, his "Energy Flash" became a rave hit with its roiling bass line, reverb heavy handclaps, acid spurts and 'ecstacy' sample.<br />
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The Order To Dance series continued putting out solid releases into the mid-90s.<br />
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<br />
<a href="https://www.discogs.com/Various-Breaks-Bass-Bleeps/release/50464" target="_blank">Breaks, Bass & Bleeps</a><br />
<br />
Contains the symphonic bleep anthem "Q" by Mental Cube, an alias of Garry Cobain and Brian Dougans. Their first hit was the 1988 acid house stomper "Stakker Humanoid", evolving later into Future Sound of London, weaving ambient and world textures into classics such as "Papua New Guinea".<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Nu-Groove-25-West-38th-A-Compilation/release/67183" target="_blank">Nu Groove - 25 West 38th - A Compilation</a><br />
<br />
Nu Groove was a New York-based label with influences from R&B, jazz, reggae and house which developed a huge cult following. They put out some of Joey Beltram and Frankie Bones' earliest releases and timeless classics by Bobby Konders. From there a sub-scene emerged with others like Mundo Muzique that developed the Mentasm 'hoover' sound. Another good compilation in this vein is the R&S released 'Brooklyn Beats - Brooklyn's In The House', but which never came out on CD.<br />
<br />
A highlight on this comp is Beltram and Mike Munoz's collaboration as Lost Entity, "Annihilate (L.E.S. Mix)", featuring acidic synth arpeggios over a house-inflected rhythmic base.<br />
<br />
-<br />
<br />
John McCready's liner notes:<br />
<br />
It began in August 1988. A steady stream of uncompromising music in all manner of mixes. Infatuated with the concept of label identity from Studio One to Philadelphia International, from Salsoul to Trax, dance consumers need around ten releases before they become irrational. Then they start talking about a sound. Tracks which have nothing in common are shoved in the same draw. By the time Dynamic Duo's 'We're Back' was released (ng-008) Nu Groove could do no wrong. Within a short space of time it had become the underground label. Unofficial T Shirts began to surface - a sure sign that things had gone too far. Its output was (and still is) unpredictable, uncompromising and frequently inspired. Its distinctive logo made it seem like the BMW of the New York music factory - the ultimate dancing machine. The Nu Groove production teams seemed to work around the clock. Releases were frequent. Information was minimal. There were no pictures. The attitude was almost oppositional. It seemed like Nu Groove was going out of its way to avoid becoming a readily identifiable idea; a constant that was somehow more important than any particular release. They left us no clues. Just the music . Karen drew the logo, a simple flash that might have looked better on a soap powder box. The rest is some kind of history.<br />
<br />
Frank and Karen Mendez had no plans to rule the world. They had no interest giving dance intellectuals something to talk about. Both emerged from the New York underground scene. They started the label to put out some music by the Burrell twins. It was as simple as that. Frank and Karen managed Ronnie and Rheji. From their office on 25 West 38th Street, they still do. Ronnie and Rheji had worked with Ten records on a mainstream R and B career which didn't suit them. Fascinated by the idea of twisting house music every which way, they locked themselves in separate studios. Free from the constraint of addressing the market-place they have since produced some of the label's finest music.<br />
<br />
Others followed, filling in the catalogue gaps when the Burrells broke for lunch. Nu Groove became a magnet for those whose positive charge was too strong for conventional labels to deal with. By the time Dynamic Duo's 'In The Pocket' escaped (ng-020) it was clear Nu Groove was an idea that could encompass anything, from Rheji's fluid jazz house and Critical Rhythm's dancehall techno to the desolation of Major Problems' 'City Under Siege' and the downright strangeness of S.T.Williams 'Smooth Talkin' Willie'. All these are Nu Groove records. Few have the cheek or the genius to bring us music as dark, as beautiful or even as funny. By this time the label logo had changed to an instantly recognisable block that suggested a corporation. Completists trying to close the gaps in their collections turned up at 25 West 38th Street perhaps expecting a skyscraper. They found only a doorbell that didn't seem to work.<br />
<br />
Before the year is out there will be over 100 Nu Groove releases. None will come within a millimetre of any top forty. But that has never been the point. Because there is no point. There is only music. Music pulled together by the universal thud of the kick drum. Within the boundaries of that rhythmic template, Nu Groove is many things to many people. Some associate it with the energy rush of ice cold house like Joey Beltram's 'Annihilate', an 'Oxygene' after dark. Others fall for the warm flow of Utopia Project's 'File #2' or the near conventional sweetness of Roqui's 'I've just begun to love you'. In this sense Nu Groove is the ultimate example of consumer friendly vinyl capitalism. Something for everyone. Without ever trying it has captured the imagination of the underground. It behaves as if it's the only record label in the world. Nu Groove competes with no-one. And in the most satisfying irony, in an industry bent over backwards to please, Nu Groove succeeds while doing exactly as it pleases. There is no secret, no thread and no masterplan. Just selfishness, good taste and tunnel vision. I asked this question: Is there any kind of music you wouldn't put out? They replied: "Music we didn't like".<br />
<br />
John McCready 1991<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Pioneers-Of-The-Hypnotic-Groove/release/3601" target="_blank">Pioneers Of The Hypnotic Groove</a><br />
<br />
The first compilation from Sheffield's Warp label has a strong bleep and bass vibe similar to the Biorhythms comps. The liner notes include a handy label discography useful for trainspotters. Features "LFO" by LFO which became a top 20 hit. Their finely crafted crisp and punchy sounds harked back to the innovations of Kraftwerk.<br />
<br />
There were two other Warp label compilations from this period with a similar feel, The Evolution Of The Groove and Tequila Slammers And The Jump Jump Groove Generation but which were somewhat overshadowed by the influential Artificial Intelligence comp released about a year later.<br />
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<br />
<a href="https://www.discogs.com/Various-Retro-Techno-Detroit-Definitive-Emotions-Electric/release/12071" target="_blank">Retro Techno / Detroit Definitive - Emotions Electric</a><br />
<br />
This lovingly produced compilation from 1991 has more of a retrospective flavour as the name suggests. The earliest tracks here are Cybotron's 1983 Kraftwerk-ian electro classic "Clear" and Model 500's proto-techno "No UFO's (D-Mix)" from 1985. This release was the first appearance on CD for nearly every track.<br />
<br />
The thick booklet is loaded with label discographies, artist biographies for Juan, Kevin and Derrick, short quotes on the creative origins behind each track and a re-edit of John McCready's NME piece from 1988. The quality and care obviously put into this collection helped to cultivate a fan-base devoted to Detroit techno as serious sonic art and music for home hi-fi listening as well as in the club.<br />
<br />
-<br />
<br />
Neil Rushton's liner notes:<br />
<br />
There was no warning. In the middle of 1987 and Chicago Ja-Ja-Ja- Jack fever a record from Detroit filtered into the UK. The label was called Transmat. The design was futuristic and suggested a 21st century Multi-National. It came from a bedroom in a neglected part of Detroit where taxi cabs would not go. Records from Detroit were the epitome of soul. This record was devoid of soul. It was however steeped in spirit. It was called "Nude Photo". The artist was Rhythim Is Rhythim. Listening to it the first time was weird. The second time made it seem even stranger. A sequenced mutant technology borne of a crazed imagination. A phone number on the label was answered by a man called Derrick May. He sounded... different. He sent a white label of the next 12". It was called "Strings Of Life" and it was a masterpiece. It still is. 20 year olds at Midlands Club where I played "House Music" hated it. The 15 year olds at the kids session went mad. Something was happening. Within two months Derrick arrived in England with four boxes of "Strings Of Life" to help pay for the flight. He had tapes of tracks with strange titles like "Sinister", "Wiggin" and "R-Theme". We didn't know it, but the bandwagon was already halfway down the hill.<br />
<br />
Derrick mentioned his old schoolmates, Kevin Saunderson and Juan Atkins. "They make music too", he said. "We call it Techno". A meeting was arranged. It seemed we might be able to sell some records. Mick Clark at 10 Records agreed to take a compilation of this strange music. In Detroit I needed one final track to complete the album. Kevin pulled out a box with "Big Fun" scrawled across it. The next tape he played was "Rock To The Beat". I told Kevin to get ready to quit university. He thought I was joking. Within 12 months Techno had established itself as the most enduring influence on dance music. The nineties began and this remained the case. Suddenly life was all about tracking how many millions of sales Inner City had chalked up, video budgets and remixes. Techno had gone mainstream. Too many conversations were about money. This album is from a time when Techno was a secret society. Not many people knew the codes. A time when staying up all night in Derrick's studio-come-bedroom where the taxi cabs wouldn't go meant hearing "It Is What It Is" for the first time. "Freestyle", "No UFO's" and "Just Want Another Chance" followed. It was wonderful. Retro Techno rewinds to them. It is what it was. Emotions Electric indeed.<br />
<br />
Neil Rushton 1991<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Equinox-The-Beginning-Nite-Da-A-Retroactive-Compilation/release/12072" target="_blank">Equinox / The Beginning / Nite & Da (A Retroactive Compilation)</a><br />
<br />
Mysterious Belgian label Buzz released this compilation of tracks from Carl Craig's Retroactive label. Carl's unusual "Wrap Me In His Arms" steps away from Roland drum machine sounds for playful broken beats, while "Suspiria" was inspired by the Dario Argento film, introduced to Carl by Mark Moore from S'Express.<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Order-To-Dance/release/6548" target="_blank">Order To Dance</a><br />
<br />
This R&S Order to Dance collection was licensed for release in the UK. Mental Overdrive's "Theme of St Baafs" is a stand out, its melodic bells alluding to Ghent's gothic cathedral.<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Nu-Groove-Secret-Codes-A-Second-Compilation/release/67181" target="_blank">Nu Groove - Secret Codes - A Second Compilation</a><br />
<br />
Techno artists periodically make claims to be 'jazz-influenced', but few pulled it off with as much sophistication as Ronald Burrell under his Aphrodisiac moniker on "Just Before The Dawn". Ronald also plays sunset keyboards on Basil Hardhouse's polished and atmospheric track, "Breezin".<br />
<br />
-<br />
<br />
Neil Rushton's sleeve notes:<br />
<br />
There are no air-horns on Nu-Groove records and this is a good thing. This album is not just the follow up to the first Network/Nu-Groove collaboration "25 West 38th". It is also a testimony to the secret codes of an underground dance society.<br />
Do you understand?<br />
<br />
Nu-Groove not only understands; it invented the codes. Bless the funk - and the samples, the loops, the jazz, the deep grooves, the occasional "real" vocal and most of all the attitude that is Nu-Groove.<br />
<br />
Neil Rushton - Network 1992<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Artificial-Intelligence/release/549" target="_blank">Artificial Intelligence</a><br />
<br />
By 1992, there was the feeling in the UK rave scene that the music had become too fast and too commercialised. An article in the Aug 1992 edition of Mixmag, "Did Charly Kill Rave?" took shots at The Prodigy and there was a call for a return to techno's underground roots. With a whiff of elitism and clever marketing, the term 'intelligent techno' was used to describe the sound of an emerging scene that was well represented in this compilation.<br />
<br />
The cover image referenced Warp's two previous compilations with a CG image of a home listener also chilling to Kraftwerk and Pink Floyd on vinyl. CDs somehow still didn't cut it in the digital future. The clean design and artist interviews bear some resemblance to the earlier Network compilations. The musical highlights are Aphex Twin's timeless and eerie "Polygon Window" and Autechre's percussive melodies on "Crystel".<br />
<br />
The Artificial Intelligence series continued after this with releases by the individual artists that finished with the Artificial Intelligence II compilation in 1994.<br />
<br />
A recent article on the impact of this compilation:<br />
<a href="https://www.theguardian.com/music/2017/jul/03/artificial-intelligence-compilation-album-warp-records-idm-intelligent-dance-music">https://www.theguardian.com/music/2017/jul/03/artificial-intelligence-compilation-album-warp-records-idm-intelligent-dance-music</a><br />
<br />
-<br />
<br />
From the liner notes:<br />
<br />
Artificial Intelligence:<br />
electronic music for the mind created by trans-global electronic innovators who prove music is the one true international language. Real people whose unity lies in a common sound + spirit and whose 'listening music' cannot be described as either soulless or machine driven. The atmosphere and emotion both come from the musicians, their machines are merely the means to a human end.<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Intergalactic-Beats/release/1189357" target="_blank">Intergalactic Beats</a><br />
<br />
Carl Craig's Planet E label was set up in 1991. This comp has a home made independent feel with Abdul Haqq artwork and tunes from Black Dog, Stefan Robbers, Kirk Degiorgio, Kenny Larkin and Carl himself on a creative high. Highlight tracks are "Ladies & Gentlemen", "My Machines" and "Nitwit" under Carl's aliases 69 and Shop which meld breakbeat samples and jazz-funk influences for forward thinking interplanetary discotheques.<br />
<br />
-<br />
<br />
From the liner notes:<br />
<br />
In November 1991, Planet e came out of nowhere. Ambushing those unsuspecting souls and taking them on a voyage to what purists know as the "Underground". Planet e annihilated weak commercialized, copy-cat beats and forced those who rivaled the Underground to experience more creative ways of sampling.<br />
<br />
This CD Compilation presents the best of our first releases and a preview of Planet E's future musical endevores<br />
<br />
After listening you will soon agree Planet e is the universal language of all beings, here and beyond.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Panic-In-Detroit/release/49871" target="_blank">Panic In Detroit</a><br />
<br />
Another great compilation on Buzz records. Dan Curtin's "The Path" shows his busy percussive yet melodic style. Kenny Larkin's "Serena X" is dreamy and timeless.<br />
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<br />
<a href="https://www.discogs.com/Various-The-Philosophy-Of-Sound-And-Machine/release/51236" target="_blank">The Philosophy Of Sound And Machine</a><br />
<br />
A collaboration between Rephlex and Kirk Degiorgio's Applied Rhythmic Technology label, this rare CD is highly sought after by collectors. Rephlex was set up by Aphex Twin and Grant Wilson-Claridge. "A selection of Electronic Music... for Dance and Thought", it contains early rare Aphex Twin tunes and other top UK electronica artists of the time. Abdul Haqq did the cover. Standouts include Redcell (aka B12) - "Bio - Dimension" and Balil (aka Black Dog) - "The Whirling of Spirits".<br />
<br />
Rephlex maintained a sense of humour and avoided the 'intelligent dance music' tag, preferring to call the music 'braindance' and weren't afraid to admit their unfashionable rave-going and trainspotting past. The heirs to that tradition today are artists like Ceephax Acid Crew, Roy of the Ravers and of course Aphex himself.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Relics-A-Transmat-Compilation/release/45565" target="_blank">Relics - A Transmat Compilation</a><br />
<br />
A compilation of Derrick May's Transmat label and released on Buzz. Abdul Haqq cover art. "Galaxy" by BFC is a deep Carl Craig tune that samples Liaisons Dangereuses.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-From-Our-Minds-To-Yours-Vol-2/release/34354" target="_blank">From Our Minds To Yours Vol. 2</a><br />
<br />
Hailing from just across the border to Detroit in Windsor, Canada was Richie Hawtin. His Plus 8 Records pushed faster tempos and hard sounds. "Location" by VFT stands out on this comp as being a bit more melodic.<br />
<br />
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<br />
<a href="https://www.discogs.com/Underground-Resistance-Revolution-For-Change/release/12094" target="_blank">Underground Resistance - Revolution For Change</a><br />
<br />
Begun by Detroit second-wave artists Mike Banks, Robert Hood and Jeff Mills, Underground Resistance adapted Detroit techno to the social and political circumstances of the post-Reagan era. Left wing themes of urban decay, anti-commercialism, global solidarity, revolution and peace permeate the music.<br />
<br />
Is this a compilation of various artists that fits in with the other releases on this list? Well, at this point UR had changing configurations of Banks, Hood and Mills so it's arguable. This CD came out on Neil Rushton's Network label and so calls back to that pedigree. And who could leave out "Elimination", a hard acid blinder that sounds like Detroit's answer to "Energy Flash"?<br />
<br />
Mad Mike of UR set up the Submerge label and distribution company which released other good compilations at around the same time as this one - "Escape into the Void" and "Depth Charge 1".<br />
<br />
-<br />
<br />
From the liner notes:<br />
<br />
Underground resistance is a label for a movement. A movement that wants change by sonic revolution. We urge you to join the resistance and help us to combat the mediocre audio and visual programming that is being fed to the inhabitants of earth, this programming is stagnating the minds of the people; building a wall between races and preventing world peace. It is this wall we are going to smash. By using the untapped energy potential of sound we are going to destroy this wall much the same as certain frequencies shatter glass. Techno is a music based in experimentation; it is sacred to no one; it has no definitive sound. It is music for the future of the Human Race. Without this music there will be no peace, no love, no vision. By simply communicating through sound, Techno has brought people of all different nationalities together under one roof to enjoy themselves. Isn't it obvious that music and dance are the keys to the universe? So called primitive animals and tribal humans have known this for thousands of years! We urge all brothers & sisters of the underground to create and transmit their tones and frequencies no matter how so called primitive their equipment may be. Transmit these tones and wreak havoc on the programmers!<br />
<br />
Long live the underground...<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-313-Detroit/release/12124" target="_blank">313 Detroit</a><br />
<br />
From UK label Infonet which hosted Reload and Bandulu among others. With Piece's stomping "Free Your Mind (Future)" and the sublime strings of 69's "Desire".<br />
<br />
-<br />
<br />
From the liner notes:<br />
<br />
It came to us from another planet. A satellite city, eight wonders from America's seventh city. At long last, 313 has arrived, a flash of light for these dark times, music that is out there in a world of its own.<br />
War of the Worlds : Dark Comedy Better known as Kenny Larkin and having recently departed the Plus 8 stable in Windsor, Ontario, Kenny is now setting up his own label and continuing to hone his minimal unsettling techno. He opens 313 with the sound of a skyline filling with dread, darkness and sinister flashes that instantly creates the atmosphere.<br />
Followed by Distance : Reel By Real A track given by Metroplex, Juan Atkins' legendary Detroit label. This features Martin Bonds. Metroplex shaped the original prototype with Juan at the helm, inspiring everybody who came into contact. Here Martin Bonds dismembers sonic umbilical chords and sets adrift a whole choir of aliens.<br />
Carl Craig, long revered for flying a beautiful flag in the Detroit rubble as the techno scene temporarily collapsed in the early 90's. Started and finished the Retroactive label, he now runs Planet E. On Free Your Mind he takes the bass-hump which Detroit's original P-Funk space warriors registered as a lethal weapon 20 years ago and hotwires the sex machine for use on the space shuttle.<br />
Following Carl is his good friend Marc Kinchen, here as K.E.L.S.E.Y and Baby Can - Marc Kinchen cut his techno teeth at KMS studios but lost his hear to another underground - New York, where he now lives, records and loads the firing chamber of his Area 10 label. K.E.L.S.E.Y is named after his best friend in Detroit but still pumps with the deepest apple rumble.<br />
Unconscious World : Subterfuge Devastates dancefloors with its Detroit-Euro Style, mesmerising vocal chants and breaks that are dreaming of dancefloors on other planets. Thomas Barnett wrote "Nude Photo" for Transmat then sought obscurity, he continues to write and record, and his tracks are sure to find favour with the uninitiated.<br />
Santonio : Electricity The former partner of Reese Saunderson (Rock to the Beat) uncoils the fattest bass snake under the dancefloor as the moon crashes through the window, but this clavinet propelled funk keeps pumping along.<br />
Eddie "Flashing" Fowlkes One of the original innovators who has greeted 1992 like the eye of the storm - there have been more records this year than in the previous five put together. Fowlkes' sense of 21st century disco music prevails again with Warwick.<br />
69 launched Planet E with the "4 Jazz Funk Classics" EP and here with Desire - 69, the funky drummer is cast adrift on the rings of Saturn encouraging interplanetary disco dancing. Amen!<br />
A mention must go to Abdul Haqq (Third Earth) who did the sleeve illustration and is responsible for Detroit's extra terrestrial artwork concepts.<br />
<br />
This is a universal language<br />
<br />
Written by Chris Abbot and Kris Needs, September 1992<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-American-And-European-Technological-Innovations-Vol-1/release/60618" target="_blank">American And European Technological Innovations Vol. 1</a><br />
<br />
New Electronica from the UK had a series of quality compilations. UR's "Final Frontier" with its dark acid sound and 808 beats heralded the electro resurgence to come from the likes of Drexciya and others.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Welcome-To-The-Future/release/606" target="_blank">Welcome To The Future</a><br />
<br />
Dutch label Djax-Up-Beats was founded by Saskia Slegers and had a strong Chicago influence. "Give Your Body" by Random XS is like a re-boot of Phuture's "Acid Tracks" with vast phasing sheets of 303 descending on the listener in trance-inducing waves. The CD booklet has a brilliant 14-page comic by Alan Oldham.<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Global-Technological-Innovations-Chronological-Harmonisations-Vol-1/release/47212" target="_blank">Global Technological Innovations - Chronological Harmonisations - Vol. 1</a><br />
<br />
Features tracks from Aphex Twin, Reload, As One, and HMC. Includes Carl Craig's mellow "Dreamland"<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Agenda-21-An-Eevo-Lute-Compilation/release/82573" target="_blank">Agenda 21 (An Eevo Lute Compilation)</a><br />
<br />
Another Dutch label, Eevo Lute, was started by Stefan Robbers and Wladimir Manshanden. They collaborated on the track "Evil", which features Wladimir's strongly political poetry - "stop violence, stop materialism, stop america" from the time of George Bush Snr and the first Gulf War.<br />
<br />
Compilations Agenda 22 and Agenda 23 followed this one.<br />
<br />
-<br />
<br />
From the liner notes:<br />
<br />
In a distant world called Dance, the Powerful control demand through supply. The People of this world, being suppressed by the Powerful, look to the Snobs. The Snobs, the upperclass only interested in external values. Mistaking their point of view as the truth. To secure their status quo, the Powerful collaborate with the snobs.<br />
<br />
The dark and distant world called Dance is divided into continents. The largest continent is called House. This continent, discovered just a few years ago, has arisen worldwide interest because of it's natural resources.Resources owned by the Powerful, exploited by the Snobs and processed by a small group, forming part of the People, called The Artists. Artists, encouraged to produce quantity, not quality,are generating ugly products, deprived of any content.<br />
<br />
Fortunately, in one state of the continent, there is a growing resistance to this policy. Artists, convinced that their products should be unique works of art, are uniting forces. Creating products to their standards as a form of protest and independence, lacking general opinions.<br />
<br />
A major force called Eevo Lute creates products showing the Powerful the beauty of quality. Slowly but convincingly their approach gains ground.<br />
<br />
On this compilation Eevo Lute states their struggle for quality so far as well as their vision on the future. While enjoying the works of art, try to imagine the feelings that underlie their creation.<br />
<br />
Feelings that simply couldn't be suppressed.<br />
<br />
DJ White Delight<br />
Dr Roland<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Apollo/release/4672" target="_blank">Apollo</a><br />
<br />
R&S set up ambient sub-label Apollo in 1992 with the first release being Aphex Twin's first album Selected Ambient Works 85-92. This comp features Model 500's "The Passage", which is well suited as an alternative soundtrack to 2001: A Space Odyssey.<br />
<br />
-----<br />
<br />
<a href="https://www.discogs.com/Various-Trance-Europe-Express/release/17822" target="_blank">Trance Europe Express</a><br />
<br />
Accompanied by a 192-page booklet with extensive artist interviews, scene articles and playlists, this 2-CD compilation quenched the thirst for information about electronic dance music that was in short supply in the early internet era. Chill out originators The Orb feature with a remix of "Majestic" taken from their U.F.Orb album.<br />
<br />
There were a succession of Trance Europe Express and Trance Atlantic Express compilations in the years that followed.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Virtualsex/release/63366" target="_blank">Virtualsex</a><br />
<br />
Buzz records hits the mark again, features Carl Craig's melancholy "At Les" and Kenny Larkin's "Tedra".<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Mothership/release/8220" target="_blank">Mothership</a><br />
<br />
Adelaide was the first Australian city to strongly pick up on the Detroit techno vibe largely thanks to the pioneering efforts of DJ HMC. The title of "M7" emphasises the great distance between the cities - the M7 star cluster is the southernmost of the Messier astronomical objects.<br />
<br />
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<br />
<a href="https://www.discogs.com/Various-Tresor-II-Berlin-Detroit-A-Techno-Alliance/release/394574" target="_blank">Tresor II - Berlin Detroit - A Techno Alliance</a><br />
<br />
The strong alliance between Berlin and Detroit techno is reflected in this compilation on Tresor records, a label named after the famous subterranean club close to where the Berlin Wall was first breached. Around this time, Tresor released Jeff Mills and UR projects in the X-101 series, Mills lived in Berlin and Juan Atkins collaborated with Moritz von Oswald of Basic Channel fame. UR's "Jupiter Jazz" is a joyful slice of acid techno-house that refuses to date, 25 years on.Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-70560387131490911392018-03-31T11:00:00.000+11:002018-10-14T19:02:33.525+11:00Ten Brian Eno ambient albums preferable to Ambient 1 Music for AirportsThere's been a few articles around marking the 40th anniversary of Brian Eno's Ambient 1 Music for Airports, released in March 1978. Somehow though, I've never been a huge fan of this album. And whenever articles talk about ambient music it's kind of placed there like the first part of a science lesson that you have to understand in order to go on to the next bit. That's a pity because I worry that people might get turned off by it and not go much further. So here I'm going to set myself the challenge of listing ten Eno ambient albums that I prefer to Ambient 1.<br />
<br />
These are listed in no particular order, include collaborations, and are broadly ambient albums. In each case I've listed a standout track. The Youtube playlist contains all the tracks.<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="300" src="https://www.youtube.com/embed/videoseries?list=PL6PRUprO-7R0whrzLVUcTI9NPyg2S5Bfw" width="400"></iframe><br />
<br />
<u>Harold Budd / Brian Eno - Ambient 2 The Plateaux of Mirror</u><br />
<br />
Budd played the piano while Eno provided the treatments. Budd's music was influenced by minimalism and John Cage but not afraid to sound 'pretty'. First Light is the standout - a gently evolving melody leading into Eno's synth waves. There's something eternally refreshing about it, I've been listening to it regularly for over 25 years. How would it sound to a first time listener? I think it would sound very lightweight, but let it sink in a few more times over a few days and you may be converted.<br />
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<u>Laraaji - Ambient 3 Day of Radiance</u><br />
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Eno is not credited in the title but he does the producing. Laraaji on zither. Meditation #2 probably takes a few listens before you realise it's not a cheesy new age piece but just straight out serenity in soundwaves. In the mid-section it's all about the way the sound changes as it very slowly fades away to silence.<br />
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<u>Harold Budd / Brian Eno - The Pearl</u><br />
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Deeply loved by many people, this album has quite a few tracks but is thematically consistent. It's hard to choose a favourite but try Against the Sky. Listen for the slow shimmering synths that come in towards the end.<br />
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<u>Brian Eno - Thursday Afternoon</u><br />
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This hour-long track is not wildly different to 1-1 from Ambient 1. There's a continuous background synth shimmer like an Indian tampura and there's a fixed set of piano tones that play in some semi-random way. Should you be doing something more productive with an hour of your time, like trying to stop climate change? Probably. So do that from Friday to Wednesday and clear your mind with a listen on Thursday afternoon.<br />
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<u>Brian Eno - Neroli</u><br />
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Also titled 'Thinking Music Park IV', this 1 hour piece connected with Eno's interest in perfumes. Very minimal bell-like sounds with long decays. Get in the zone and stay there.<br />
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[NB For brevity the Youtube playlist above contains the shortened versions of Thursday Afternoon and Neroli that appeared on the Brian Eno – I: Instrumental box set. By all means delve into the full-length versions.]<br />
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<u>Brian Eno - Shutov Assembly</u><br />
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This album has more of a digital feel to it. Ikebukuro has bell tones, a distant sound like a steam train, a sound like swooshing bird's wings, some other taps and tweets here and there. The sounds are only vaguely familiar and suggestive. If you knew what they were, it wouldn't be so interesting to listen to. This piece has variants used in a lot of Eno installation works.<br />
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<u>Brian Eno - Another Green World</u><br />
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A fair bit of this album has vocals and is not quite ambient, but on balance the majority is. The tracks In Dark Trees and The Big Ship were used to great effect in the Adam Curtis documentary 'The Power of Nightmares'. A number of the track titles have watery titles suggesting a nautical theme. My favourite is Becalmed. It's a sad track where the synths provide the lead melody and the piano sounds are the background tint.<br />
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<u>Jon Hassell - Power Spot</u><br />
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This only just qualifies as an Eno ambient album. Eno co-produced. In a way, the style could be called Fourth World, a genre with one practitioner: Jon Hassell. But let's call it a sub-genre of ambient just to make it fit. Hassell plays his unmistakeable and ethereal trumpet. The production is very crisp, what one might expect from the ECM label. Solaire has Eno on electric bass. Utterly unique music.<br />
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<u>Brian Eno with Daniel Lanois and Roger Eno - Apollo</u><br />
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Another very popular album in the Eno discography, featuring Canadian producer and frequent collaborator Daniel Lanois. This music was used as the soundtrack to the documentary For All Mankind. Eno wanted to make music to accompany the Apollo lunar mission footage that focussed not on the engineering achievement but, as he wrote, "[the moods and] feelings that quite possibly no human had ever experienced before, thus expanding the vocabulary of human feeling just as those missions expanded the boundaries of our universe." - quite different from the aims of Music for Airports, released 5 years earlier.<br />
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Deep Blue Day was used briefly in the Trainspotting soundtrack, with Lanois on spaced-out pedal steel guitar. Eno thought the country and western sound suggested a feeling of weightless space.<br />
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<u>Brian Eno - Ambient 4</u><br />
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This album has a mysterious, foreboding sound that contrasts with the prettier sound of the Harold Budd collaborations. More favoured by professional critics as an early example of dark ambient, these pieces evoke real or even imagined landscapes. Treated field recordings of frogs, birds, insects and other non-musical sounds add to the atmosphere. Find a lonely windswept beach, and listen to 'Dunwich Beach, Autumn, 1960'. Or close your eyes and just imagine one, this music will take you there.<br />
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Ok, so there I honestly managed to get to ten albums. I would probably put Ambient 1 Music for Airports next. The first track on side 1, titled 1-1, consists of tape loops of piano and other sounds of varying lengths that fall in and out of sync with each other.<br />
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From here, there are about another dozen Eno ambient albums that you could go on and listen to. There are plenty of wonderful tracks to discover. Some standout individual tracks include Prophecy Theme, from the Dune soundtrack, Ho Renomo, from Cluster & Eno, Spider And I, from Before And After Science, Always Returning II, from Music for Films Vol 2, which is a very slow version of Always Returning from Apollo, and finally Tension Block, co-written by Daniel Lanois, which can be found on Music for Films Vol 3.<br />
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As a side note, some of Eno's less widely released material produced for various exhibitions got a new release in May 2018 with the 6 CD Music For Installations box set. The list I have compiled above stops at the 1993 Neroli release but this box set covers a lot of the best material he's created since then, and some previously unreleased work. It is a treat for lovers of Eno's long-form ambient pieces.<br />
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Looking back, I think that by calling Ambient 1 'music for airports', Eno set up an unfortunate association for the fledgling genre. Eno was a previously famous musician for Roxy Music but wanting to move in a less commercial direction. Maybe the title was partly a provocation, partly an attempt to find a way to get paid. I don't know that Music for Airports was ever played in an airport, other than many years later in a commemorative performance by the Bang on a Can group. Some say that Neroli was played in maternity wards. I suggest that this is just an artistic statement similar to the opening title of the Cohen brothers film 'Fargo' where they claim that it is a true story. It's just part of the mythology of the music - imagine if it <i>was </i>played in an airport.<br />
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For this listener, ambient was not 'as ignorable as it is interesting' as was Eno's stated goal. It was a trojan horse for a new way of listening. From Ambient 2 onwards, Eno's music surrounded and profoundly moved a generation of listeners, spinning off new interpretations, particularly through electronic dance via The Orb, Aphex Twin, Detroit electro and beyond. There were many pale imitators too. In the way that David Attenborough and Carl Sagan made specialised knowledge in scientific fields comprehensible to a wide audience, Brian Eno took the ideas of 20th century avant-garde art music and did the same. The possibilities of what music could be and the 'vocabulary of human feeling' was surely expanded as a result.<br />
<br />
Andrew Chuter<br />
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<br />Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-51885514566766965982017-12-10T14:36:00.001+11:002017-12-10T14:36:37.578+11:00Books 2015-2017From late 2014 onwards I got increasingly drawn into the campaign to stop the WestConnex toll road project in Sydney. Unfortunately my regular book reading has suffered as it has soaked up nearly all of my spare time. But actually I've probably spent more time reading as a result, it's just that it has been mostly in the form of newspaper and online articles, not books. I've also written a number of articles and given speeches. From mid-2015 I have written thousands of facebook posts for <a href="https://www.facebook.com/NoWestconnex">No WestConnex: Public Transport</a>, about 99% of those are mine. Most of them are only a paragraph or so, but it has improved my writing and ability to absorb and summarise material quickly.<br />
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So here's a list of the rather small number of books I've read over the last 3 years.<br />
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Beating the Big End of Town (How a community defeated the East West toll road) - Anthony Main<br />
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This Changes Everything - Naomi Klein<br />
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Thinking, Fast and Slow - Daniel Kahneman<br />
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Red Hot (The Life and Times of Nick Origlass) - Hall Greenland<br />
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Adolf Hitler : My Part in His Downfall - Spike Milligan<br />
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Phoenix - Resurrection (Vol. 5) - Osamu Tezuka<br />
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As my kids gradually got older, I also read a number of 'proper' books to them:<br />
The Little Prince - Antoine de Saint-Exupéry<br />
A Series of Unfortunate Events: The Reptile Room - Lemony Snicket<br />
Charlie and the Chocolate Factory, Charlie and the Great Glass Elevator - Roald Dahl<br />
The Magic Pudding - Norman Lindsay<br />
The Complete Adventures of Snugglepot and Cuddlepie, Scottie in Gumnut Land - May GibbsAndrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0tag:blogger.com,1999:blog-4579525334049522055.post-40575281038009831022014-12-22T19:55:00.000+11:002014-12-22T19:55:07.041+11:00books 2014<br />
Phoenix - Yamato/Space (Vol. 3) - Osamu Tezuka<br />
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If on a Winter's Night a Traveller - Italo Calvino<br />
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Setting Up a Tropical Aquarium - Stuart Thraves<br />
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The Better Angels of Our Nature (A History of Violence and Humanity) - Steven Pinker<br />
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A First Course in Linear Algebra (2nd edition) - David Easdown<br />
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Tell Me No Lies (Investigative Journalism and its Triumphs) - Edited by John Pilger<br />
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Sin City (The Hard Goodbye) - Frank Miller<br />
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Blue Planet (A Natural History of the Oceans) - Andrew Byatt, Alastair Fothergill, Martha Holmes<br />
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Phoenix - Karma (Vol. 4) - Osamu Tezuka<br />
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<span style="font-size: xx-small;">p3795</span>Andrew Chuterhttp://www.blogger.com/profile/08404649505154365815noreply@blogger.com0