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Marlon Williams - Vampire Again (Official Video)

Marlon Williams is a singer and guitarist from New Zealand of Maori descent who showed in his debut album last year that he was a big fan of early rock’n’roll, country, and rockabilly. He’s just released his first new song since that album, a catchy, witty number called “Vampire Again.” Even better, he’s released a fun, Nosferatu-themed video to go with it, which Williams himself directed. His vampire, a kind of pathetic loner, loves cats and does not possess quite the superhuman strength you might have expected. Watch till the end to see what I mean. And along the way, enjoy what Williams describes as “my own demented tale of New Age self-affirmation.” Marlon Williams plays Rough Trade in Brooklyn on October 30, just missing Halloween.


shhh, secret code

What Is Encryption?

Encryption is the mathematical science of codes, ciphers, and secret messages. Throughout history, people have used encryption to send messages to each other that (hopefully) couldn't be read by anyone besides the intended recipient.
Today, we have computers that are capable of performing encryption for us. Digital encryption technology has expanded beyond simple secret messages; today, encryption can be used for more elaborate purposes, for example to verify the author of messages or to browse the Web anonymously with Tor.
Under some circumstances, encryption can be fairly automatic and simple. But there are ways encryption can go wrong, and the more you understand it, the safer you will be against such situations. keep on reading

Here's something we can use!
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Honey And Salt: Music Inspired by the Poetry of Carl Sandburg


I suppose the jazz drummer Matt Wilson occasionally plays straightahead jazz gigs. But he is certainly not afraid of casting a wide musical net. It takes a lot to get me to listen to Christmas music, for example, but Matt’s Christmas Tree-O was too good to pass up, and an invitation to play in our studio revealed a musician who was smart and funny as well as talented. Now he’s about to release an album called Honey And Salt: Music Inspired by the Poetry of Carl Sandburg. On it, he leads a virtuoso quintet with special guests reading Sandburg’s work; those readers include Jack Black,
e-new-trio/">Christian McBride, Bill Frisell, and others. The album comes out on August 25, but you can hear the track “Fog” right now, and it’s a quietly stunning duet between Matt Wilson and the great poet, who, having been dead for 50 years now, was in no position to decline.  Sandburg’s recorded voice, reading one of his most famous texts, is heard in a kind of call-and-response with Matt’s drum kit (which sounds like it’s been tuned almost to the breaking point) – and if you thought the drum kit was not capable of melody, well, listen to how his drumming mirrors the poet’s voice, in both rhythm and in the actual shape of the line. At the very end, a moment of magic: the voice and the drum kit play in unison, and they really are “playing” the same tune.
Matt Wilson’s band plays at the Jazz Standard in NYC on September 19 and 20.

Free, White and 21

Howardena Pindell
(American, born 1943)
1980. Video (color, sound), 12:15 min.

In 1979, after working in The Museum of Modern Art’s curatorial ranks for 12 years, artist Howardena Pindell was in a car accident that left her with partial memory loss. Eight months later, during what she describes as “one of the hottest summers in New York,”1 she set up a video camera in her apartment, focused it on herself, and made Free, White and 21, a deadpan account of the racism she experienced coming of age as a black woman in America. She developed the work out of her need to heal and to vent: “My work in the studio after the accident helped me to reconstruct missing fragments from the past….In the tape I was bristling at the women’s movement as well as the art world and some of the usual offensive encounters that were heaped on top of the racism of my profession.”2
Born in Philadelphia in 1943, Pindell grew up when the South was still lawfully segregated and racism was rampant nationwide. She was 21 when the Civil Rights Act passed in 1964. In Free, White and 21, she illustrates the stark divide between black and white Americans by appearing as both herself and as a white woman. The video opens with a glancing shot of the artist in whiteface and wearing a blond wig, in the guise of a white woman from the 1950s or 60s. This character is the free, white, 21-year-old to which its title refers, who appears throughout the video, discounting Pindell’s searing experiences with statements like, “you really must be paranoid,” and “you won’t exist until we validate you.”3
When she comes onscreen as herself, Pindell first recounts the abusive racism that her mother endured, and then talks viewers through the milestones of her own life—including elementary and high school, college, and young adulthood—via the discrimination that made her advancement such a struggle. At one point, she peels a translucent film off of her face, as if to reference the facial masks and other cosmetic products marketed to women to beautify and transform their looks. But this film has not changed the artist’s looks, and especially not the color of her skin. Instead, it serves to re-emphasize the fact that they were transformed by a white-dominated American society—into a liability. via
WATCH Free, White and 21



Swear more to express yourself as an individual. Everybody's $#*%! doing it!

Source: Why Americans Are Cursing More Than Ever - Atlas Obscura


Sam Shepard on his family plays (1 of 3)

Published on Feb 28, 2010 Sam Shepard on identity, L.A., his father, women, flying, and his "family plays." Tooth of Crime, Curse of the Starving Class, Buried Child, True West.. From PBS Great Performances. Directed by Oren Jacoby.

Rest in Peace, Sam...

Do you think you’ll ever live in the West again?

No, I don’t think so. The California I knew, old rancho California, is gone. It just doesn’t exist, except maybe in little pockets. I lived on the edge of the Mojave Desert, an area that used to be farm country. There were all these fresh-produce stands with avocados and date palms. You could get a dozen artichokes for a buck or something. Totally wiped out now.
True West, Buried Child, Curse of the Starving Class, and Lie of the Mind are all family dramas, albeit absurdist ones. Have you drawn a lot from your own family?
Yes, though less now than I used to. Most of it comes, I guess, from my dad’s side of the family. They’re a real bizarre bunch, going back to the original colonies. That side’s got a real tough strain of alcoholism. It goes back generations and generations, so that you can’t remember when there was a sober grandfather.
Have you struggled with drinking?
My history with booze goes back to high school. Back then there was a lot of Benzedrine around, and since we lived near the Mexican border I’d just run over, get a bag of bennies and drink ripple wine. Speed and booze together make you quite . . . omnipotent. You don’t feel any pain. I was actually in several car wrecks that I don’t understand how I survived.
At any rate, for a long time I didn’t think I had a problem. Alcoholism is an insidious disease; until I confronted it I wasn’t aware that it was creeping up on me. I finally did AA in the hardcore down on Pico Boulevard. I said, “Don’t put me in with Elton John or anything, just throw me to the lions.”
Do you feel like the drinking might have aided your writing?
I didn’t feel like one inspired the other, or vice versa. I certainly never saw booze or drugs as a partner to writing. That was just the way my life was tending, you know, and the writing was something I did when I was relatively straight. I never wrote on drugs, or the bourbon.
You said the men on your dad’s side of the family were hard drinkers. Is this why the mothers in your plays always seem to be caught in the middle of so much havoc?
Those Midwestern women from the forties suffered an incredible psychological assault, mainly by men who were disappointed in a way that they didn’t understand. While growing up I saw that assault over and over again, and not only in my own family. These were men who came back from the war, had to settle down, raise a family and send the kids to school—and they just couldn’t handle it. There was something outrageous about it. I still don’t know what it was—maybe living through those adventures in the war and then having to come back to suburbia. Anyway, the women took it on the nose, and it wasn’t like they said, Hey Jack, you know, down the road, I’m leaving. They sat there and took it. I think there was a kind of heroism in those women. They were tough and selfless in a way. What they sacrificed at the hands of those maniacs . . .
What was your dad like?
He was also a maniac, but in a very quiet way. I had a falling-out with him at a relatively young age by the standards of that era. We were always butting up against each other, never seeing eye-to-eye on anything, and as I got older it escalated into a really bad, violent situation. Eventually I just decided to get out.


* * * * *

In a 2016 New York Times Q&A, Sam was asked if he felt he had achieved something substantial in his career.
"Yes and no. If you include the short stories and all the other books and you mash them up with some plays and stuff, then, yes, I've come at least close to what I'm shooting for. In one individual piece, I'd say no. There are certainly some plays I like better than others, but none that measure up."


Sci-Fi Short Film "Planet Unknown" presented by DUST

"Planet Unknown" by Shawn Wang

Facing global resource depletion, mankind sends out Space Rovers to find potentially inhabitable planets.

DUST: Binge-watchable Sci-fi
DUST is the first multi-platform destination for binge watchable sci-fi. We feature science fiction short films and other content from emerging filmmakers with stunning visual effects, captivating plots and complex character explorations. Robots, aliens, space exploration, technology, and human experience are all a part of DUST. Explore, subscribe and follow for more:

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Our monthly theme: GOOD FLICKS

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Practice with me!

Practice with me!


oh shit

oh shit

Hands Up Don't Shoot

The amazing Kimya Dawson? If you want to hear her full a cappella song, you can find it at theintercept.com/podcasts.

“Without horses, we’re going to forget how to be humans. It’s time to rewild,” Mo Brings Plenty

“Without horses, we’re going to forget how to be humans. It’s time to rewild,” Mo Brings Plenty
“I’m thinking of canyons and lightning,” the horse says. “I’m wet. Running against the dark sky. And there is nothing more free than this. The earth is ringing. And I believe I can fly.”