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.
What Is Encryption?
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!
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,
Matt Wilson’s band plays at the Jazz Standard in NYC on September 19 and 20.
(American, born 1943)
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
Source: Why Americans Are Cursing More Than Ever - Atlas Obscura
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...
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.
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.”
Facing global resource depletion, mankind sends out Space Rovers to find potentially inhabitable planets.
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THIS has become the most tweeted in the WORLD
and I like this:
"No one is born hating another person because of the color of his skin or his background or his religion..." pic.twitter.com/InZ58zkoAm— Barack Obama (@BarackObama) August 13, 2017
Is this the dance you do every time you're asked to write about squid? pic.twitter.com/Jxs4KfG8ID— Craig Pittman (@craigtimes) September 21, 2017
Meet the band that combines hip-hop with Mongolian throat singing. pic.twitter.com/EpISisiH1u— AJ+ (@ajplus) July 30, 2017
Meet the Miracle Dolls: twin sisters bringing their punk rock to Native American youth living in reservations. pic.twitter.com/KjZsfVHFs5— AJ+ (@ajplus) August 7, 2017
Hands Up Don't Shoot