thx to boima for pointing me to this — quite a mix — enjoy the minimal steez and that intro track/mix, despite some serious schizophonia, works remarkably well :: ethno techno sez wha? thought so.
"Social network sites, online games, video-sharing sites, and gadgets such as iPods and mobile phones are now fixtures of youth culture. They have so permeated young lives that it is hard to believe that less than a decade ago these technologies barely existed. Today’s youth may be coming of age and struggling for autonomy and identity as did their predecessors, but they are doing so amid new worlds for communication, friendship, play, and self-expression. We include here the findings of three years of research on kids' informal learning with digital media." :: shorter version — "Hanging Out, Messing Around, Geeking Out" = crucial :: grab here the white-paper, the 2 pager, or click through the book version in HTML
charlie's calling out the big guns — the berkman center all-stars! — and the other side is calling time :: "The RIAA's case in Boston against a 24-year-old grad student, SONY BMG Music v. Tenenbaum, in which Prof. Charles Nesson of Harvard Law School, along with members of his CyberLaw class, are representing the defendant, may shape up as a showdown between the Electronic Frontier and Big Music. The defendant's witness list includes names such as those of Prof. Lawrence Lessig (Author of 'Free Culture'), John Perry Barlow (former songwriter of The Grateful Dead and cofounder of the Electronic Frontier Foundation), Prof. Johan Pouwelse (Scientific Director of P2P-Next), Prof. Jonathan Zittrain (Author of 'The Future of the Internet — And How to Stop It'), Professors Wendy Seltzer, Terry Fisher, and John Palfrey, and others."
' Recent South African films, notably Triomf, Jerusalema, SMS Sugar Man and Bunny Chow, have been carving their way out of the morose state of our cinema, refusing to pander to the two or three formulas that seem to govern our output: if it isn’t addressing our political past, it should be vulgar slapstick or kitsch-inspirational. [They] view South African realities through distinct lenses and celebrate the aesthetic possibilities of filmic translation. As such they are not bound to restrictive, pseudo-moral codes. … they are exploring our multitudinous realities from new and unexpected perspectives, which in itself makes them valuable. … On the state of SA cinema, Kaganof says: “While the films are all in English, we are still making colonised films, using the colonial idiom of Hollywood to further distance ourselves from who we are. The sorry state of South African cinema reveals the sorry truth about post-apartheid South Africa. We are not liberated. Not by a long shot.” '
this is about as confrontational a 'gangsta ras' manifesto as i can imagine (and you wonder why certain rastas, paradoxical as it seems, condemn reggae and try to use copyright to prevent misuses of selassie's name?)
noz on effervesynth neo-snappery — "All these dudes have expanded their palette from just blips and bleeps to blips, bleeps and really lush synth pads."
2 thoughts on “Patriotic License”
who did the gang war riddim?
Trevor ‘Baby G’ James (son of King Jammy’s! [one of three 2nd gen producers])
Damian Marley has the big chune on Gang War
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