Available again: JOE CARDUCCI's testament.

“Rock and the Pop Narcotic is a 1991 book of popular music criticism by Joe Carducci. (Revised edition 1995.)

“Rock and the Pop Narcotic is perhaps the only book of popular music criticism that attempts to achieve a genuine aesthetic of rock music. Other works, such as Richard Meltzer’s The Aesthetics of Rock or Simon Frith’s Performing Rites: On the Value of Popular Music, either focus on lyrical content or on the sociology of the music’s listeners. Rock and the Pop Narcotic is both a critique of the sociological approach and a polemic in favour of the music’s artistic qualities. During the rest of the 1990s the book gradually acquired cult status, with record producer Simon Napier-Bell citing it as one of his ten favourite music books in the UK’s Guardian newspaper in 2005. Clinton Heylin included two chapters in The Penguin Anthology of Rock Writing, with the remark, “Rock and the Pop Narcotic…may well be the most important critique on rock music written in the last 10 years.”

Following is from Wikipedia…

“Joe Carducci is a writer, record producer, and former A&R executive, formerly most closely associated with the influential record label SST Records. Biographical information on Joe Carducci can be hard to come by. He was born in Merced, California in 1955 but grew up in Naperville, Illinois. He also lived for a time in Chicago in the late 1970’s where he ran an independent mail-order record retailer. From 1981 to 1986 he was an A&R man and record producer for SST Records, working with among other bands the Minutemen, the Meat Puppets, Black Flag and Saccharine Trust. He wrote lyrics for the song “Jesus & Tequila” by the Minutemen (Double Nickels on the Dime, 1984) and “Chinese Firedrill” from Mike Watt’s 1995 solo album Ball-Hog or Tugboat?. He now resides in Wyoming, where he runs Redoubt Press. Carducci is probably best known as the author of Rock and the Pop Narcotic. Carducci wrote the screenplays for the 1998 films Rock and Roll Punk and Bullet On A Wire, and has other script projects in the works.”


“What approach can we take to move beyond environmental protests and actually begin living sustainably wherever we are located?

“Planet Drum was founded in 1973 to provide an effective grassroots approach to ecology that emphasizes sustainability, community self-determination and regional self-reliance. In association with community activists and ecologists, Planet Drum developed the concept of a bioregion: a distinct area with coherent and interconnected plant and animal communities, and natural systems, often defined by a watershed. A bioregion is a whole “life-place” with unique requirements for human inhabitation so that it will not be disrupted and injured. Through its projects, publications, speakers, and workshops, Planet Drum helps start new bioregional groups and encourages local organizations and individuals to find ways to live within the natural confines of bioregions…”

Flower Films: The Films of Les Blank

“LES BLANK’s original Flower Films founded in 1967

“Featuring 16mm and video on Real Food, Roots Music and People Full of Passion for what they do!”

Always For Pleasure (1978)

An intense insider’s portrait of New Orleans’ street celebrations and unique cultural gumbo: Second-line parades, Mardi Gras, Jazz Fest. Features live music from Professor Longhair, the Wild Tchoupitoulas, the Neville Brothers and more. This glorious, soul-satisfying film is among Blank’s special masterworks. 58 minutes.

Gap-Toothed Women (1987)

A charming valentine to women born with a space between their teeth, ranging from lighthearted whimsy to a deeper look at issues like self-esteem and societal attitudes toward standards of beauty. Interviews were conducted with over one hundred women, including model Lauren Hutton and Supreme Court Justice Sandra Day O’Connor. 31 minutes

God Respects Us When We Work, But Loves Us When We Dance (1968)

Hippies and flower children dance and create rituals at the historic Los Angeles “Love-In” of Easter Sunday, 1967. This ’60s classic documents a once-in a lifetime phenomenon, preserving all the fashions, energy and idealism of the first “alternative lifestyles.” Psychedelic special effects! 20 minutes.

Garlic is as Good as Ten Mothers (1980)

A zesty paean of praise to the greater glories of garlic. This lip-smacking foray into the history, consumption, cultivation and culinary/curative powers of the stinking rose features chef Alice Waters of Chez Panisse, and a flavorful musical soundtrack.
The SF Chronicle called this paean to garlic “a joyous, nose-tweaking, ear-tingling, mouth-watering tribute to a Life Force.” Nothing less than a hymn to the stinking rose of the kitchen, this lovingly photographed documentary is an odyssey of garlic feasts alternated with uniquely individual interviews of garlic afficionados. Not only does the film promote garlic as our first line of defense against all forms of blandness; it also titillates the taste buds with shots of garlic dishes sizzling in their pans. Les Blank shows again that he knows how to have a good time and share it on film – especially if it involves food!
At the end of 2004 ‘Garlic’ was one of 25 films, selected by The Library Of Congress, to be added to the National Film Registry list of now 400 motion pictures, to be preserved in perpetuity. Other films in this group include Ben Hur, Jail House Rock and Duck And Cover. Les’Chulas Fronteras was selected previously for The National Film Registry. (Only two other documentarians, Frederick Wiseman and Albert Maysles, have as many non-fiction films represented in the registry.) 51 minutes.

Streaming clips available at

Bush Administration Follies, continued

The Independent

Presidency falling apart at the seams for Bush and his entourage
By Rupert Cornwell in Washington
Published: 23 November 2006

His foreign policy is in tatters. He has just suffered a sweeping electoral defeat. And now – from Buenos Aires to Hawaii and Vietnam – even the clockwork-like operation to protect and ferry around George Bush and the rest of America’s first family seems to be coming apart at the seams.

In the first of four incidents in the space of 48 hours this week, the President’s 24-year-old daughter Barbara had her handbag stolen while out in the Argentine capital on Sunday, despite the round-the-clock protection she and her twin sister Jenna are provided by the US Secret Service.

According to La Nacion newspaper, the two were having dinner in San Telmo, a cobblestone district of caf├ęs, old houses and steakhouses, when thieves took the handbag from under their table. Agents in their secret service detail stood at a distance, completely unaware of the incident.

There has been no comment from the White House or a doubtless highly embarrassed Secret Service. Barbara reportedly lost her mobile phone and credit cards, but was not hurt. But Greg Pitts, the acting White House travel director, was less fortunate as the President made his way back to the US from his visit to south-east Asia and the Pacific Rim summit in Vietnam. Mr Pitts was beaten and robbed by unknown assailants outside a nightclub in Waikiki at 2am on Tuesday during a stopover by the presidential party in Hawaii.

“He was knocked down, punched, kicked – his wallet and ID were stolen,” Captain Frank Fujii of Honolulu Police said. Mr Pitts also lost his passport and his mobile phone. Though awake and alert, he was taken to hospital because of possible concussion, a White House spokesman said.

Hours after that incident, three local motorcycle officers in the motorcade taking Mr Bush to a military air base for his return to Washington were involved in a crash which left two of them seriously injured, after their bikes skidded on a rain-drenched road as they were about to enter the base area.

The final entry in this catalogue of mishaps were the unspecified mechanical difficulties encountered by his Air Force One Boeing 747 during the summit trip, as it was scheduled to leave Vietnam to ferry Mr Bush to Indonesia (where he spent six hours in talks at a resort near Jakarta before heading to Hawaii). The problem forced Mr Bush to take a smaller Boeing 757 back-up plane, obliging many in the White House delegation to switch to the accompanying press plane.