Author Archives for Jay Babcock

MONSANTO-RESISTANT

from : http://spectregroup.wordpress.com/2010/05/06/monsanto-resistant/

SuperWeeds
http://sourcewatch.org/index.php?title=Monsanto_and_the_Roundup_Ready_Controversy
http://nytimes.com/2010/05/04/business/energy-environment/04weed.html
“Just as the heavy use of antibiotics contributed to the rise of drug-resistant supergerms, American farmers’ near-ubiquitous use of the weedkiller Roundup has led to the rapid growth of tenacious new superweeds. To fight them, farmers are being forced to spray fields with more toxic herbicides, pull weeds by hand and return to more labor-intensive methods like regular plowing. The first resistant species to pose a serious threat to agriculture was spotted in a Delaware soybean field in 2000. Since then, the problem has spread, with 10 resistant species in at least 22 states infesting millions of acres. “What we’re talking about here is Darwinian evolution in fast-forward,” Mike Owen, a weed scientist at Iowa State University, said.”

Sterile Seed Monopoly
http://npr.org/templates/story/story.php?storyId=125906838
http://npr.org/templates/story/story.php?storyId=122498255
“It’s time to buy seed again, but hundreds of seed companies have gone under in the past two decades. Critics of the big agriculture biotech company Monsanto say its popular Roundup Ready technology is to blame for that. Roundup Ready is a line of gene-modified seeds that inoculate plants against a herbicide, Roundup, also made by Monsanto, that kills just about everything else. Ulrich says his seed costs shot up almost 50 percent last year. That’s because farmers are contractually prohibited from saving seeds and planting them the following year. Farmers face lawsuits if they try to save and replant the genetically modified seed because they don’t own the technology. More than 9 out of 10 soybean seeds carry the Roundup Ready trait. It’s about the same for cotton and just a little lower for corn. Now Monsanto has invented something new, called Roundup Ready 2 Yield. It uses the gene as the original, just placed in a different spot in the genome. Monsanto says that boosts yield. Interesting timing: Monsanto’s patent on Roundup Ready 1 expires in 2014 and with it, a revenue stream of maybe half a billion dollars a year in royalties. That’s unless it can switch farmers over to Roundup Ready 2. Meanwhile, the end of the Roundup Ready patent will very likely give farmers a chance to do something they haven’t for years: plant the seed they’ve harvested. “I don’t care how good Roundup Ready 2 is; if you tell me I can save back my own seed, I’m going to plant my own seed,” Ulrich says. The problem for guys like Ulrich will be finding seed that has just the Roundup Ready gene alone, one not stacked with other patented traits. After all, if he can’t find the seed in the first place, he can’t grow it.”

Nature Predictably Defiant
http://blogs.discovermagazine.com/loom/2010/05/04/how-to-make-a-superweed/
“In the ancient empire of Sumer 4500 years ago, farmers put sulfur on their crops. The Romans used pitch and grease. Europeans learned to extract chemicals from plants. In 1807, chemists isolated pyrethrum from an Armenian daisy. To stop the San Jose scale, they tried whale oil. They tried kerosene and water. One of the best treatments they found was a mix of lime and sulfur. After a few weeks of spraying, the San Jose scale would disappear. By 1900, however, the lime-sulfur cure was failing. An entomologist named A. L. Melander found some San Jose scales living happily under a thick crust of dried lime-sulfur spray. In the short term, Melander suggested that farmers switch to fuel oil to fight scales, but he warned that they would eventually become resistant to fuel oil as well. In fact, the best way to keep the scales from becoming entirely resistant to pesticides was, paradoxically, to do a bad job of applying those herbicides. By allowing some susceptible scales to survive, farmers would keep their susceptible genes in the scale population. “Thus we may make the strange assertion that the more faulty the spraying this year the easier it will be to control the scale the next year,” Melander predicted.

In 1970 a scientist at the Monsanto Corporation found a chemical that seemed to hold out great hope–glyphosate, also known as Roundup. Glyphosate kills weeds by blocking the construction of amino acids that are essential for the survival of plants. It attacks enzymes that only plants use, with the result that it’s harmless to people, insects, and other animals. Roundup went on the market in 1974. In 1986, scientists engineered plants to be resistant to glyphosate, by inserting genes from bacteria that could produce amino acids even after a plant was sprayed with herbicides. In the 1990s Monsanto and other companies began to sell glyphosate-resistant corn, cotton, sugar beets, and many other crops. But after glyphosate-resistant crops had a few years to grow, farmers began to notice horseweed and morning glory and other weeds encroaching once more into their fields. What’s striking is how many different ways weeds have found to overcome the chemical. What makes the evolution of Roundup resistance all the more dangerous is how it doesn’t respect species barriers. Scientists have found evidence that once one species evolves resistance, it can pass on those resistance genes to other species. They just interbreed, producing hybrids that can then breed with the vulnerable parent species. In a recent interview, Powles predicted that the Roundup resistance catastophe is just going to get worse, not just in the United States but everywhere where Roundup is used intensively. It’s not a hopeless situation, however. Farmers may be able to slow the spread of resistance by mixing up the kinds of seeds they use, even by fostering vulernable weeds in the way Melander suggested.”

No Recusal
http://scotuswiki.com/index.php?title=Monsanto_Company_v._Geertson_Seed_Farms
http://current.com/news/92330224_conflict-of-interest-ex-monsanto-lawyer-clarence-thomas-to-hear-major-monsanto-case.htm
“In Monsanto v. Geertson Seed Farms, No. 09-475, the U.S. Supreme Court will hear arguments in a case which could have an enormous effect on the future of the American food industry. This is Monsanto’s third appeal of the case, and if they win a favorable ruling from the high court, a deregulated Monsanto may find itself in position to corner the markets of numerous U.S. crops, and to litigate conventional farmers into oblivion. Here’s where it gets a bit dicier: from the years 1976 – 1979, Clarence Thomas worked as an attorney for Monsanto. Thomas apparently does not see this as a conflict of interest and has not recused himself. Alfalfa is the fourth most widely grown crop in the United States, behind corn, soybeans, and wheat. Alfalfa is very easily cross-pollinated by bees and by wind. The plant is also perennial, meaning GMO plants could live on for years. “The way this spreads so far and wide, it will eliminate the conventional alfalfa industry,” said Trask. “Monsanto will own the entire alfalfa industry.””


http://www.jonathanterranova.com/order81.php

“New Orleans Soul Red Beans, Rice and Corn Bread” recipe by DAVID CATCHING (Arthur, 2004)

Here’s an old “Come On In My Kitchen” column from Arthur’s March 2004 issue (No. 9.) Our star chef that issue was Dave Catching, gentleman guitarist of Joshua Tree, California…

This issue’s chef: David Catching of Joshua Tree, California

David Catching is currently a member of earthlings?, Yellow No. 5 and Mondo Generator and appears on The Desert Sessions Volume 9 & 10 (Rekords Rekords/Ipecac). Take it away Dave…

Hey y’all, Mardi Gras season is here and I hope you’re lucky enough to be celebrating it with me in New Orleans. If you are, you’re probably drunk, still drinking, dancing, chasing members of the opposite or same sex all night, and will be pretty tore up tomorrow. Here’s a little recipe I learned from my friend Jimmy Ford at the Jimmy Ford Clinic (thanks for showin’ me the way) and my friend Chef Big D, of the now-defunct Harbor Bar and Restaurant (R.I.P.), both of New Orleans, Louisiana. It’s easy and oh-so-cheap, which will be helpful while your scrambled brain tries to figure out what you spent all your money on. I’m giving you the vegetarian version here, but it’s also killer when cooked with smoked sausage. It ain’t my fanciest recipe, but it is great and will cure the meanest of hangovers for pennies. Regarding Tony Chachere’s Cajun spice: if you can’t find it in your neighborhood stores, I would recommend a trip to New Orleans. That means you’re probably overdue for at least a weekend there anyway…

New Orleans Soul Red Beans, Rice and Corn Bread
feeds six tore-up folks

one pound dried red beans
two cups white rice
one yellow onion
one half red onion
eight cloves garlic
two vegetable bouillon cubes
two tablespoons Tony Chachere’s Cajun spice
three pinches salt
two pinches black pepper
one pinch white pepper
one cup water
one box Jiffy cornbread mix (I know, but real soul food restaurants really do use this mix)
one jalapeno pepper
six ounces grated cheddar cheese
one egg
one cup milk
optional: one pound smoked sausage cut in one-inch length pieces

Wash and soak red beans overnight and rinse. Add water and boil beans until cooked, then simmer on low. Saute onions and garlic, with spices. Add onion, garlic and spices to simmering red beans and cook a few hours to taste. Follow rice cooking instructions. Follow Jiffy cornbread mix directions, then add chopped jalapeno pepper and most of the cheese. Sprinkle remaining cheese on top and cook per Jiffy cornbread mix instructions. Serve a mountain of beans (with or without the smoked sausage) on a nice thin bed of rice.

My first taste of this particular recipe was at the Harbor Bar and Restaurant (the best soul food joint anywhere, ever) on Mardi Gras Day, 1993. This was without a doubt one of the best days of my life. I marched with the Lions Carnival Club, starting at 6am, with our second line brass band leading the way, from the sparse uptown gatherings, through to the thousands gathered at Lee Circle with Rex and Zulu, finally reaching the unbridled revelry of the French Quarter at 3pm, our costumes and masks obscuring the awe and joy we all were experiencing, some of us having imbibed many brands and colors of hard alcohol, psychedelics, prescribed and non-prescribed medications, marijuana and, from what I can gather through hearsay and gossip, stimulants of all kinds. In the madness of Frenchman Street at sunset, I met a beautiful stranger, who led me to the Harbor Bar and Restaurant. There, I was saved by the red beans and rice…

….and a double turkey and seven.

Arthur Radio Transmission #16 w/ Spectre Group

This week on Arthur Radio we invited the Spectre Event Horizon Group to create an original and undoubtedly mind-expanding segment for the show (you may otherwise know them on the Arthur blog as secret santa, purveyors of obscure and highly relevant technological, biological and environmental information of this day and age). Here’s a description of their first audio documentary contribution, straight from Spectre themselves:

Spectre begins its experiment with radio by getting a tutorial from Albie Tabackman, an inventor + osteopathic physician who – among many other cool projects – has got a customized electric delorean up on blocks in his backyard. He’s also our friend Max Fenton’s dad, who joins us as well: lately Albie’s been working with stirling engines, and today they both kindly help us understand how it is stirling engines work and why we should each have one under our kitchen sink. Or don’t you want your own personal emission-free power plant?

More on stirling engines from the Spectre vault: http://spectregroup.wordpress.com/2010/04/09/the-stirling-age/


Stream: [audio:http://www.arthurmag.com/magpie/wp-content/uploads/2010/05/Arthur-Radio-Transmission-16-w-Spectre-Group-5-2-2010.mp3%5D

Download: Arthur Radio Transmission 16 w/ Spectre Group 5-2-2010

This week’s playlist…
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WHY WAS THAT GUY SO DUMB?

From The New Yorker

Last week, before the Times Square incident, I was talking with a former U.S. intelligence officer who worked extensively on jihadi cases during several overseas tours. He said that when a singleton of Shahzad’s profile—especially a U.S. citizen—turns up in a place like Peshawar, local jihadi groups are much more likely to assess him as a probable U.S. spy than as a genuine volunteer. At best, the jihadi groups might conclude that a particular U.S.-originated individual’s case is uncertain. They might then encourage the person to go home and carry out an attack—without giving him any training or access to higher-up specialists that might compromise their local operations. They would see such a U.S.-based volunteer as a “freebie,” the former officer said—if he returns home to attack, great, but if he merely goes off to report back to his C.I.A. case officer, no harm done.

Whatever the narrative behind Shahzad’s case turns out to be, we can take solace that we will hear it in a court of law. Amidst the country’s often self-defeating search for a justice system to address terrorism, his is not a particularly hard case—a U.S. citizen arrested on U.S. soil for a crime against Americans carried out in New York. We can nonetheless look forward to “The Daily Show” clips showing cable television anchors railing about the Obama Administration’s failure to recognize him as a warrior. Fortunately, like one of those Eleven O’clock News bank robbers who tries to rob an A.T.M., only to topple it over on himself, Shahzad’s case may help to illuminate a truth larger than himself: Terrorists are criminals, and the great majority of criminals are prosaic.

PAUL CULLUM on LARS VON TRIER’s more obscure work (Arthur, 2004)

The Rules of the Game
A “Camera Obscura” column by Paul Cullum
Originally published in Arthur No. 11

Discussed herein:

The “Kingdom of Credibility” Trilogy:
o The Humiliated (De Ydmygede) (1998), directed by Jesper Jargil
o The Exhibited (De Udstillede) (2000), directed by Jesper Jargil
o The Purified (De Lutrede) (2002), directed by Jesper Jargil

And:

o The Five Obstructions (2004), directed by Jørgen Leth and Lars von Trier
o Tranceformer: A Portrait of Lars von Trier (1997), directed by Stig Björkman (available on the Criterion DVD release of von Trier’s The Element of Crime)

“In the rain forest of the Cameroon in West Central Africa lives a floor-dwelling ant known as Megaloponera foetens, or more commonly, the stink ant. On occasion, one of these ants while looking for food is infected by inhaling a microscopic spore from a fungus of the genus Tomentella. After being inhaled, the spore seats in the ant’s tiny brain and begins to grow, causing changes in the ant’s patterns of behavior. The ant appears troubled and confused; for the first time in its life, it leaves the forest floor and begins to climb. Completely spent and having reached a prescribed height, the ant impales the plant with its mandibles. The fungus continues to consume first the nerve cells and finally all the soft tissue that remains of the ant. After approximately two weeks, a spike appears from what had been the head of the ant. This spike is about an inch and a half in length and has a bright orange tip, heavy with spores, which rain down onto the rain forest floor for other unsuspecting ants to inhale.” —The Museum of Jurassic Technology

Were he not already so ubiquitous, this might seem like the season of Lars von Trier. Dogville, the first part of his “USA Trilogy” (to be differentiated from his “Europa Trilogy”—The Element of Crime, Epidemic and Europa/Zentropa; and his “Golden Heart Trilogy”—Breaking the Waves, The Idiots and Dancer in the Dark) appeared earlier this year to begin the excoriation of the American character by European cinema, a process just put to decisive referendum by the awarding of Michael Moore’s Fahrenheit 9/11 the Palme d’Or at Cannes. Stephen King’s The Kingdom Hospital, an adaptation of The Kingdom I and II, von Trier’s successive miniseries on Danish television, appeared as a much-touted ABC series and suffered mightily by comparison. And The Five Obstructions, co-directed by von Trier and his mentor Jørgen Leth, equal parts documentary, experiment and intervention, currently scuttles its way around the arthouse circuit.

The latter presents von Trier at his comical best. Resembling Fassbinder refashioned as a Muppet (Fassy Bear?), he is at once imperious and cuddly, using his private empire to force Leth, his former film instructor at the Danish Film Institute, into repeatedly remaking The Perfect Human, the film von Trier rates closest to perfect. “This little gem,” as he calls it, is a 12-minute 1967 black-and-white short that marries an insouciant formal abandon to a faux anthropological take on upscale hipsters, in the manner of Peter Sellers’ The Running Jumping & Standing Still Film (which handed Richard Lester his directing style on a platter) or, more pointedly, title designer Saul Bass’s Why Man Creates. Leth is the one who famously introduced “the rules of the game” into von Trier’s way of thinking, the intense penchant for order which, as we know from Tranceformer, a 1997 documentary by Stig Björkman, implicitly appealed to this son of radical academics who was raised free of restraints of any kind. (Tranceformer also informs us that at age 12, “Lars Trier” was the child star of Clandestine Summer, a winsome Swedish-Danish TV series, and that he added the “von” in film school—as in “Erich von Stroheim,” Teutonic tyrant and classical sadist—in much the same way Francis Ford Coppola appended his signature to exchange the quotidian for the epic.) The Five Obstructions is justified as homage and a form of therapy, von Trier’s magnanimous gesture to force his mentor out of his “provocative perverse perfection.” Yet it ultimately borders on autobiography, as von Trier judges and rejects not only his patriarch, but his own aesthetic foundations, subjecting them to outsize pressures as if to test their structural worthiness—like Steven Soderbergh did in interviewing his mentor, Richard Lester, in Getting Away With It.

This is the Lars von Trier—whimsical ideologue, benevolent autodidact, goofball despot—on display in three documentaries by Jesper Jargil, which he collectively labels “The Kingdom of Credibility Trilogy.” Jargil, who shot von Trier’s The Idiots and has directed over 500 commercials, is a kind of unofficial biographer of the Dogme masters class: The Humiliated (1998) is a behind-the-scenes look at The Idiots, arguably von Trier’s best film; The Exhibited (2000) chronicles his similar assault on the theater; and The Purified (2002) documents a summit meeting of the four Dogme founders, as well as their separate peace with procedural orthodoxy. None are currently commercially available, and all are ripe for international exploitation. Jargil is currently working on a documentary on D-Day, Dogme 95’s simultaneous four-channel improvised docudrama that was broadcast on New Year’s Eve 2000, with the working title 4-D.

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ALL-AGES DIALOGUES, Part V: Will Oldham—”I think the best thing we can probably do would be to make fake IDs more available” (Arthur, 2006)

photo by Valgeir Sigurðsson

The ALL-AGES Dialogues: A conversation with Will Oldham
by Jay Babcock

This interview was conducted by phone in late summer 2006, as part of a series of conversations I was doing with various folks regarding the history of all-ages, philosophy/ethic of all-ages, the state of play of all-ages, yadda yadda. Shoulda been published long ago but stuff kept going awry and we didn’t get it in the mag. Still, almost four years later, it’s a good, pertinent read. Thanks to Will for his time and patience, and special thanks to a certain friend of Arthur who transcribed this conversation a long time ago.

Will Oldham, as Bonnie “Prince” Billy, is traveling and playing shows right now with the Cairo Gang. More info: dragcity.com

Previously in this series:
Interview with John Sinclair (MC5 manager, activist, poet-historian)
Interview with Chuck Dukowski (Black Flag, Chuck Dukowski Sextet)
Interview with Calvin Johnson (K Records, Beat Happening, Dub Narcotic Sound System)
Interview with Greg Saunier (Deerhoof)

Arthur: Do you prefer to play all-ages shows? Is it a priority for you, or does it even matter?

Will Oldham: It matters and it makes a difference, but it isn’t a ‘priority.’ Does that make sense? Every show is contextualized for what it is—in that way, it’s important. But I guess my skewed stance is that I’ve always approached this work of making music in terms of… I think my main drive is to write and record music, so playing live is always just a weird experiment. So to me, every aspect of playing live is part of that weird experiment, whereas a lot of bands and musicians seem to make records of the music that they make. [For me] it’s the reverse. I think that every time that you play live, it’s like, ‘Whoa! What was that all about?’ It’s great whoever the audience is. You try to find the most fun audience, I guess.

Arthur: I noticed that when you are touring shortly, you’re playing a bunch of record stores…

Yeah, an all record-store tour.

Arthur: One of the weird things, from what I can tell about the performance environment in America, is that one of the few places where people of all ages can see quality music in a live setting now is the record store.

Yeah. “Quality music.” One thing that I had started to think about before we started on this topic was… like, how old are you?

Arthur: 35.

I’m 36, and my sense is that, if you won’t take offense, is that we are out of touch. There are quality shows going on six out of seven nights a week that are all-ages shows, in people’s houses, in public places, and we just don’t know those bands. Because I’ve seen some this year—I’ve seen some every year. And it’s like, Whoa, where’d these kids come from? And these kids came from the same places we came from, and they’re making great music that we don’t have access to, because… It’s the same way that bands that I went to see play 20 years ago, people who were 22, to 36, to 50, they would be saying ‘There’s just no music going on these days. There’s no shows like I remember.’ And meanwhile, I was having the fucking time of my life!

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