DOES IT HURT?

1. From the April 1, 2010 New York Times

In the past year, Mr. Scanlon, 49, has laid off two workers and canceled the health insurance of a third, whose hours also were cut. He has scaled back his own family’s health plan, deputized his wife, Sherry M. Speirs Scanlon, 51, as an ambassador to scare up more business and enlisted their 27-year-old daughter, Tashel, to work as the office manager. When he can get a decent price for his four-bedroom colonial in Westchester County, he expects to sell it.

All that, and yet the family-run store he opened on Westchester Avenue in 1991 — a mainstay of this working- and middle-class neighborhood — still teeters on the edge, propped up by signs and sidewalk showcases. Sales have fallen by more than half in the last two years. The economy may be turning around in some parts, but not here, not now.

“We saved $100,000 to start up our business, with three kids and a mortgage,” Mr. Scanlon said with a sigh after a long day of tepid sales. “Sherry worked two jobs, as a bookkeeper and waiting on tables. I worked two jobs — plumbing supply by day, handyman by night. You know how hard it is to save $100,000? And now I find myself apologizing to my family.”

The Scanlons’ struggles at the Pelham Bay Home Center echo through the neighborhood, and the nation. Within one block of the Scanlons’ store, seven small businesses — among them a Chinese restaurant, a fruit and vegetable market, a nail salon and a real estate office — have closed in the last year. Many more, like Pete’s Car Care across the street, are scraping by, hoping to outmaneuver the recession by reducing orders, firing employees and delaying payments. Banks have offered little help; most will not lend to businesses short on cash, although after months of reproach, this is beginning to change…

2. Matty from The Soft Pack, in a recent LARecord interview: “Everyone’s going into the red. It’s almost like charity to put out records.”

3. Many people in the creative arts, and many small autonomous businesses, are watching their dreams wither and die right now due to the economic contraction and/or digital imprecation.

We all speak in private all the time about How Bad Things Really Are—about what we see happening to us and to others—but have you noticed how few of us will talk about it publicly? Nobody wants to appear as the whiner, the complainer, the embittered loser, the pessimist. It can makes us look small, self-obsessed. Some of us fear, with reason, that speaking openly about our view—our experience—of the state of play can cost us future work. Who wants to work with a depressed whiner? etc.

But: if nobody speaks, then no one outside of the circle knows. And when things aren’t spoken of, they fester. The scale and depth of our troubles remain unknown, which makes even beginning to address the problem—this implosion—difficult, if not impossible.

I’m going to write more about this soon, but in the meantime: please feel free to use the “Comments” section here. Be like a dissident. If you can’t speak openly about what’s happening, for whatever reason, then try the pseudonym option.

John Pham 'Living Space' exhibit at GR2

gr2_pham.1

April 10, 2010 – May 5, 2010
Reception: Saturday, April 10, 6:30 -10:00

GR2
2062 Sawtelle Blvd.
Los Angeles, CA 90025
gr2.net
310.445.9276

Giant Robot is proud to host Living Space, an art show featuring new work by John Pham.

John Pham is a Los Angeles-based, Xeric Grant-winning artist and creator of the ongoing graphic novel series Sublife, published by Fantagraphics, in addition to making work for various galleries and clients.

The work in Living Space portrays a cartoon world with its own set of laws and internal pop-inspired logic. The flat, vibrant colors and abstract lines clash with caricatures of urban, Los Angeles streetscapes and the people who live there. Rules of perspective and representation are willfully ignored in the gouache paintings on panel; the familiar figures, faces and places are distilled into contorted, colorful versions of themselves. Everything becomes, in effect, a cartoon. At first glance, the fluorescent-skinned, fractured people and pop candy-colored buildings may seem alien and off-putting. Upon further inspection, and with some familiarity, they prove inviting, friendly and, most importantly, human. The pieces will be mostly gouache paintings on panel with a few sculptures.

THE OLDEST SOLUTION ON EARTH

from : http://spectregroup.wordpress.com/2010/04/02/the-oldest-solution-on-earth/

A Fungus Thats Eats Oil Spills
http://time.com/time/video/player/0,32068,13102109001_1879838,00.html
http://fungi.com/mycotech/mycova.html
http://books.google.com/books?id=NPI8_-omzvsC
“What Stamets has discovered is that the enzymes and acids that mycelium produces to decompose this debris are superb at breaking apart hydrocarbons – the base structure common to many pollutants. So, for instance, when diesel oil-contaminated soil is inoculated with strains of oyster mycelia, the soil loses its toxicity in just eight weeks.”

Mycoremediation
http://ted.com/talks/paul_stamets_on_6_ways_mushrooms_can_save_the_world.html
http://planet.wwu.edu/archives/2008/articles/winter/shroom-vacuum.php
“Mushrooms eat more than just rotting wood. Give them oil, arsenic or even nerve gas, and they’ll give you back water and carbon dioxide. Mushrooms are nature’s prime decomposers, and they’re very good at what they do. They eat by releasing enzymes capable of breaking down substances from which they gain nutrients. Their usual diet consists of plants and other organic, or carbon-based, organisms. Since many toxins have similar chemical makeup to plants, fungi can break them down as well. These include petroleum products, pesticides, fertilizers, pharmaceuticals with estrogen, and even neurotoxins. Once the contaminants are broken down, the mushrooms are safe to eat. Mushrooms can also absorb heavy metals such as mercury, lead and arsenic. A species called oyster mushrooms, Pleurotus ostreatus, have a particularly high tolerance for areas heavily contaminated with cadmium and mercury. This means oyster mushrooms can grow in high-mercury areas and still decompose other pollutants. Mushrooms that ingest heavy metals are no longer safe to eat, because the toxins remain concentrated in the mushroom instead of being broken down. For this reason, heavy-metal laden mushrooms must be removed after absorption to prevent the metals from reentering the area when the mushrooms die and decompose. Mycoremediation was first attempted in Bellingham in 1998, when Stamets and a team of researchers from Battelle Pacific Northwest Laboratories in Sequim, Wash. treated plots in a contaminated truck maintenance yard operated by the Washington State Department of Transportation. After four weeks, the plots not treated with spores remained unchanged, but the spore-rich plot had sprouted a large crop of oyster mushrooms. Over the next five weeks, the mushrooms matured, reproduced and then died. Their life cycle attracted insects, birds and other animals, and life flourished on the once-dead plot. Fungi have a much different structure than plants. Mushrooms are part of a larger organism known as the mycelium. Mycelia are complex webs of hair-like fibers that resemble the neurological pathways in the human brain. Although only one cell wall thick, mycelia are responsible for cycling nutrients through the fungus and its surrounding environment, according to Stamets’ book. Mycelium mats can grow very large and connect entire forests in a nutrient-sharing network. One specimen covered more than 2,400 acres on an Oregon mountaintop; possibly the largest living organism, according to the journal Nature.”

Mycotopia
http://salon.com/technology/feature/2002/11/25/mushrooms/index.html
“As reported in Jane’s Defence Weekly, one of Stamets’ strains was found to “completely and efficiently degrade” chemical surrogates of VX and sarin, the potent nerve gases Saddam Hussein loaded into his warheads. “We have a fungal genome that is diverse and present in the old-growth forests,” says Stamets. “Hussein does not. If you look on the fungal genome as being soldier candidates protecting the U.S. as our host defense, not only for the ecosystem but for our population … we should be saving our old-growth forests as a matter of national defense.” It’s been more than 70 years since Alexander Fleming discovered that the mold fungus penicillium was effective against bacteria. And yet, complains Stamets, nobody has paid much attention to the antiviral and antibiotic properties of mushrooms — partly because Americans, unlike Asian cultures, think mushrooms are meant to be eaten, not prescribed. But with the emergence of multiple antibiotic resistance in hospitals, says Stamets, “a new game is afoot. The cognoscenti of the pharmaceuticals are now actively, and some secretly, looking at mushrooms for novel medicines.” Based on a recent study documenting the ability of a mushroom, Polyporus umbellatus, to completely inhibit the parasite that causes malaria, Stamets has come up with a mycofiltration approach to combating the disease. Stamets is currently shopping this idea around to the Bill and Melinda Gates Foundation, a front-runner in the effort to provide vaccinations in developing nations.”

Meanwhile, in Newtown Creek
http://riverkeeper.org/news-events/news/press-release-rvk-supports-epas-proposal-to-consider-newtown-creek-for-superfund-status/
http://scienceline.org/2007/01/24/liebach_env_greenpointe/
“For over 50 years, the Greenpoint section of northern Brooklyn has been sitting atop a staggering 17 million gallons of spilled oil—almost 50 percent more oil than was spilled in the 1989 wreck of the Exxon Valdez supertanker in Alaska—and almost nothing has been done to clean it up. The early refineries were careless in their operations, and it’s likely that they started spilling almost as soon as they began operating. Unhampered by environmental laws, few refineries had containment systems to catch spills, so what was released could seep into whatever was around to soak it up. “It was a very messy industry,” says Basil Seggos, chief investigator of Riverkeeper, an environmental watchdog organization. The biggest spill of all wasn’t revealed until 12 years after the Brooklyn Refinery shut down. During a helicopter patrol over Newtown Creek in early September of 1978, the Coast Guard noticed an oil slick on the surface of the water near Meeker Avenue, by the Peerless Importers site. An investigation found that the oil that had saturated the soil underneath nearly 55 acres in Greenpoint. The Coast Guard stopped the seep by installing recovery sumps—or basins—to collect the oil, but until 1989, little was done to address what lay beneath the surface. That was the year Exxon Mobil accepted responsibility for the oil under the ground. Anecdotes of people suffering from asthma and other diseases have been circulating in Greenpoint for years. In addition to the vapors potentially reaching people near the water, some of the petroleum in the creek is dissolved in groundwater, which is also leaking out from the aquifer. But no matter how many grout walls or boom systems are installed, stopping the seeps isn’t a cure-all—the leaks won’t cease until they’re traced to the source. For that to happen, though, there first needs to be a comprehensive removal of what’s inside the aquifer—not just of oil floating freely on the water table, but of the oil stuck to the sandy soil and gravel. The pumping approach could take up to 20 years.”

April 5, Brklyn: DAVE TOMPKINS DELIVERS THE GOODS

FROM THE COMPUTER OF DAVE TOMPKINS:

seconds

Hello

NCAA Basketball Championship, Easter Monday, 1983.

NCSU Wolfpack guard Derek Whittenburg sits in a locker room in Albuquerque, listening to “Pack Jam,” a vocoder hit by the Jonzun Crew. He is two hours and one Jimmy V-hug away from launching a 30-foot air ball that would be rescued by a (surprised?) Lorenzo Charles and flushed home when the buzzer screamed red. Snip net.

One of my favorite postgame memories was that of Wolfpack center Cozell McQueen standing on the rim–or verge—while back in Raleigh, NC, kids lit their couches’ asses on fire.

Cozell

This Monday, April 5th, just before anyone but (please, for the love of Zardoz, not ) Duke wins it all, I’ll be at Book Court, in Brooklyn, playing 15 seconds of “Pack Jam”, in honor of all the Wolfpack squads who have been sitting at home on this special night for the past 27 years.

It will also be the eve of the release of my book How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop—The Machine Speaks. I’ll be showing some photos of the Pentagon’s “Indestructible Speech Machine”(their words), playing space funk audio and swapping covert vocoder stories with David Kahn, leading cryptology historian and author of The Codebreakers, “the first comprehensive history of secret communication,” now in its undisputed zillionth printing. Kahn was also the first to openly publish an article about the vocoder’s deployment in World War II.

I hold Kahn responsible for tacking an extra three years onto my book-writing, after he suggested that I hunt down the German telefunkateer who intercepted Churchill phone calls out of the ether, while on a beach in Noorwijk. (Still working on that one.)

Joseph Patel (supervising producer at VBS) will keep things moving along. Joseph first hired me to work for 360hiphop in 2001. Most importantly, he allowed me to publish a photo of the undersea duck-knight from Mysterious Island on Russell Simmons’ web site.

duckster

Web site here: stopsmilingbooks.com

Anywizards

Hope to see you there!

Dave

Thanks to Kevin DeBernardi at Analog Lifestyle (http://analoglifestyle.com) for the dope flyer! And Rock Hudson and Seconds, for the “vocal chord resection.”

"Fabulas Panicas (Panic Fables)": comics written and drawn by Alexandro Jodorowsky ('67-'68)

fabulaspanicas01g

On his return to Mexico in the late-’60s, Jodorowsky started writing and drawing a subversive weekly comic strip (”Panic 
Fables”) in the right-wing newspaper The Herald.

“For four or five years every Sunday I drew a comics page, a complete story,” he told me in 2003. “But it was very basic. When I saw [cartoonist and future Jodorowsky collaborator] Moebius making the drawings, I stopped. And I never make any more.”

Here are some sample pages via http://fabulaspanicas.blogspot.com/—go there to see larger jpgs…

fabula1

fabula5

fabula8

fabula11

fabula19

fabula26

fabula38

fabula52

Arthur Radio #11 w/ Live in-studio by Love Like Deloreans

(This week’s collage — double-click for fullscreen + scroll)

A scene-by-scene recap of this week’s episode by DJ Visitation Rites:

ACT 1
Scene 1, Off Air
In which DJs Ivy Meadows and Visitation Rites arrive at the Newtown Radio studio ready to set up but are hypnotized by a 25-minute bongo-laden siren dirge — Dreamcolour’s “Spiritual Celebration” — at the tail end of Sunday Brunch with Chocolate Bobka. Unbeknownst to them, the song spills fifteen minutes into the beginning of their set.

Scene 2, Aside
Meanwhile, Peter Pearson, Derek Muro, and Lorna Krier of Brooklyn’s Love Like Deloreans steal away from their home base — a renovated closet space in Bushwick containing some 20 synthesizers — load half of them into a Volvo station wagon, and appear at the station door, successfully breaking the spell that has been cast over Ivy Meadows and Visitation Rites.

ACT 2
Scene 1, On Air
Still haunted by the specter of the siren from Act 1, Ivy Meadows and Visitation Rites attempt to reproduce their experience by layering ambient musics from lands as far and wide as ‘70s Germany, early 21st Century Northampton, and present-day Canada into a single organic continuum.

Scene 2, Aside
In which Love Like Deloreans set up all seven of the synthesizers they brought in the drowsy blink of a Sunday afternoon eye, causing Ivy Meadows and Visitation Rites to suspect that that they too possess supernatural powers. Love Like Deloreans do their best to assuage their fears, suggesting that they are simply “putting the punk back in punctuality.” Exeunt Chocolate Bobka.

ACT 3
Scene 1, On Air
Love Like Deloreans perform the first half of their in-studio. Dancing, Ivy Meadows and Visitation Rites attempt to document the event through Blackberry photos, Tweets, and a FlipCam.

Scene 2, On Air
Love Like Deloreans pause to participate in and informal Q&A with Visitation Rites, touching upon their origins as a group, their cohabitation of the classical world and Brooklyn DIY, their roots in New York minimalism and ‘70s Kosmische, and why the best way to listen to music is while traveling cross-country.

Scene 3, On Air,
Love Like Deloreans perform the second half of their in-studio. Dancing resumes. Ivy Meadows films an excerpt of their set through the anamorphic lens of an oddly shaped water bottle, the results of which can be seen below.

Curtain

Stream: [audio:http://www.arthurmag.com/magpie/wp-content/uploads/2010/03/Arthur-Radio-Transmission-11-with-Love-Like-Deloreans-3-28-2010.mp3%5D
Download: Arthur Radio Transmission #11 with Love Like Deloreans 3-28-2010

This week’s playlist…
Continue reading

"In the center of the horror, 
of the civilization, there is the happiness to be alive." —Jodorowsky (1999)

alejandro_jodorowsky

“YOUR BRAIN IS A CRAZY GUY”
Visionary Poly-Artist ALEXANDRO JODOROWSKY talks with Jay Babcock about 
psychomagic, shamanism, video games and Marilyn Manson—as well as his 
spirit-bending films and comics.

originally published in Mean Magazine #6 (Dec ’99-Jan ’00)

A man holds all the universe within him; and art is his view of it. But in 
the work of some artists spiral  vast galaxies of meaning and imagination 
that dwarf by many magnitudes the plebian earthbound work of others. 
Seventy-year-old Alexandro Jodorowsky—post-Surrealist filmmaker, author, 
puppeteer, Tarot expert, post-Jungian psychological theorist, playwright, 
novelist—is one such artist.

Screen Jodorowsky’s El Topo or The Holy Mountain, read The Incal or Metabarons comics, or listen to one of his interviews or lectures, and you 
encounter a one-man spiritual multiculture at play: the anthropological 
erudition and enthusiasm of Joseph Campbell roughhousing with an outrageous 
artistic sensibility that begins at Bunuel, Beckett and Breton and ends in 
some psychedelic sci-fi super-space: the kind of man who can screenwrite 
”He lifts up the robe and draws a pistol” and then comment Talmud-style in 
the margins, “I don’t know if he draws it from a gunbelt or from his 
unconscious.”

Unfortunately, for all but the most clued-in and hooked up in the 
English-sqawking world, most of Jodorowsky’s artistic and philosophical 
output of the last 30 years has been tantalizingly unavailable: films have 
gone unissued on video, comics and other written work have gone 
untranslated or dropped out of print. But, finally, at the turn of the 
century, the situation is changing.

Jodorowsky’s “lost” 1967 film Fando & Lis has been reissued on DVD by San 
Francisco-based Fantoma Films (who have generously included a director’s 
commentary track by Jodorowsky and the excellent, full-length ’95 French 
documentary La Constellation Jodorowsky), The Holy Mountain has been released for the first time (legally) on video, and, perhaps most 
significantly, the U.S. branch of Humanoides Associes has begun an 
ambitious program of printing English-language editions of Jodorowsky’s 
prodigious graphic novel output.
So the time seemed right to give the endlessly aphoristic, giddily 
profound Mr. Jodorowsky the kind of forum in American publications he 
enjoyed in the early ’70s when El Topo and The Holy Mountain were consecutive 
midnight movie successes and the Chilean-born director was regarded by many 
surviving counter-culture types (John Lennon, Peter Fonda and Dennis Hopper 
among them) and journalists as The Guy Who Just May Have the Answer.

We 
rang Alexandro in Paris at midnight recently to find out what he’s up to, 
what he’s thinking and get him to reflect a bit on his long and storied 
career, even if he once said, “As soon as I define myself, I am dead.”

That said, let us attempt a synopsis for the new initiates.

Continue reading