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THE ANARCHY SHOW
PLAYLIST FOR 31 MAY 2010
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Songs:
Wiya Angela Pamela: Super
World Turned Upside Down
Deadly Dub Monkey Marc:
It's the End of the World as We Know it and I feel FINE!
http://www.alec.org.au/eng/content/download/479/2491/file/cameco%20paladin%201%20pg.pdf
As public opposition grows in Alice Springs to a radioactive mine at the nearby Angela Pamela uranium deposit, well known local band the Super Raelene Bros have teamed up with Western Arrarnta and Luritja musicians – ‘the Little Sisters Collective’ - to release their debut single WIYA! Angela Pamela.
This unique single is performed in Luritja and Western Arrarnta, with a smattering of English, scattered across a deep funk groove.
Basil Schild, singer with the Super Raelene Bros said “When the seasonal dust-storms blow from the south, the southern town camps of Anthepe, Karnte, and Ilparpa are likely to be the first to breathe radioactive nucleides carried by the dust and wind.”
“In the Pitjantjatjara and Luritja languages ‘WIYA!’ means ‘NO!’ and that is what Alice Springs people, both Aboriginal and non-Aboriginal, say about a uranium mine so close to their homes.”
Cameco Australia and Perth-based Paladin Energy Ltd
Will it impact on our water?
Uranium occurs naturally in the Alice Springs region. It has been there for millions of years and hasn’t affected the Alice Springs water supply. We don’t believe exploration and mining at Angela-Pamela will have any impact on the aquifer but we will do research to make sure.
The Brewer Estate was built south of the town, as it’s over dry rocks and not near the water table. In fact, that’s why it was put there, so if there are any industrial spills the water won’t be affected.
.
The Angela-Pamela deposits are even further south. Water needed for mining could be piped from brackish parts of the water table that are not suitable for drinking water or horticulture or somewhere else entirely. Again, we will have to do studies to ensure there is no impact on the Mereenie Aquifer.
Disney,
Lawrence Lessig
in1928, a cartoon character was born. An early Mickey Mouse made his debut in May of that year, in a silent flop called Plane
Crazy. In November, in New York City’s Colony Theater, in the first widely distributed cartoon synchronized with sound, Steamboat
Willie brought to life the character that would become Mickey Mouse. Synchronized sound had been introduced to film a
year earlier in the movie The Jazz Singer. That success led Walt Disney to copy the technique and mix sound with cartoons. No
one knew whether it would work or, if it did work, whether it would win an audience. But when Disney ran a test in the summer of
1928, the results were unambiguous. As Disney describes that first experiment, A couple of my boys could read music, and
one of them could play a mouth organ. We put them in a room where they could not see the screen and arranged to pipe their sound
into the room where our wives and friends were going to see the picture. The boys worked from a music and soundeffects
score. After several false starts, sound and action got off with the gun. The mouth organist played the tune, the rest of us in the sound department bammed tin pans and blew slide whistles on the beat. The synchronization was pretty close. The effect on our little audience was nothing less than electric. They responded almost instinctively to this union of sound and motion.I thought they were kidding me.So
they put me in the audience and ran the action again. It was terrible, but it was wonderful! And it was something new!
Disney’s then partner, and one of animation’s most extraordinary talents, UbIwerks, put it more strongly: “I have never been so thrilled in my life. Nothing since has ever equaled it.”
Disney had created something very new, based upon something relatively new. Synchronized sound brought life to a form of
creativity that had rarely—except in Disney’s hands—been anything more than filler for other films. Throughout animation’s
early history, it was Disney’s invention that set the standard that others struggled to match. And quite often, Disney’s great
genius, his spark of creativity, was built upon the work of others. This much is familiar. What you might not know is that 1928 also marks another important transition. In that year, a comic (as opposed to cartoon) genius created his last independently produced silent film.
That genius was Buster Keaton. The film was Steamboat Bill, Jr. Keaton was born into a vaudeville family in 1895. In the era of silent
film, he had mastered using broad physical comedy as a way to spark uncontrollable laughter from his audience. Steamboat
Bill,Jr. was a classic of this form, famous among film buffs for its incredible stunts. The film was classic Keaton—wildly
popular and among the best of its genre. Steamboat Bill, Jr. appeared before Disney’s cartoon Steamboat Willie. The coincidence
of titles is not coincidental. Steamboat Willie is a direct cartoon parody of Steamboat Bill, 2 and both are built upon a common song as a source. It is not just from the invention of synchronized sound in The Jazz Singerthat we get Steamboat Willie. It is also from Buster Keaton’s invention of Steamboat Bill, Jr., itself inspired by the song “Steamboat Bill,” that we get Steamboat
Willie, and then from Steamboat Willie, Mickey Mouse. This “borrowing”was nothing unique, either for Disney or for the industry. Disney was always parroting the feature length mainstream films of his day. 3 So did many others. Early cartoons are filled with knockoffs—slight variations on winning themes; retellings of ancient stories. The key to success was the brilliance of the differences. With Disney, it was sound that gave his animation its spark. Later, it was the quality of his work relative to the production-line cartoons with which he
competed. Yet these additions were built upon a base that was borrowed. Disney added to the work of others before him,
creating something new out of something just barely old. Sometimes this borrowing was slight. Sometimes it was significant. Think about
the fairy tales of the Brothers Grimm. If you’re as oblivious as I was, you’re likely to think that these tales are happy, sweet
stories, appropriate for any child at bedtime. In fact,the Grimm fairy tales are, well, for us, grim. It is a rare and perhaps overly
ambitious parent who would dare to read these bloody, moralistic stories to his or her child, at bedtime or anytime.
Disney took these stories and retold them in a way that carried them into a new age. He animated the stories, with both characters
and light. Without removing the elements of fear and danger altogether, he made funny what was dark and injected a genuine
emotion of compassion where before there was fear. And not just with the work of the Brothers Grimm. Indeed, the catalog of
Disney work drawing upon the work of others is astonishing when set together:
Snow White (1937), Fantasia (1940), Pinocchio
(1940), Dumbo (1941), Bambi (1942),
Song of the South (1946), Cinderella (1950),
Alice in Wonderland (1951), Robin Hood
(1952), Peter Pan (1953), Lady and the Tramp
(1955), Mulan (1998), Sleeping Beauty (1959),
101 Dalmatians (1961),The Sword in the
Stone (1963), and The Jungle Book (1967) not
to mention a recent example that we should
perhaps quickly forget, Treasure Planet
(2003).
In all of these cases, Disney (or Disney, Inc.) ripped creativity from the culture around him, mixed that creativity with his own extraordinary talent,and then burned that mix into the soul of his culture.
Rip, mix and burn.
Back in 1995 my buddy Ian asked me if I wanted to make psychedelic videos and play them on old TV's while his band "The Mighty Afros" played. From that moment on I became what is now known as a VJ and my journey with appropriating intellectual property began. My first hurdle was copying VHS movies from the video store. I soon figured out that if I passed the video signal from one VCR through the Panasonic video mixer I was borrowing and into a second VCR I could make a decent copy of the movie bypassing the Macrovision protection. This seemed to
be my method of choice for a long time. I would load my Apple clone (yeah, they had those once) with stolen footage, edited loops with a pirated copy of Adobe Premiere and made VCD's that would play on my hacked APEX DVD players.
That was until in 2000 I could afford a computer with a DVD burner and Norwegian teen hacker Jon Johansen broke the CSS 0(Content Scrambling System) that prevented artists like me from sampling Hollywood for use in high energy Drum and Bass.
There weren't many people like me in Atlanta back when I started, but I could feel that the folks who were doing this were on the cusp
of new art movement. I used to think that some fed fuck would break down my door and arrest me for "stealing". But I must admit it
gave me a thrill to know I was doing something illegal. One day I went to my favorite video store and saw a tape by the Emergency
Broadcast Network. Holy fuckin’ hit, these guys were taking it to the next level. They were making music with video samples and
making political statements too boot. Yep, that new art form was already here. Thanks to the internet, better copying tools, non-linear editing
programs, and hi-speed connections, we have the ability to create like never before, and have to access the most numerous and diverse
palette in the history of video art.
If you've been appropriating footage for a while, you know how amazing this time is. But the problem is that most of the video out there has tight copyright restrictions and copying and altering remains illegal under current intellectual property rules in the US and beyond. If you are
like me, your passion surpasses your fear and you roll the dice with every creation, with the hope that the long arm of the MPAA doesn't
come after you.
Let's rewind for a bit. Back when Grand Master Flash was sampling vinyl and creating hip-hop was he afraid of what Chic was going to
do to him for snagging the beat from "Good Times? I bet in the back of his mind was a little something bugging him. In the end he and others said "fuck it" and went on to create what would become a mega industry and probably the most exciting music form of the last 100 years.
The multi-billion hip-hop industry is now controlled by folks who are against anyone sampling or appropriating sounds
without paying exorbitant fees. I am sure you can see the hypocrisy in this. The are benefiting from innovations created by breaking the rules they created and enforce. The RIAA and the MPAA might be shooting themselves in the foot by spreading fear on would be innovators who could in turn be creating the next "hip-hop".
There are folks like Creative Commons, who are working on more flexible models that bypass these archaic rules and that hope to provide
fertile ground for sample artists, while protecting original creators. Then there are folks like CrimethInc who advocate a more free for all mentality. In any event, we are in the midst of an intellectual property battle and one where I hope the innovators, the creators and the risk takers will prevail. ........the stimulator
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The Triple Zed news team won a national CBAA award for Youth Contribution in 2009. This award recognised the news team's efforts in highlighting youth issues and providing a voice for marginalised groups.
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