text:
Wednesday, 27 February 2013
Tomorrow: ABU! Show On Disco Scratch Radio
You all know the steez by now; every last Thursday of the month is the ABU! Show on Disco Scratch Radio, 9 - 11pm.
The Album Spotlight is back again with two albums being chosen this month (thanks to Hayhooooooe and Waxer). The usual bizzle, Funk Trunk, skits, scratches as well as a happy helping of boombap beats, electro-funk and funky funk.
Radio - http://discoscratch.co.uk/radio/
Chat - discoscratch.co.uk/chat
Labels: ABU FAMALAM, RADIO
Sunday, 17 February 2013
The Origins Of Hip Hop Map
This is especially interesting to those of us who yearned to but never had the chance to visit some of the famous hip hop landmarks of yesteryear New York city. Kind of puts it all into perspective.
Great to see The Alps (a la Busy Bee) and the Birthplace Of Hip Hop in uptown NY.
I'm not sure about the inclusion of the BK's though. Grandmaster Caz's favourite burger joints? Who knows.
© RJBeals
Labels: PROPER OLD SCHOOL
Tuesday, 12 February 2013
Complete Style Wars Transcript
What's that? Have I got the transcript to the greatest hip hop documentary of all time, Style Wars?
Yes. Yes, I have.
This is Quote Central, baby......
Yes. Yes, I have.
This is Quote Central, baby......
( Orchestral music plays )
Dispatcher: Brown and Walker, bring the train out from 1 6 track.
(Music) lf you're feeling all right, and you think you're on (Music)
(Music) Somebody let me know (Music)
(Music) Everybody in the place put a whistle in your face (Music)
(Music) Scream it out and say, yo! Hit it! (Music)
(Music) You don't stop the rocking rhythm that makes your fingers pop (Music)
(Music) l said hip-hop, now, thanks a lot (Music)
(Music) Come on, everybody, give me what you got (Music)
(Music) I'm going to tell you a little story about the Sugar Hill Gang (Music)
(Music) With the pow-pow boogie, the big bang-bang. (Music)
Narrator: They call themselves ''writers'' because that's what they do.
They write their names, among other things, everywhere--
names they've been given or have chosen for themselves.
Most of all, they write in and on subway trains
which carry their names from one end of the city to the other.
It's called, "bombing,"
and it has equally assertive counterparts
in rap music and break dancing.
(Music) Scream it out and say, "I am!" (Music)
(Music) I am! (Music)
- (Music) Somebody! (Music) - (Music) Somebody! (Music)
Graffiti writing in New York is a vocation.
It's traditions are handed down
from one youthful generation to the next.
To some, it's art. To most people, however,
it is a plague that never ends,
a symbol that we've lost control.
I'm Detective Bernie Jacobs.
I, in conjunction with my partner
Detective Jim McHugh, are the crime prevention coordinators
for the New York City Transit Police Department.
Graffiti, as the name itself,
is not an art.
Graffiti is the application
of a medium to a surface.
I will show you graffiti,
such as the letters on the end
of that car directly in back of me.
Is that an art form? I don't know.
I'm not an art critic-- critic,
but I can sure as hell tell you that that's a crime.
At the Grand Concourse 1 49th Street station in the Bronx,
graffiti writers gather
at what they call, ''The Writers' Bench. ''
SE3: They're saying that the kids run the subways,
that the system is out of control,
that 1 5- or 1 6-year-old kids are running the system
and that graffiti is the symbol of that.
No, I ain't running the system, I'm bombing the system.
They're trying to make it look like graffiti writers break windows and everything.
- It ain't like that. - You know who be doin' that?
Niggers who be high when they come from school are the ones.
And it's in the graffiti artists' favour
to be as cool, calm and collected
about putting his art on the train as he can.
You know, he wants to get in
and get out without even being noticed,
except for the work that's going to come out to the public,
you know, that Monday.
CES: Yeah, we gotta start to rock some straight letters.
- This one came out all right. - Yeah, that's the first.
That's about the third "Skeme" piece I did this year.
And that's the Tick-Tack I did in Gun Hill.
What did you do last night, man?
We did two whole cars. It was me, Dez and Mean 3.
And in the first car, in small letters, it said,
"All you see is"
and then big block silver letters, it said,
- ''Crime in the city, '' right? - It took up the whole car?
Yeah, it was a whole car, and it was a scroll-like,
you know, one of them scrolls?
In the next car it was a Skeme that had a cop character.
You know, a police nigger
with a stick, you know, and a badge--
Barbara Andadcio: Society should go down in the subway and lock them up,
because they don't have any business down there.
It is dangerous down there.
People that work down there 25 and 30 years...
have accidents.
But his contention is that he's immortal, I guess,
Like most 17 year olds are immortal, right?
It's a matter of getting a tag on each line and each division.
You know, it's called, going all-city.
People see your tags in Queens, Uptown, Downtown-- all over.
( laughing )
Really, I can only laugh to keep from crying,
because what happens is that he really--
I don't really think he knows how silly that sounds.
He's going all-city. I mean, to what end?
And when I ask him, he says to me,
"Well, just so people see it and they know who I am.''
Nobody knows who he is and so they see it--
No, it's not a matter of, ''So they know who I am.''
So they see it. And after they see it, so what?
It's a matter of bombing, knowing that I can do it.
Every time I get into a train, almost every day I see my name.
I say, ''Yeah, you know it. I was there, I bombed it.''
It's for me. It's not for nobody else to see.
l don't care-- l don't care about nobody else seeing it,
or the fact if they can read it or not.
It's for me and other graffiti writers, that we can read it.
These other people who don't write, they're excluded.
l don't care about them, you know?
They don't matter to me. It's for us.
Iz the Wiz: ''CC'' starboard bowl
Quik: Slow it down. Slow it down.
Min: What is it? You tell me.
- Nice and slow. - Iz: This is it!
This is it!
This is it!
( yelling )
Here we go! Here we go!
This is it! This is it!
Give me that towel! Give me that towel!
That ''Cathy'' came out nice. That y wasn't wack.
( Quik applauds )
( starts and stops music )
rapping and breaking became the prime expressions
of a new young people's subculture called ''hip-hop. ''
Graffiti is the written word.
There is the spoken word of rap music...
( rap music playing )
and then there's the acrobatic body language of dances like ''breaking. ''
Frosty Freeze: It started in the Bronx and part of Harlem.
It started in Freeze's house.
His mom used to break.
Don't be talking about my mother, now.
Just don't talk about my mother.
Boy, you're acting stupid now.
Breaking is when you don't have nothing to do,
everybody just standing around and getting high.
You make up your own freezes.
You got names for them.
- Like what? - Like the baby.
That's the baby.
A dead freeze, like this.
Crazy Legs: That's one of them old, ancient--
That ain't one of the old, 'cause l was the first one to do it.
How ancient can you get?
- The one when you go like this? - It's called the hump.
- The headache. - No, that's the headache.
And the other one is the hump.
When you got a headache, you go like that, you know?
When you hump, you go like that.
Yo, man, this place is bombed.
Iz: This is the transit system.
They don't like it to be defaced.
They will, at times, try and...
go to the extreme in trying to apprehend you.
The subway system is a very old one
and I've personally explored some tunnels
and I've found rooms with maps that were so old,
might have been like the first train line that New York City had.
Call it what you want,
it's just a lot of rock, a lot of steel,;
it's a tomb, a dungeon, under the city.
A lot of trains, a lot of fun.
A lot of art. Art that's going to be
a part of New York City's history forever.
Sach: Oh, wow! Check it out, a whole car!
Check it out, man! Sach, quick.
Look at that!
A lot of writers have been down here. You can tell.
Graffiti all over the place.
Years ago, it was pretty much a secret.
It was secretly done. People wondered and wished they could do it.
Now, most people do it.
When all the toys are home sleeping...
cuddling to their pillows.
They usually have curfews. Come down...
in the wee hours of the night after the workers done their job,
the sweepers did the sweeping they had to do...
l just take my time and be creative.
Dondi: l think it's something you can never recapture again
once you experience it.
You have, like, live third rails,
and like, crazy cops who come and chase you out.
Even the smell you get when you first smell trains
in a yard, it's like...
it's a good smell to, like,
a dedicated graffiti writer, l guess.
When you're first against a train,
everything seems so big, like...
wow! It's like you're in a yard of metal giants.
l mean, everything is so hard,
and so steel, you're just there.
You're like a little dude in the midst of all this metal,
and like, you're here to produce something.
Well, you're here to try to produce something.
Well, I've seen comparable graffiti.
Not necessarily these particular ones.
Each of these costs us a million dollars, in a sense,
because others went out and tried to copy.
It isn't worth it.
Well, it is one of the quality-of-life offences.
And you can't just take one of those quality-of-life offences;
it's like three-card-monte
and pick pocketing and shoplifting
and graffiti defacing our public and private walls.
They're all in the same area of destroying our lifestyle
and making it difficult to enjoy life.
And l think it has to be responded to.
So I've told you the response that l think a repeater,
three-time repeater, should get would be five days in jail.
Now, obviously, a murderer,
if you believe in the death penalty as I do,
you want to have the option of executing a murderer.
You wouldn't do that to a graffiti writer.
Man: l saw you at work over here
and l just want to find out what you're filming.
Interviewer: We're making a film on subway graffiti in New York.
Why did you take this particular neighbourhood here?
What's unusual?
Is there more graffiti here than other places?
l hope not.
We're here because one of the best
graffiti writers lives around here.
He writes ''Seen. ''
- What is it? - S-E-E-N.
( ''The Wanderer'' plays )
- That's his name? - Yes, that's what he writes.
- Or is it a nom de plume? - It is a nom de plume.
l see. You wouldn't tell me his real name?
- No. - Why not?
Would he get in trouble, or wouldn't he be glorified by it?
(Music) Oh, I'm the type of guy who'll never settle down (Music)
(Music) Where pretty girls are, well, you know that I'm around (Music)
(Music) l kiss 'em and l love 'em (Music)
(Music) 'Cause to me they're all the same (Music)
(Music) l hug 'em and l squeeze 'em (Music)
(Music) They don't even know my name (Music)
(Music) Yeah, I'm a wanderer (Music)
(Music) Yeah, I'm a wanderer (Music)
(Music) l roam around, around, around, around (Music)
- Yeah, go ahead and go -
( saxophone solo plays )
(Music) 'Cause I'm a wanderer (Music)
(Music) Yeah, I'm a wanderer (Music)
(Music) l roam around, around, around, around, around (Music)
(Music) 'Cause I'm a wanderer (Music)
(Music) Yeah, I'm a wanderer. (Music)
Seen: All right, there's about four numerous reasons why...
l ain't painting right now.
To make a long story short,
I'm on what they call a six-month probation.
l call it a six-month vacation, never mind probation.
Now they got a graffiti squad on this line,
which there really was never, really.
Since they come on this line, it's been harder to piece.
It ain't like the old days when the train pulled into the yard on a Friday night,
that train wouldn't pull out until Monday morning.
Now, when you go to piece a train,
you put an outline on the train and you can say goodbye,
the train pulls out 1 0 minutes later.
Or, if you're ready to put an outline,
you gotta chase the train down the track to put an outline on the piece.
It just ain't the same anymore. They don't know what they're doing no more.
Late, as usual.
But I'm here. l show up, though.
l show up. Let me see.
Well, why don't you do this one on that side of the wall?
- You know what I'm saying? - These two?
- No. This one-- - It's going to be crowded.
We're going to have plenty of room.
- The bottom of the piece? - The bottom of the piece, l say, about here.
''The United Artists'' will go a little bit below the top,
'cause you're going to have it on a wave. Big letters.
l want you to start from about here. Maybe even here.
Start it from here. Listen to me. From here.
You understand what I'm saying to you?
( paint spraying )
l still think it's too big.
Now, your first outline is needed, always needed.
This way you know what you're filling in.
No matter how good you are, you can't just go on in
and just start filling in-- in the air.
You've got to have your first outline.
Once your first outline is done, then your fill-in,
that takes away your first outline.
You don't need your first because now you got your fill-in.
From your fill-in, you put your colors and then your 3-D.
lf you want background, you put your cloud or whatever.
How's this, Nick? I'm throwing a few connections here.
I'm going to make it look like yours.
What do you think? I'll make a few bits.
All right. Huh?
Bits. Bits. l don't know. Little doodads here and there.
Yeah, now it's shaping up.
l have about a hundred outlines, but I've shaped it up.
Nicky, Nicky, come on!
You gonna save me room or what?
l didn't do that to yours. Get out of there! Go on!
Woman: He's making a mess in this house.
He cannot sit down without,
you know, doing graffiti on something.
- All right-- - He really can't.
When you're talking on the phone,
you don't doodle on the paper?
- l don't doodle. - Yes, you do.
- l do not doodle. - You do doodle on the paper.
l just write my name while I'm talking on the phone. What's that?
I'm just writing something.
You're telling me that you write your name while you're talking on the phone.
In the meantime, you have destroyed your room.
- You have destroyed your room. - Testing out my paints.
You have no respect for anything.
Don't tell me about testing out your paints.
Ain't we putting red, yellow, or red, orange and yellow here?
No, the brown's got to be brown.
l ain't putting no browns there. Ain't no way.
Red, orange and yellow. You want it to stand out.
The whole thing. Around the whole works-- red, orange, yellow.
Remember how l did the ''Mad Seen'' with the wall
and the color went all around the thing?
The ''Mad Seen,'' the one on the 5s?
With the walls all falling down. The one l did myself.
- No. - All right.
Let me explain.
Yellow, orange and a little bit of red--
yellow and orange around the whole thing and then,
we'll put browns and beiges in the 3-D. Believe me.
I'll show you. Not around the fade.
Fade into the yellow, but a trim over it--
a cheap trim. I'll show you after.
I'll show you after. All right?
I'll never steer you wrong, Nick.
Rustoleum, Krylon, Wet-look,
Epoxy, Red Devil...
When you hold a can of Rustoleum in your hand,
it's like holding three other shit brands in your hand.
It lasts, it covers,
and it's not aerosol like Krylon.
It just comes out in a mist. This comes out like paint.
Mayor Koch: The schools have courses in art.
How about the mothers and fathers of this city
saying to the kids, ''That's the wrong thing to do''?
You listen to them talk, they sound ridiculous.
He's king of the yakkety-yak yard.
Who died and left him king of any yard?
He owns nothing in the subway, you know?
( laughs )
l love robbing paint.
l know, you know, everybody knows how you rob it.
He gets me souped up and sometimes I'll go and get
15 cans at a time, you know.
Stuffing it in your coat, in your shirt,
down the back of your pants. It's mainly with the big coat
and like 15 cans,
you figure it out, it's like over $50.
You're going into stores--
we could go one day and get 100 cans at a time.
It's easy. For me, anyway.
It's harder on black kids
or Spanish kids, 'cause everybody thinks
a graffiti writer is black and Puerto Rican,
and that's, you know, it's wrong.
A lot of white people are writin'.
What you've got is a whole miserable subculture.
Zephyr: l was raised on the Upper East Side of Manhattan.
l went to a sort of strict prep school in the Bronx, right?
Riverdale Country School.
In attending that school,
l had to walk past the 1 yard
on 242nd Street every day.
From where l stood, I'd watch the trains pull in and out.
l thought, ''How could a human being
have his name on every car?''
You know, that these guys
must either live in there, be allowed to live in there,
or just be...
allowed to go off like that, right?
They're trespassing it; they're beating the system;
they're getting their names up, right?
We've drenched the city with our names, right?
We're trying our damndest.
( lengthy instrumental intro )
(Music) Pump, pump, pump me up (Music)
(Music) Like the man with the super ''S'' on his cape (Music)
(Music) Jump through the pump and do great (Music)
(Music) I'm DJ Rockin' and l can pass the test (Music)
(Music) Get down rappers from east to west (Music)
(Music) This party, please, that party, please (Music)
(Music) I'll pump them with the greatest of ease (Music)
(Music) This is DJ Rockin' with the master beat (Music)
(Music) With the boogie and the sound that moves the feet (Music)
- - Somebody say-- - - Get up! Get up!
- - Somebody say-- - - Get up! Get up!
(Music) You party good you're going down (Music)
(Music) You compliment this funky sound (Music)
(Music) Pump-pump-pump-pump me up! (Music)
We caught...
a freshly painted...
and we spent about three hours in it.
- That's impossible. - No, it's not.
We were tagging with the Units,
then the ''Minis,'' then the Marvies,
then the ''Pilots,'' then the Flo-pens
and we were doing clouds
around the tags and 3-Ds on the tags--
for the Double-Rs, to have a clean car back then,
it was... we just had an orgasm.
(Music) Pump-pump-pump me up! (Music)
Narrator: 1 97 0--
the idea of getting your name up,
not just in your neighbourhood, but everywhere,
was invented by a kid named Taki,
who lived on 1 83rd Street in Washington Heights.
Taki 1 83.
As soon as everybody understood that it was a name,
they realized that Taki was famous.
Wasp: Taki 1 83 was the first guy.
Even though they say Julio 204 started before him.
But he was the one who made it famous.
Then, after him, in them times, it was Papo 184.
Then came out Junior 1 61,
Cay 1 61, they were bombing, too.
Stitch came out around 1 97 1.
He was all-city, too.
Barbara, Eva 62, they were girls.
Everybody was writing.
That was what everybody was talking in them days.
- - Somebody say-- - - Get up! Get up!
- - Somebody say... - - Get up! Get up!
l got into graffiti, just like riding the trains, when l was younger.
You know, looking at the old writers' shit, you know?
A lot of new writers around,
you talk to them about a lot of old writers,
they don't know what you're talking about.
l started in 1973 or 197 4,
during very...
early years...
of initial bombing,
very important years of graffiti bombing.
lf it wasn't for those years,
l don't think we would get where we are today.
That was the life back then. That was happening.
Everybody was pioneering back then.
That's when all your developing happened-- your bubble letters,
all that kind of stuff. Your wild styles.
(Music) Pump-pump-pump-pump me up! (Music)
Crash: The wild styles.
Noc: You don't have to do straight letters to have style.
Anything that comes in your imagination
adds onto your own individual style.
The arrow.
Everybody's got their own arrow.
l like that, though.
Various arrow some guys have on-the-letter arrow--
that was like connection.
Some people had different arrows
just going right through their pieces.
- The funk is here so you can go groove -
- We want to make your body move -
(Music) Pump-pump-pump-pump me up! (Music)
Colors, designs, style, technical advanced...
- Get loose. - Get loose.
Cartoons, everything.
And when they see you got a vicious style,
they be wanting to get loose about it,
and that's what keep it going.
- That's what sparks graffiti. - Keep sparkin' it.
You know, l know a lot of good writers,
and all the writers that l knew,
they used to get up, so they used to tell me,
''Trap, why don't you get up?''
And l started getting up with them,
we started doing pieces.
Then l met Dez--
One day, l came to the Bench and l seen him sitting there,
looking at the pieces.
You could tell a writer, you know?
You go to the Bench and you see him
as the trains go by, he be going like this,
you know, he have ink stains on his clothes.
He gave me outlines and stuff to practice--
l can't let him go for at least five minutes,
or he'll destroy the piece.
You know? l turn around,
''Trap, what you doing? l want to do my own piece.''
l said, ''Yeah, but, you know, follow the outline.''
Russ, Russ!
What's up, man?
You know it. Chillin', man!
Slick Rick! Slick Rick!
And the Acey Base!
For about two and a half years l was upstate
from like the beginning of 1 97 0 to '72.
What's up? Hey, what's up?
When l came home, l ain't know nothing about
no writing, no graffiti, 'cause l wasn't about it.
All right, you know it.
What's up, man?
So, when l got home, l seen writing on the train.
l said, ''What's this stuff here?
Those niggers doing their names big.''
Said, ''Let me do one at least.''
'Cause l was down with art already.
And l did me a piece for people in general
to get to know who l am.
l said, ''Oh, that looks all right.
I'ma go every Sunday now.''
Next thing l know, l started getting better and better.
And as l realized, l knew to get better, l said, ''Oh, man,
I'm going to bring out the computer rock.''
And then that's when l really got loose,
'cause then niggers was saying, ''Yo, who's that guy?''
Then one day, these news reporters people was on train station--
we was going by and we seen them.
We seen them filming our whole car.
We went up to them, and l remember, l said,
''Who you think probably done that right there?''
Just to be curious to see what they'd say.
And they say, ''l don't know, but whoever done it,
that's remarkable talent.
l ain't never seen nothing like this before. ''
l said, ''lf l told you l did it, would you believe me?''
He say, ''l don't know. l can't say,
but l believe so, 'cause you don't know
what you can believe these days.''
l said, ''l did.'' And then he said,
''l don't believe that. You only got one arm.''
l said, ''That don't mean nothing.
l do things that people don't realize l can do with this.
Being that I'm like this, you know?''
And then he said, ''l hear you there, sonny.''
And l say, ''l ain't no sonny.
l just was asking you a question, sir,
that's all l wanted to know, to see your feelings about it.''
( whistling )
- Do you want to dance? -
What's up?
You getting some candy?
Ain't getting nothing?
Gimme some candy, man. Ain't got no candy?
Hey, Gigolo! Whatcha know?
Where that nigger at?
Yeah, yeah, yeah, l can dig it.
We goin' on the other side, right?
Wha-wha-wha-- gigolo.
- What happpenin'? - The Beatmaster.
- Do you want to dance? -
- Are you willing to take a chance? -
- Look at that eye. - Word.
Look at that eagle. Word.
l said look at that eye.
You know where he got that from, right?
From Vaughn Bode and who? Frank Frazetta!
The Beat master.
The letters is breakin' out.
''The epic adventures of a new kind of hero.''
That's what we're going to be. The extraterrestrial brothers.
You know what I'm saying? Extra terrest!
Knowing we the best. Know what I'm sayin'?
( train whistle blowing )
- It's a Dezzy Dez and a Kasey Kase -
- And D-5, we're going to rock the place -
- And if you're based in the place -
- You will get disgraced, because we are the crew -
- That we got the place -
- Rock-sock-it, rock-it-in-a-pocket -
- A sock-sock-it, rock-it-in-a-pocket -
- l say, pushed that girl in front of the train -
- Took her to the doctor, sewed her arm on again -
- Stabbed that man right in his heart -
- Gave him a transplant for a brand new start -
- Can't cut through the park -
(Music) 'Cause it's crazy after dark (Music)
(Music) Keep my hand on my gun, they got me on the run (Music)
(Music) l feel like a outlaw broke my last glass jaw (Music)
(Music) Hear them say, ''You want some more?'' Living on a seesaw (Music)
(Music) Broken glass everywhere, people pissing on the stairs (Music)
(Music) You know, they just don't care, l can't take the smell (Music)
(Music) Can't take the noise, got no money to move out, l guess l got no choice (Music)
(Music) Rats in the front room, roaches in the back (Music)
(Music) Junkies in the alley with a baseball bat (Music)
(Music) l tried to get away but l couldn't get far (Music)
(Music) 'Cause a man with a tow-truck repossessed my car (Music)
(Music) Don't push me 'cause I'm close to the edge (Music)
(Music) I'm trying not to lose my head (Music)
- Ha-ha-ha! -
Kase: Well, l know one thing about graffiti, man.
Niggers say it played out, niggers say this, niggers say that.
But, it's going to keep going on.
'Cause l might be old and quit, but you coming up,
younger niggers is coming up, it's going to keep going and keep going, you know?
'Cause you going to be a king soon, too, you know?
Dez: He's like a son to me, in a way, you know.
l look out for him and he looks out for me.
l won't let nothing happen to him, you know?
He won't let nothing happen to me if he could help it.
l know for his age,
he's 1 4 now,
and I'm 16.
About the time he get my age,
he be one of the best people out.
lf he continues to go on in the years,
he can be another Picasso.
( laughs )
(Music) Get funky in the place (Music)
(Music) Get funky in the place (Music)
(Music) Life ain't no more a joke, it's a serious thing (Music)
(Music) When you're dealing with the answers that you can't explain (Music)
(Music) It's the funky beat and there's the funky beat (Music)
(Music) And there's the funk, the funk and the funky beat (Music)
(Music) E-yah (Music)
(Music) Like a little jelly bean I'm a sweet like a candy cane (Music)
(Music) l make you get down this is number one stain (Music)
(Music) On the train just groovin' like a seesaw (Music)
(Music) They're a-breakin' up, yeah, yeah... (Music)
Narrator: The idea of style and competing
for the best style is the key to all forms of rocking.
(Music) He can own the freak a-like a little deak-deak (Music)
(Music) You're rockin' on (Music)
With the rap M.C., it's rocking the mike...
for the B-boys, it's rocking your body in break dancing.
Or for writers, rocking the city with your name on a train.
(Music) Get funky in the place (Music)
(Music) Get funky in the place... (Music)
( boombox playing )
Lennie Len: Right now, he's doing the footwork
when original breaking came out.
There he's doing the baby and the turtle.
- The back bridge. - Yeah.
He did the head spin and then just went up.
l got a certain backspin that l made up.
Want me to show you it?
l started off doing like this...
and landing like that.
So, then, l just...
decided not to do the freeze and keep on spinning.
So it goes like this.
l put my arm right here and it's easy.
And l push my arm and swing my left leg--
my right leg-- both of 'em around.
Other crews, they're not as good as us,
'cause we have the breaking form.
- Crazy Legs: Original style. - Yeah, original style.
Other crews like ''Dynamic Rockers,''
- they bite, usually-- - Yeah, they bite!
Let me tell you about these people, Dynamic Rockers.
MC: One-two-one-two.
One-two-one. Party people in the place!
Rock Steady against Dynamic Rockers!
Rock on till the break of dawn!
Crazy Legs in the housel
Crazy Legs: This goes back...
when l used to go to the roller-skating rink,
United Skates of America in Queens, right?
l used to go over there to break against all of them and take them all out.
You know, burn 'em, make 'em look stupid.
And they had no kind of style at all.
They was beginners.
l been breaking way before them.
MC: (Music) A-rock-on the kid the Crazy Legs... (Music)
Frosty Freeze: We started doing better routines than they were.
They got to a point where they got mad at us
because we was taking them out with our moves.
Then, that started getting out of hand,
because they had the crowd and we didn't.
MC: Yo! Whoever ain't in Rock Steady or Dynamic,
get behind the barriers!
Yo! Both rockin' crews, can you please listen?
Nobody's listening to me.
We're not going to start until you move.
Rockers, get ready.
( music playing )
Frosty Freeze: Up-rock is just like humiliating.
Doing things in peoples' faces and all that.
And down-rocking, as you know,
is trying to see who can compete against whose moves on the floor.
MC rapping: (Music) l was lookin' out on the 33rd floor (Music)
(Music) All of the sudden, there was a knock on my door (Music)
(Music) It was ''Son of Sam'' with a .44 (Music)
(Music) He blew a hole straight through my door (Music)
(Music) So l went to the back to get the gun (Music)
(Music) l was out two bullets, had only one (Music)
(Music) l shoot the shit, l shot him in his eye (Music)
(Music) Never saw a white man jump so high. (Music)
MC: So who won the rocking contest?
( crowd chants ) Rock Steady! Rock Steady!
You all know who took them out right?
Put it this way, we're out of sight and they bite.
They bit my turtle into a hop--
Oh, man. l could've cried when l seen that.
You know, that faggot that was flying around there
with his funny legs and shit?
- He's in gymnastics. - So what? So what?
That's not even breaking. That's all fairy flying.
l call that fairy flying.
MC: Who goes for Rock Steady?
( crowd cheering )
The Dynamic Rockers?
( heightened cheering )
Hold it. Hold it down.
It was a tie. It was a tie.
(Music) Ahh...yes...well (Music)
(Music) Are we back for more? (Music)
(Music) They're here (Music)
- (Music) D-L-B (Music) - (Music) Ha-ha-ha-ha (Music)
- - Tito! - - (Music) Ha-ha-ha-ha (Music)
- (Music) Mike Cee (Music) - (Music) Hey girl! Hey girl! (Music)
- (Music) Peso! (Music) - (Music) D-L-Bl (Music)
(Music) Rockin' it, rockin' it yes, he is rockin' it (Music)
(Music) Tito is rockin' it yes, he is rockin' it (Music)
(Music) Mike Cee, yes, he is rockin' it (Music)
(Music) Peso, rockin' it yes, he is rockin' it (Music)
(Music) We're all rockin' it, you should be rockin' it (Music)
(Music) Rockin' it, rockin' it. (Music)
Woman: How do you fill up a train like that?
You can't do it overnight.
Do you wait for the same train
coming back into the same station?
No, you get the parked train, and you just---
- Oh, you mean you go to the subway yard. - Yeah.
Does your mother wonder why you come home with that all over your face?
No, she knows l write the graffiti.
l told her, l say I'm going up on the trains.
I'm gonna go write some graffiti.
- Does she worry you might get caught? - Yeah.
She says ''lf the cops call, don't come running to me.''
l never realized it meant so much to them.
l just thought they were writing...
just writing anything.
But l guess it has a deep meaning.
- Huh? - What kind of deep meaning?
Well, like he said...
he's writing his girlfriends' name.
He's Dust, whatever that means.
What is Dust supposed to mean?
It's just a name. It's a word, you know.
See, it's a game.
They give you a name, and they say,
''Here, take this name and do something with it.''
Like, he got the name Seen.
He can walk around, just say, ''My name is Seen,''
and say, ''Yeah, l seen that there. l seen it there.''
It's a name. It's just like...
I'll give you a name and you say,
''How big could you get this name up? How high?''
( train noise )
Trains are routinely washed,
but because of the graffiti problem,
we have to use a graffiti removal solution,
which, at best, is detrimental
to the physical make-up of the train itself.
This is what I'm assigned.
The car wash.
8:00 a.m., Jamaica Yard. Hold your nose.
Detective Jacobs: We spend a lot of money
replacing broken and damaged side windows.
We cannot use...
acrylic plastic windows in the train,
because the same graffiti removal solution
fogs the windows.
Richard Ravitch: The problem often is,
that often it doesn't produce a sparkling clean car,
but rather, a sort of vomitous color,
which some of the graffiti artists argue
is less attractive than what they consider to be their artwork.
So, it's altogether sort of an unsatisfactory result.
Motorman: Watch out. You might get wet now.
Watch your shoes.
It's not the best smelling stuff,
but so far, it hasn't hurt me.
You know, it hasn't bothered me.
Some fellows, it bothers.
( motorman coughs )
That's my money that's being diverted
from providing me with good,
safe, secure, rapid transit.
Look at this junk. Graffiti doesn't make your life better;
it just makes your neighbourhood look worse.
You know how l made something out of my life?
- By using my hands. - But only in the ring.
Don't use them to mess up the walls with graffiti.
I've practiced all my life to make moves like that.
And l worked every day to be a singer.
So, if you really want to make something out of your life,
- Use your head. - Or your voice.
But don't waste your time making a mess.
Harold Levine: Make your mark in society, not on society.
This happens to be a poster that is...
the first in a series.
It's going to be used in New York City's subways and buses,
where we've used Hector Camacho who's a boxer,
North American lightweight champ,
and Alex Ramos, boxer, leading middleweight contender.
''Take it from the champs,
graffiti is for chumps.
Make your mark in society, not on society.''
It's really very clever.
''Put your mark on society,
in doing something in society.''
I've screwed it up a little bit,
but, nevertheless, you got the message.
Reporter: Realistically, do you think it will work?
You say realistically, I'm hopeful that it will work.
Nobody thought that we would be as successful as we were
in the campaign against the drought and water conservation;
nevertheless, that worked.
I'm hopeful we will have equal success here.
Time will tell.
Mr. Mayor, are those posters graffiti-proof?
Time will tell.
( laughter )
What you doing, B? Fresh?
- It's fresh. - One of my little signature series.
Word. Lord, you getting fresh on a nigger, man.
That nigger's still got the touch, boy.
Butchy-butch, with the tiger stylez
l see you did the ''Kase'' with a ''C'' this time.
Yeah, he know who l am, though, anyway.
The king of what? The king of style.
Sure, l got styles already that's more complex
that nobody know about.
l mean, super-duty tough work.
See, this is just semi-like, what l would call it.
But, if l really get into it and start camouflaging it,
l don't think you even be able to read it.
- Don't go nowhere... -
Throw a little semi thing here.
It wasn't no severely bad accident,
just that l got burnt by wires, that's all.
A long time ago. Electrical wires.
And then they rushed me to the hospital
and they just had to amputate,
'cause my tissues and muscles was burnt bad.
And l was young, l was playing and l wasn't,
you know, too sure-- l knew what l was doing,
but l just didn't know should l grab the wire or not,
l don't know if l grabbed it or not,
but l know l just, you know, got hurt.
'Cause it had knocked me out, so l didn't remember.
But that don't mean nothing in general.
I'm okay.
It's just, that was a bad thing to happen at the time.
But that's why people are amazed about me now,
'cause of going through that, and then dealing with what I'm dealing with,
even though it's common littery bull-crap in a way.
People look at a person, ''What, you write on trains?
Oh, you vandalism,'' and all that.
Yeah, l vandalism. All right.
But still, in general, l know what I'm doing.
l did something to make your eyes open up, right?
So why are you talking about it for?
( slow Latin funk music playing )
Cap: From here up...
nobody goes but me.
It's my lay-ups. Definitely.
'Cause this is a beautiful spot to do pieces on.
Ain't hardly no writers know about this place.
My spot.
Niggers know. Believe it.
Niggers know. Heh-heh-heh.
Yo. Here. Take the cans.
l am not a graffiti artist.
I'm a graffiti bomber.
There's two styles of graffiti that are trying to,
you know, co-exist with each other.
But it ain't gonna work like that.
Blood wars, buddy. Blood wars.
Min: That's why graffiti's ruined.
That Cap ruined the 2s and 5s.
the 2s and 5s used to go to the 2 yard.
It would be a masterpiece art gallery of burners
from all these dudes from the Bronx and Brooklyn
with def wild styles.
Now you go to the 2 yard, it's all destroyed.
This guy named Cap with his Lucille Ball hairdo
is going over all your burners.
Hey, what's up, Shy?
I've seen your new pieces on the 2s and 5s.
They went over that.
- That Shy-Min. - Yeah, l know.
- Cap. - Cap.
l wouldn't have minded if he would've went over one of my old cars,
but that was fresh. It was a brand new burner.
It only ran for two days, you know?
He didn't give it a chance to run on the line.
Just like... pow!
They went over it, and now l feel...
that hurt me, you know?
and Seen was with him, and PJ,
and then l called Seen up and he denied it.
l can't afford to get involved.
There's a war going on, as you should know...
PJ and Cap--
against everybody.
He just crossed me out anyway.
l don't know why.
Brand new car, too, he wasted.
Let's say this, l stand behind them,
if they had a good cause for the situation.
as far as it is now...
they have no cause behind it.
They're just doing it for the hell of it...
which that ain't me, because l wouldn't want people to go over my pieces,
so l wouldn't go over them.
Shy: He's disrespecting the line,
which no other guy was doing that years ago.
All he does is silver throw-ups.
You got fresh colored pieces, full top-to-bottoms.
And he'll just laugh at you. ''It's just a throw-up.
I've got a million of 'em running.''
He's a jealous toy, that's all, 'cause he can't do a burner.
- He can't do shit. - He can't even do a straight letter.
- He went over this? - Yeah.
He did a Cap up over me and a MPC over this,
and wrote war next to Fat Albert.
Oh, shit.
You can't never make up for that.
That's never forgive action.
lf you're a toy, you gotta be stopped.
This guy's a toy and he's big
and he's still gotta be stopped.
Gotta break his arms.
But how come we waited all this long?
How come there's so many writers that he went over
and we're not in his neighbourhood with crews?
Because nobody wants to get united.
We gotta get together, bro'.
Everybody that says, ''We're gonna get down,'' right?
But nobody comes, man.
What we gotta do is meet everybody
on 1 49th Street at the Bench. At the Grand Concourse.
We should forget our bullshit worries that we got with each other,
unite and get this toy, 'cause he's dogging everybody...
( echoes ) ...everybody.
Cap, l don't know, some big white boy.
l don't know him, l don't want to know him.
Yeah, that's why he's doing.
He's trying to get attention and revenge,
'cause people go over his throw-ups. People who do burners--
you see a throw-up, you're going to go over it.
Who thinks Cap's throw-ups are worth being on a train?
( together ) Nobody!
- Pistol: What you write, bro'? - l write Mare, man.
Pistol: Mear, M-E-A-R?
- M-A-R-E, Mar? - Yeah.
Mar is M-A-R.
But no, seriously, you gotta kill them dudes for doing that.
Who's Cap? Cap is right here?
( together ) No!
Cap: People don't know what l look like until now.
Till they start going to the movies.
They're going to see my face. Big deal.
Anybody tries to screw around with me and my friends,
l go over everything they got forever.
Everybody, from Brooklyn to Manhattan. Everybody.
And that's the way it is.
Especially with me. The object is more.
Not the biggest and the beautifullest, but more.
It's like a little piece on every car...
is what counts.
Not one whole car on every
30 cars that goes by.
Once you start going over someone, you can't stop.
So, I'm gonna live.
Dust started pulling some shit with me.
I'm telling you,
he's lucky we didn't catch him by that wall.
lf we would've been there, even if you was shooting the movie,
it would've just been boom-boom-boom!
And that's the way it would've went.
It's gonna get crossed off, l guarantee, by tomorrow,
once they find out it's here.
Help me with the 3-D, Nicky. Come on.
The piece has got a lot of colors to go in there yet.
But with the color, we could do that with no problem.
l could do it before it gets dark.
No problem. Colors, colors, colors!
Cap: That was a beautiful wall.
l really liked that.
People like that, they deserve getting
everything they got crossed out...
Man: For the past 20 years,
there really hasn't been anything hot.
There have been no movements since Pop Art.
Any retailer, and let's face it,
a gallery is indeed a retailer,
they're always looking for something hot that they can merchandise
and sell to the public.
It's almost as though
these pieces were peeled off the train and put onto canvas,
so you have the same energy, you have the same coloring,
you have the same intensity and the same big piece
that you would see on a train.
The real subway graffiti that's done on the trains
is slowly dying out, and this is taking its place.
The lifespan of an average piece today
only lasts a few months.
This is something that could last a lifetime.
Woman: ''Blondie'' seems to be an important figure within
the graffiti art style.
Cain has used her in a very photographic way.
Noc, shows her...
I'm a colorist myself. I'm an artist.
And it's exciting.
The color is exciting, the movement is exciting.
It combines all kinds of movement.
Man: We had ABC-TV.
We had CBS here tonight.
We're going to be on the news tonight at eleven.
National Public Radio.
Do it up, baby.
l love it.
I'm Ron Powers. I'm a reporter with the Associated Press.
- How long would it take you to do something like this? - On a train?
Depends on what your schedule is.
l can't let my mother know that I'm going to the trains,
so l have to be back early.
Woman: But l did meet a guy here
who's an art critic from the news,
and he says he gets so goddamn mad
every time he sees this,
that he walked up to one of the artist
at the show tonight and said,
''How would you feel if l took a can
and wrote on your graffiti?''
And the artist said to him, ''l kill you, man.''
As an investment,
l feel so strongly that
if you get in on the bottom of anything,
it's got to be a good investment.
This is definitely going someplace.
But l think that graffiti on the subway cars
were a symbol of New York
for foreign people,
especially French people.
And l think it's a little sad
if graffiti is going to be only
on canvas, and not anymore on trains.
Forget about the trains.
Who wants to be dirty and hot at the same time?
That's right. I'm into making money.
It feels good.
You go to school and the teacher says,
''It's not worth anything.
You don't make any money from graffiti.''
And you tell them, ''When was the last time
you made $2,000 in a month, huh?''
And you go, ''Okay, now you failed.''
All right, the thought has crossed my mind,
if something should happen, I'll go along with it,
but if it doesn't, it's no thing to me,
because that's not what I'm out here for.
I'm out here to bomb, period. That's what l started for.
l didn't start writing to go Paris.
l didn't start writing to do canvases.
l started writing to bomb. To destroy all lines.
- That's what I'm doing. - How long do you think you'll do it?
Till I'm finished.
Now that you've heard that, you understand what I'm saying to you
when l say l don't understand him.
He's out there to bomb, destroy all lines.
What have the lines ever done to him?
They made me pay 75c.
- When do you pay 75c? - Never but--
l don't even know what you're talking about.
( cheering, music playing )
We're on the Staten Island Ferry.
This is the New York Harbor.
This is to signify we're leaving New York
with this package of artists
to go out and play at places
where, individually, they never would play.
It will be in Washington DC, Pittsburgh, Chicago, Madison,
Minneapolis, Iowa City, Detroit and Toronto.
Being professional, what does that mean?
Getting paid for what you do. Professional.
Frosty Freeze: Having your own style.
Skippy Dee: Doing your own moves.
Don't let nobody else bite your moves.
Doing it for a long time. Being the best.
- (Music) Special-K (Music) - (Music) Sunshine (Music)
(Music) Kool Mo-Dee (Music)
(Music) All time feel the heartbeat (Music)
(Music) Feel the heartbeat we're the treacherous three (Music)
(Music) We got a new heartbeat (Music)
(Music) Get loose, get loose Mo-Dee get loose (Music)
(Music) Just one heartbeat show 'em you got juice (Music)
- (Music) Have fun (Music) - (Music) Have fun (Music)
- (Music) Have fun (Music) - (Music) Ha-ha-have fun (Music)
(Music) Party people got a brand new treat (Music)
(Music) Off the well known tune we call heartbeat (Music)
(Music) But we jazzed it up and we broke it down (Music)
(Music) And came out with a brand new funky sound (Music)
(Music) Now, l came here to get this straight (Music)
(Music) Our heartbeat's not on a normal break (Music)
(Music) 'Cause when we get excited our adrenaline flows (Music)
(Music) And this is the way our heartbeat goes (Music)
(Music) A hop-skip-and-a-jump but l play no bump (Music)
(Music) Bump-bump-bump-bump bumpety-bump (Music)
(Music) It's a brand new treat and it sounds so sweet (Music)
(Music) The rapping, the music our new heartbeat (Music)
(Music) So feel the heartbeat, so feel the heartbeat (Music)
(Music) We're the treacherous three, we got a new heartbeat (Music)
(Music) Hah! (Music)
Consider us the professionals.
Woman: l think it's about time the politicians came down
and looked and saw what is on these trains.
It is just awful.
It shouldn't be that way.
It should be cleaned, and the ones that are caught,
they should clean it-- the ones they catch doing that.
What's the sense of paying 75c
when you have to ride graffiti trains, you know?
It gives a terrible impression of the city.
And if you think the outside is bad--
I've been riding them, like l say, for 40 years--
the inside is just unbelievable.
It's a violation of public property.
l think it's disgusting.
They should get somebody to clean up the place.
We move three and a half million people a day.
They have rights, too.
( train screeching to stop )
The people see the outside of the cars
when the trains are going-- pull into the station,
or when they're passing on the express track.
And then it's generally a blur.
But l don't think the public finds that nearly
as intrusive and ugly
as they do the inside graffiti.
- He hates the insides. - Yeah, he hates the insides.
He said if there's any possible way
of we giving him some kind
of suggestion of how to get rid of the inside,
he said there might be a chance of "negotiating"
with the outside.
- "Negogiading?" - Something like that.
l met with a group of them one day.
More out of intellectual curiosity
as to who they were and what made them tick.
l found them surprisingly articulate.
They expressed a strong sense
that if their outside paintings
were left untouched,
that the public would be impressed.
We came up to him with a proposal to paint
10 cars inside and out
and let it run in the major stations.
And let people vote on it, let's say a two-week period,
and after the two-week period,
they'll have the results in the paper,
and l think the MTA will be embarrassed.
l thought there was no basis whatsoever
in which it was proper
for anyone to touch our property
in an unauthorized fashion.
They got guys out there that are mugging people in the subways,
stabbing people, throwing people onto the tracks and all that,
and they're wasting their bullshit money trying to get us.
With all respect, l think you are close
to falling into the trap
of the 1960s culture,
which says this society has left
these kids with not enough to do.
lf the kids have energy and want to do something,
we'll give them all brooms,
we'll give them all sponges,
and they can do something that is publicly productive,
useful and that would earn for them the respect
and approbation of their fellow citizens.
It isn't the energy that is misplaced,
it's the value system that is misplaced.
( Wagnerian orchestral music plays )
l think it's great for the riding public
to be up on the station, one cold and dreary day
and see a nice white,
shiny car come pulling up to the station.
The public has knocked us for so long,
that we are doing nothing. It couldn't be done.
We proved that we done it.
We painted 409 cars in approximately eight weeks.
24 hours a day, seven days a week
and not one day did we miss that production schedule.
Our personal pride was hurt.
A lot of people been knocking the transit authority,
and we wanted to show them that we could do something.
lf the Japanese can do it, we can do it.
Man: The stuff is like razor blades--
about two inches long and there's one of these every two inches.
There's really not too much protective clothing
you can wear to prevent yourself from getting cut.
And once you do fall into it,
it's so structured that it collapses upon you
and the more you try to move, the worse off you become.
It's like in the movies, like in ''Apocalypse Now,''
they used it to protect their lines and their barricades.
They want to hold back the enemy from destroying our trains.
Mayor Koch: About three years ago,
l decided to suggest
to Dick Ravitch
that they put a dog
in the yard to keep
the graffiti vandals out.
The MTA rejected it
and they said,
no, that if you put a dog in the yard,
the dog would step on the third rail.
Now, l don't happen to think that dogs step on the third rail,
but l said in response to that,
''lf you think the dog will step on the third rail,
then build two fences and have the dog run between
the two fences and that will keep people out
and protect the dog from stepping on the third rail. ''
And the response was, ''Maybe somebody will climb
over the fence and the dog will bite them.''
l said, ''l thought that was what the dog was for.''
But if you're afraid of having the dog bite such a vandal,
and here l called upon my prodigious memory, l said,
''What you should do then, instead of using a dog,
is to use a wolf, and have a wolf
run between the two fences.
Because there is no recorded case in history
where a wolf has ever attacked
a human being unless the wolf were rabid-- mad.''
As a result of telling that story
innumerable times,
l embarrassed the MTA into building the fence
around the first of 19 yards.
And it was so successful
they now claim it as their own idea
and they're building 18 more fences.
( Wagnerian orchestral music plays )
Iz: l think it's stupid.
The idea of having all this barbed wire
and fences and protection.
Trains are still going to get written on.
They invented the white elephant.
It's still got--
well, they weren't bombed,
but they had little mosquito bites. call it what you want.
They were still written on.
They're still not spotless, completely.
''Dump Koch.'' Well, there you go.
That is the highest praise imaginable because,
obviously, I'm getting to them.
There always will be graffiti. It's a part of New York.
It'll be there forever.
Someone will always want to jump down on the track,
or while the train's moving and just take out
a can of paint or a marker and put up their initial.
He still shows me all his things,
which l don't even want to see.
But we still talk.
He tells me just about everything that goes on.
Other than that, l wouldn't really be able to tell you so much.
And, sometimes-- knowing all this,
it just really only makes me that much more fearful for him.
l felt that l just had to let her know,
'cause sometimes when it's time to go bombing,
you got to go late-- in the middle of the night.
You've got to leave the house at 2:00
just to go bombing so you don't get caught.
You know, she got to know where I'm going,
can't just say I'm going to a party.
No party's going to start at 2:00.
Not every kid would tell his mother where he's going.
Yeah, well, I'd rather let my mother know what's going on,
you know, than keep her in the dark.
lf l get busted, cops call,
''Excuse me, we have your son for graffiti.''
And I'd rather let her know that l was doing it
so she's prepared to come and get me out.
But, I'm never getting busted,
so we don't have to worry about that.
Dondi: l mean, an adult,
l just couldn't see an adult ever
putting that much energy into something that
isn't going to pay, or is going to risk their life
or have the possibility of them getting arrested.
l see myself eventually growing out of graf
and getting married
and living the lifestyle, you know,
and making good money, like that.
And when life is at its best,
you don't really want to run around in the trains.
I'm sure I'll come back every now and then,
just to let people know I'm still around.
Oh, no. When l come back, l take over.
And that's it. After that.
- And after that-- - You want the prince of the 6s?
I'm king right here. I'm the prince of the 6s.
He's later. You know, he's one of the has-beens--
I'm what they call a has-been, and he's a wannabe.
A wannabe?
- So they consider you a king? - Put it this way:
l am a king. l could say--
King of what?
l want to tell you, l am the king of bombing.
You got to be able to take over a line with insides,
take it over with throw-ups, top-to-bottoms,
you got to do everything.
lf you specialize in one thing,
you really can't call yourself an all-out king.
Who's king? You're looking at him, right here.
The original. Know what I'm saying?
Kingdom Islam; Nation god,
for I'm the one that rocks so far.
Always rocking the jazziest car, know what I'm saying?
The only and the original Magnetic King,
and that's the one that's still sitting here doing his thing.
You know it. We all alive.
This is the original old master killer
of the "Manila Thrilla," right here
that you're looking at. The original king and love to do his thing.
Don't shout, don't run, don't hide, don't sky.
This is me coming to you natural and live.
On CB...whatever.
Ha, Ha! CB without the mike.
Labels: HISTORY, STYLE WARS
This Week's DISCO SCRATCH Show - Date Change
Due to this Thursday being Valentine's Day, broadcasting the DS show on it's usual Thursday evening slot may result in problems.
Always wishing to keep on the good side of wifey, it has been agreed that it would be in everyone's best interest to keep Thursday clear for that lovin'.
So in that respect, for the first time in Disco Scratch history it will change it's broadcast day and for one week only you can catch the show tomorrow (Wednesday 13th).
And this week is a very special show. The mighty Lovegrove from Style Warrior is in control and hittin' switches in the cockpit with another of his great Takeovers and if rumour is anything to believe then the intro is going to have to be heard to be believed!
Also in some exclusive business this week, LG is offering a special, one-off Demon Boyz tee up for grabs. Make sure you are in the chatroom from 9pm to be in with a shot.
Disco Scratch on a Wednesday? This is going to throw my whole week off-kilter!
Always wishing to keep on the good side of wifey, it has been agreed that it would be in everyone's best interest to keep Thursday clear for that lovin'.
So in that respect, for the first time in Disco Scratch history it will change it's broadcast day and for one week only you can catch the show tomorrow (Wednesday 13th).
And this week is a very special show. The mighty Lovegrove from Style Warrior is in control and hittin' switches in the cockpit with another of his great Takeovers and if rumour is anything to believe then the intro is going to have to be heard to be believed!
Also in some exclusive business this week, LG is offering a special, one-off Demon Boyz tee up for grabs. Make sure you are in the chatroom from 9pm to be in with a shot.
Disco Scratch on a Wednesday? This is going to throw my whole week off-kilter!
Labels: DISCO SCRATCH, LG, NEWSFLASH, RADIO, STYLE WARRIOR
Friday, 1 February 2013
The Return Of The ABU Show - January 2013
The monthly ABU show went out live on Disco Scratch Radio last night and the chat was in full, FULL E.F.X.
I included a mix I did for the Heroes Of UK Hip Hop mix swap from 2011 ('Repo's A-Z Of Hip Hop') as well as some classic (BDP, Ultra, Eric B...) Golden Age, Electro and funk.
The show is available below.
I will do another post with the mix separately.
I included a mix I did for the Heroes Of UK Hip Hop mix swap from 2011 ('Repo's A-Z Of Hip Hop') as well as some classic (BDP, Ultra, Eric B...) Golden Age, Electro and funk.
The show is available below.
I will do another post with the mix separately.
Labels: DISCO SCRATCH, MP3, PODCAST
Subscribe to: Posts (Atom)


text:
Monday, June 17, 2013
June 17 - John XXIII, Pope, Reformer, Friend of the Sick and Prisoners
On the ninth day of October, in the year 1958, pope Pius XII died from complete heart failure brought about by overworking and taxing himself in service to the Church. The death of Pius XII was entirely unexpected among the leaders of the Roman Catholic Church but soon they were meeting in conclave to select the next pope. Any Roman Catholic man was eligible for selection but there was one man in particular who was considered the likely successor to Pius XII: Giovanni Montini, the archbishop of Milan. The diocese of Milan was the largest Italian diocese and Pius XII had appointed Montini to serve as its archbishop because of a great trust he held for him. But, Montini was not a cardinal and was not present for the conclave. This made the potential selection of Montini uncomfortable for some of the cardinals.Though any Roman Catholic man was eligible-- regardless of vocation, calling, or appointment--it was the usual practice of the conclave at the time to select a cardinal to become the next pope. Wanting to select Montini but unable to do so easily, they selected an older cardinal--Angelo Giuseppe Roncalli--to serve as pope. They expected that he would be a nice buffer between the nearly twenty year papacy of Pius XII and the very likely eventual papacy of Montini. Though Roncalli was selected as something of a stop-gap pope (Montini was selected to succeed Roncalli and took the name Paul VI) he understood it to be a powerful calling with important duties nevertheless.
Roncalli selected the regnal name of John even though it hadn't been used in over 500 years. The last pope to use the name John had divorced himself from the other cardinals and from the pope to select their own pope and establish a different route of apostolic succession. This meant that the previous pope John was better known as antipope John XXII. By choosing the name John, and the number XXIII, Roncalli affirmed the antipapal status of the previous John while redeeming the name for use among future popes. John reasoned that the history and tradition of the name John was greater than that of one antipope who had strayed from the path. In doing so, John insisted that the Church's work was comprised of both confession of sins and redemption. One of his first acts was a surprising one for any pope--let alone a pope who was 77 years old. He made visits to the local prison and children's hospital to provide pastoral care for both the sick and the incarcerated. He laid his hands upon children with polio and lifted them up in his prayers and visited prisoners, insisting, "You could not come to me, so I came to you." From the outset, John established his papacy as one concerned with others and the great commandment of loving others.
In his short tenure as pope--a little less than five years--he also began the process of renewal and reformation within the Church he loved and served. It was at John's insistence that the Second Vatican Council was convened and conversations were begun about how best to reach out ecumenically and how best to approach and address a rapidly changing world. John was unwilling to see his beloved Church fall behind in its calling to love the world and so he sought to renew and reform it. Under John's leadership, the Church began to accept that some things might have been done wrong in the past and that stoic refusal of change was neither Christian nor acceptable. John himself would not live to see the end of the Second Vatican Council but it would be finished under the guidance of his successor pope Paul VI (Montini--made a cardinal by John's efforts). John died on the third of June in the year 1963 having served the Church he loved with devotion and great pride even though he was thought of as little more than a "place holder" at first. Even now he is remembered for his ecumenical efforts and his insistence of the primacy of love and compassion when interacting with the world and those in need.
Posted by Joshua Hearne at 7:00 AM
No comments:
Subscribe to: Post Comments (Atom)

subset: commoncrawl


text:
Flu shots do not protect arthritis patients who are being treated with the intravenous drug rituximab, according to a new study by Dutch researchers.
Because people with rheumatoid arthritis have depressed immune systems, flu vaccinations are recommended for them. But the study found that in patients vaccinated close to the time they get rituximab, the drug does not promote the formation of antibodies to protect against arthritis. Researchers recommended giving the shots well before the rituximab treatment. The study began long before swine flu emerged, but the effects on that vaccine are expected to be similar. Rituximab is sold under the names Rituxan and MabThera.
Source: http://www.nytimes.com/2010/01/07/health/research/07brfs-FLUSHOTSTUDY_BRF.html?ref=todayspaper


text:
Member of the Chartered Association of Certified Accountants
ACCA professional accountants have achieved a qualification which comprises knowledge, work experience and ethics orientation. As members of ACCA, they are required to maintain their skills and knowledge annually through continuing professional development, and make an annual statement to ACCA that they have completed this requirement and ensure they are aware of developments in ethical practices.
Additionally, members of the public can be reassured that ACCA has a modern and effective approach to regulation and discipline of members who do not comply with the provisions of the ACCA Rulebook, or whose quality of work is not in keeping with the standards required. All these provisions provide the public with confidence in the quality of service they will receive from professional accountants.
In the UK and Ireland, please look for the 'ACCA registered firm' logo, which is a sign that ACCA regulates the standards of the firm. In the UK and Ireland, all ACCA registered firms are required to maintain professional indemnity insurance and ensure they have succession planning arrangements in place, in the interest of business continuity for all clients.


text:
Lawmakers Push FCC To Focus on DTV and Delay Other Votes
The soon-departing chairman of the Federal Communications Commission is trying to cram several complex and controversial policies through in his remaining weeks. This week, lawmakers and the Bush administration have been telling him to cool it.
Today, two key lawmakers told Kevin J. Martin to focus on the digital television transition next February, the biggest change in broadcast since the advent of color television.
Sen. Jay Rockefeller (D-WVa.) and Rep. Henry Waxman (D-Calif.), who are set to take over their respective Commerce Committees, sent a letter to Martin today telling him that the FCC should pay closer attention to the digital transition as questions remain about the readiness of Americans for the switch.
"It would be counterproductive for the FCC to consider unrelated items, especially complex and controversial items that the new Congress and new Administration will have an interest in reviewing," Rockefeller and Waxman wrote in the letter.
On Feb. 17, American television broadcasting will switch from analog to digital transmission, which will requires those with analog television sets to buy a digital adapter. Viewers with cable television service won't be affected.
A spokesman for Martin responded with the statement: "We just received the letter from Senator Rockefeller and Congressman Waxman. We are reviewing it and will reach out to the other offices."
On the agenda for the Dec. 18 FCC meeting is a controversial plan to auction radiowaves with the condition that a portion of those airwaves be offered for free to the public and with a filter that blocks pornography. Users can opt out of that condition if they are over 18 years of age.
The proposal has been criticized by the Bush administration, with a letter by Commerce Secretary Carlos Gutierrez earlier this week to Bush appointee Martin, a Republican, urging him to hold off on the Dec. 18 vote on the free broadband network plan.
"The administration believes that the AWS-3 spectrum should be auctioned without price or product mandates," stated Gutierrez in the two-page letter. "The FCC should rely on market forces to determine the best use of the spectrum, subject to appropriate government rules to prevent harmful interference."
The auction, being pushed by firm M2Z, a company funded by Kleiner Perkins venture capital, has been criticized by wireless carrier T-Mobile, which has argued it would cause interference with the adjacent piece of spectrum it is using for high-speed mobile Internet service.
Cecilia Kang
December 12, 2008; 5:16 PM ET
| Category:
Cecilia Kang
Previous: DC Leads Nation In HDTV Uptake | Next: Hasbro Drops Suit Against Scrabble-like Facebook Game
Get This Widget >>
Blogs That Reference This Entry
TrackBack URL for this entry:
Please email us to report offensive comments.
The comments to this entry are closed.


text:
Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
0 Members and 1 Guest are viewing this topic.
My husband was picking someone up at the airport in Lilongwe, Malawi today at 12:30 pm local time (flight from Joburg) and spotted Amazing Race production crew in the airport and teams coming off the plane, trying to get taxis.
Another possible sighting in Phuket, Thailand (hotel is in Phuket)"Thailand is such a beautiful country and I loved my experience here. Will be back for sure. Only thing that deterred us was the main swimming pool and top floor of the hotel was closed so an American television series could film here. Definitely recommend this hotel!!!
FACEBOOK POST: "On the shores of Lake Malawi watching The Amazing Race contestants coming in. Classic." (Posted 58 mins ago) you got me by seconds Plaidmoon!!!
South Africa, I love you, ur beautiful, but I'm tired of u. Need to go sumwher familiar...HOME
From twitter:It also seemed like amazing race was filming. could be the asian version, we talked to a team with a chinese girl wearing yellow #irony LOL39 minutes agojust came back from holiday to cyprus. nicosia was awesome.41 minutes agoThis person is listed as being from Ankara Turkey. I would guess the sighting was in Cyprus. The team wearing yellow at LAX does have an Asian woman so I think this is very credible info. Cyprus! Or maybe Turkey!
Page created in 0.095 seconds with 34 queries.


text:
Featured Chef
Executive Chef Rex Hale brings over 25 years of culinary experience and acclaim to his position as the executive chef at The Restaurant at The Cheshire and Three Sixty downtown St Louis. His extensive experience includes positions at a number of notable restaurants around the world, from South Africa to California and Antigua to the British Virgin Islands, including Baby Ruth in Dallas and The Ojai Inn in Ojai, CA.
Since Chef Hale was raised on a farm, he appreciates farmers and his menus focus on sourcing products from premier local purveyors. Hale has been closely involved with Restaurant before it opened and his passion for ingredient-driven food is reflected in his food style for The Restaurant and Three Sixty.
Whenever possible, he sources and utilizes products from local farms, sustainable fish mongers and environmentally responsible meat programs. He is dedicated to cultivating those relationships with local vendors. He is training and growing his team to have his same passion.
American Grass Fed Beef Standards
Our cattle are born, raised and finished on open grass pastures in the rolling hills of southern Missouri. We practice a holistic approach to farm management which sustains and nourishes the environment through restoration and soil improvement techniques.
Our cattle are bred for the quality of their beef and receive a forage diet free of pesticides as they are continually rotated to fresh new pastures. Our animals are never held in confinement, are never fed antibiotics and never receive synthetic growth hormones.
Our cattle are finished on the highest quality forage available that is in a green growing state. This practice insures the best quality grass fed beef possible that is consistent in its clean beef flavor and tenderness.
Our cattle are harvested in our own processing facility under our direct supervision. This assures that each individual animal is treated humanely and without stress.Skilled butchers who take pride in their art of cutting beef
Our family is passionate about providing our customers with the healthiest, safest and highest quality beef on earth.
Patricia Whisnant, DVM
Grass Farmer and Veterinarian


text: Bright Makeup: Fuchsia & Purple Looks 12/31/09December 31, 2009 I mentioned last look that the next one would definitely have some color, and I'd say this one certainly does!I thought I'd show a really cool, pale pink kind of lip with this look (I'm a bit warm-toned for it, IMO, but my boyfriend adores the color — go figure), but also how a brighter pink lip can also work (even though it is heavier). That's what's so fun about makeup: you can experiment and if you don't like it, you can change it, remove it, or play around with it.If I had planned to wear this look out, I likely would have gone for something in-between — maybe Sweetie lipstick and Crystal Rose lipglass. I just thought it'd be cool to show you how much lip color can play a role in the overall look–plus a fun cool-toned lip combo for my cool-toned ladies (and gents!).You will need the following…Eyes: MAC Soft Ochre paint pot (neutral beige base), MAC Pink Pearl Pigment (fuchsia-pink duochrome), MAC Seedy Pearl Eyeshadow (soft pinky-purple), MAC Beautiful Iris Eyeshadow (cool-toned medium purple), MAC Stars 'n Rockets Eyeshadow (fuchsia-pink duochrome), MAC Fig. 1 Eyeshadow (eggplant), MAC Passionate Eyeshadow (matte deep pink), MAC Femme-fi Eyeshadow (neutral highlighter), Urban Decay Ransom 24/7 Liner (purple), MAC Penultimate Eyeliner (black), MAC Studio Fix Mascara (black)Cheeks: MAC Petalpoint Blush (purple-pink), Dior Rose Diamond Skin Shimmer (pink)Lips: MAC Saint Germain Lipstick (pink-purple), MAC Icescape Lipglass (icy pink), MAC Style Minx Lipglass (deep hot pink)Brushes: 266 (firm, angled brush), 226 (fluffy crease brush), 219 (pointed crease brush), 214 (smudge brush), 249 (flat, firm brush), 239 (fluffy shadow brush), 129 (dense blush brush)Substitutes: Femme-fi = Shroom; Petalpoint = Well-Dressed + Plum Foolery; Saint Germain = Snob; Icescape = LuminaryDirections: Start by applying Soft Ochre paint pot as your eyeshadow base all over the lid and brow area with the 249. Put one drop of MAC Water-Based Mixing Medium onto a brush like the 239, and then apply Pink Pearl pigment on the lid itself as a colored base. Using the 239, apply Seedy Pearl eyeshadow on the inner third of the eyelid. Next, apply Beautiful Iris eyeshadow on the middle third of the eyelid and lightly blend with the inner corner. Darken the outer third of the lid with Stars n' Rockets eyeshadow with the 239, gently brushing it into the lower crease. Next, define the crease by applying Fig. 1 eyeshadow with the 226. Add more depth to crease by gently tapping Passionate eyeshadow into the lower crease, just below Fig. 1. Lightly tap and brush Beautiful Iris eyeshadow directly above the crease to soften. To finish the eyeshadow look, sweep Femme-fi eyeshadow as a highlighter on the brow bone. Bring everything together by applying Urban Decay Ransom Liner on the lower lash line, blended with Beautiful Iris eyeshadow applied with the 219. Apply Penultimate eyeliner on the upper lash line, and then sweeping lashes with Studio Fix mascara.For cheeks, apply Petalpoint blush to the apples of the cheeks and sweep upwards towards the temple with the 116 and highlight cheekbones with Rose Diamond Skin Shimmer with the 165.For lips, apply Saint Germain lipstick first, then layer over Icescape lipglass for a pale lip. For more color, try Style Minx lipglass on top.Check out more photos! With Style Minx layered on top


text:
Unique Logo Design Wanted for Sendero Mining Corp.
Held by: Brett Allan (bretta)
Last rated:
Contest Statistics
Scores (43 total)
5 3
4 4
3 13
2 8
1 15
This Project 0
Average 1
This Project 71
Average 112
Logo design created by professional graphic designer kowreck
Entry designed by:
$26,825.66 earned, 91 projects done
I am an artist by heart. I do the works and I let my works speak for myself.
More entries from this contest:
Want a unique logo design like this one?
Did you know?
Our clients use design contests for all of their graphic design needs, including:
Banner Ad Design, Twitter Page Design, Clothing Design, Button & Icon Design, and more!


text:
Inspired by Sort by Color from designer Lori Mason
Quilt tester: Karen Gilson
6-7/8-yard pieces assorted prints in rust, tan, olive green, gold, orange, and cream (blocks)
3 yards brown floral (border, binding)
7-1/2 yards backing fabric
90x96" batting
Finished quilt: 82x88"
Finished block: 10-1/4x6-3/4"
Quantities are for 44/45"-wide, 100% cotton fabrics. Measurements include 1/4" seam allowances. Sew with right sides together unless otherwise stated.


text:
The Islamist Muslim Brotherhood's Freedom and Justice Party took 58 percent of the available seats in the upper house of Egypt's parliament, while the even more extremist Salafist Al-Nour party took a quarter of the seats. In all, more than 80 percent of the contended seats in Egypt's upper parliament are now in the hands of Muslim extremists. Last year's "Arab Spring" is now more fully manifesting its true character: the transformation of Egypt into a more stridently Islamist regime.
While the Obama administration purportedly hoped that liberalization would follow in Egypt's transition into a post-Mubarak future, Secretary of State Hillary Clinton signaled last fall that the U.S. government anticipated an Islamist future for Egypt. In fact, Clinton's State Department actively solicited Congress for a special fund to help spread the 'reforms' allegedly initiated by the "Arab Spring" in Egypt. As reported in February of this year, a "special $700 million fund" was proposed as part of the State Department's projected $51.6 billion budget for fiscal year 2013. The State Department planned to use the funds to target a total of 11 nations. As CNS News reported:
They include countries where transitions are underway after violent upheavals — even though uncertainties and concerns about future directions persist (Egypt, Tunisia, Libya and Yemen); countries and territories where reforms have been proposed and to various degrees implemented but existing regimes remain in place (Jordan, Morocco, Bahrain, Lebanon and the Palestinian self-ruled territories); a country embroiled in a civil war (Syria) and one whose government has shown no sign of meeting citizens' demands for change (Iran).
As extensive as the list of targeted is, Dubai was not on the State Department's 'short list' for its own "Arab Spring." However, the several news outlets are reporting that Dubai has learned from U.S. intelligence sources that Egypt's Muslim Brotherhood has plans of its own for the United Arab Emirates and other Arab monarchies. The Kuwait Times reports that Egypt has a revolutionary agenda for the monarchies of the region:
The Muslim Brotherhood, the main Islamist force that emerged after the Arab Spring, is plotting to take over Gulf states, Dubai's police chief said in remarks reported yesterday. Lieutenant General Dahi Khalfan said he had his reasons to claim that the "Brotherhood was plotting to change the regimes in the Gulf", in an interview published in the Kuwaiti daily Al-Qabas. "My sources say the next step is to make Gulf governments (their ruling families) figurehead bodies only without actual ruling. The start will be in Kuwait in 2013 and in other Gulf states in 2016," he said.
Khalfan has been involved in a tit-for-tat controversy with the Brotherhood after he threatened earlier this month to arrest cleric Yusuf Al-Qaradawi, a leading Brotherhood figure, for criticising the United Arab Emirates for deporting Syrian protesters. The police chief said he based his information on "leaks" from Western intelligence agencies and said this "had been known to us". "If these leaks from Western intelligence were to be correct, by 2016 all Gulf rulers" will be just figureheads with no actual power, Khalfan said. "I am warning Gulf states about these groups."
A similar article published by Albawaba News also relayed Khalfan's comments, with the observation that the process is apparently already underway in Kuwait: "Note that the Islamists won the parliamentary elections held February 2nd in Kuwait, capturing 23 of 50 parliamentary seats."
An article for the Financial Times ("Dubai police chief slams Brotherhood") observed that while Kuwait has a history of tolerating the Muslim Brotherhood, the UAE has been engaged in a crackdown on radical Islamists who were active in the Islah society:
In December seven members of the Islamist Islah society — a group which claims to have 20,000 followers and first flourished in the 1970s — had their nationality revoked on unspecified security grounds.
Islah was tolerated, and at times supported, through the UAE's 40-year history, allowing Islamists to gain a foothold in education and the judiciary. But since the September 11 attacks the government has taken an uncompromising stance towards any manifestation of political Islam.
Last year, the authorities dissolved the elected boards of Islah, as well as the teachers' and jurists' associations, replacing them with state appointees.
Only time will tell whether or not the Muslim Brotherhood is actively engaged in a strategy to subvert various governments throughout the Arab world. Critics observe that the United States has very little interest in the fate of various Arab monarchies — or 'democracies,' for that matter. However, the concentration of oil in the region makes the destabilization of various nations — both 'homegrown' and that which has been fed by the United States and other Western nations — problematic to the global economy at a time when gasoline is over four dollars a gallon in much of the United States.


text:
BitMinter API
The service provides tools for managing balances of bitcoin virtual currency. It summarizes activity within the bitcoin network and provides statistics to guide an application's involvement in group effort to generate bitcoin, with the resulting balance shared among participants. API methods support summaries of statistics for worldwide bitcoin activity. Methods also provide statistics on the hash rate generated by network activity, the number of workers active in the network, the number of users, and the rounds of activity completed.


text:
During the last political campaign I attended a conference by a representative of the French left-wing organization Attac. I was tired and, to tell the truth, it was boring. It was one of the things you have to do when you are into politics. The theme of the conference was "building a new world" and the speaker was particularly keen to convince us that the people from the Third World rejected our way of life and were ready to adopt, if not degrowth, at least some kind of voluntary frugality.
A few weeks later at work, I had a conversation with a cleaning lady from Congo-Kinshasa. She told me that she planned to get French citizenship, and that the main problem in France was that you could not make money in France because taxes were too high (she also told me she was a good housewife, but that's beside the point). At about the same time, the Tunisians, who had just got rid of their dictator, began to cross the Mediterranean in makeshift boats to have a taste of European prosperity.
They land on an Italian island, Lampedusa, then head to France, where they hope to settle. This has triggered a kind of diplomatic crisis, as France suspended the Schengen agreement and closed its border with Italy to non-Europeans, stranding a lot of Tunisians in the Torino region. Needless to say, this did not amuse the Italian government.
One could not imagine more striking a contrast between the delusions of the intellectual and the reality of the common people.
Even though the intelligentsia is fairly young as a class, the intellectual is a fairly old figure. Whether he was called shaman, high priest or philosopher, he provides society with meaning, cohesion and legitimacy. In times of change and danger, they provide it with choices and possibilities. The plural is important here, for when a culture is under stress, it turns to its intellectuals for a response, and even though those responses generally spring out of the culture's tradition, they can be dazzlingly varied in nature.
Thus, when the ancient Israelites, whose political ideal was theocratic, were faced with the hard reality of occupation by a pagan power, they developed a variety of answers. Some decided to cling to the traditional sacerdotal order and reach an agreement with the occupiers. Some decided to use force. Some retreated into the desert to wait for God to intervene and fix the situation. Some disconnected God and the people from Jerusalem and the temple and built a community in exile. Some disconnected God from the people and brought it to the pagans.
Most of theses movements were dead ends. Others were counterproductive, drawing the wrath of the Roman Empire upon the very people they were supposed to defend. A few were successful – what we call rabbinic Judaism, karaite Judaism and Christianity – and opened up a host of new perspectives and possibilities both for the Jewish people and the world.
As you probably have noticed, we are in a similar situation.
Since the triumph of Christianity, the Western World is based upon the idea that history has a meaning and a direction. Our world was considered transitional, a mere waiting stage before the second coming of Christ and the Advent of the eternal Kingdom of God. History was no longer a cycle or a haphazard succession of events, but a march forward during which the Church's role was to guide and prepare the people for the end times. Islam, by the way, is quite similar in that perspective.
The Enlightenment and the various ideologies born from it got rid of God but kept the Christian vision of history by repatriating the Kingdom of God and making the building of some utopia the ultimate goal of mankind. Of course, that meant we had to find a terrestrial substitute for Christ – not an easy task to say the least. Some, for instance the Saint-Simonians, chose the scientist and the engineer – this is the vision of the world which pervades Jules Verne's Promethean novels. Others chose the entrepreneur – that was Ayn Rand but also the laissez-faire crowd, which dominated world affairs in the eighties. The most popular choice among the intellectuals was, however, the proletariat.
Western intellectuals were indeed faced with a paradox. Although theoretically committed to equality and progress, they had, as Raymond Aron demonstrated in his seminal work L'Opium des Intellectuels, an essentially aristocratic way of life. Marxism offered an answer to this predicament.
Marxism, especially in its Leninist form, is essentially a repackaging of apocalyptic Christianity with the proletariat in place of Christ, the Revolution in place of his Second Coming, and a lot of pseudo-science to make it palatable. From the intellectuals' point of view, it had the advantage of providing them both with a cause worth fighting for and a leading role in the fight.
Indeed, while it was the proletariat which was supposed to make the Revolution, the Communist Party, and therefore the intelligentsia, had a crucial role in helping it to forge its "class consciousness" and elaborate "revolutionary theory". For mid-twentieth century intellectuals it was very seductive and a lot of them jumped onto the communist bandwagon; Aragon, Sartre, Gide, and Bernard Shaw, for instance.
Marxism was already dangerously out of touch with reality by the time of the Russian Revolution and, even though its victory against Nazism gave it a new legitimacy, this could only increase with time. The contrast between the claims of Communist propaganda and the sordid reality of the Soviet Union became too big for even the intelligentsia's famed voluntary blindness to cope with. From the early fifties onward, intellectuals progressively left mainstream communism. First, they turned to various Marxist heresies: Maoism (very popular in France during the late sixties), Trotskyism, Eurocommunism...
This proved short-lived, however, and as the body count mounted, the intellectual support for Marxism collapsed. This did not stop the intelligentsia's quest for a messiah apt to usher in the Better World which is still central to its vision of the world. While some former leftists went the neo-conservative way, on both sides of the Atlantic, most preferred to give their attention to other worthier groups.
By not bringing about the Communist utopia, the proletariat had failed the intelligentsia and deprived it of what it thought was its historical role. In the intellectuals' collective mind, the proletarian hero became the "beauf" — a French word which could be translated as "redneck" or "white trash" — forever guilty of not being progressive enough. Instead, the intelligentsia focused on various fringe groups, whose main advantage was being fringe... and who'd better remain so.
Of course, the fate of all minorities is to assimilate or integrate into the mainstream; or, for territorial minorities, to create their own separate mainstream. By doing so they betray the faith intellectuals put in them and are instantly relegated into the "beauf" category. Immigrants, marginal tribes or inhabitants of the Third World, preferably far away, are better targets for the intelligentsia's projections. Of course, they are just ordinary people trying to improve their lot and make the best of an admittedly bad situation, and most of them don't share the revolutionary delusions of the intelligentsia... when they don't actively reject them.
Third-worlders and immigrants don't want to bring down the affluent western democracies; they want to live in them, and are ready to risk their lives to do so. Immigrants, when they manage to settle in a rich country, aim to integrate and climb up the social ladder... and in the long run they succeed, or at least they have succeeded as long as essentially free energy has enabled Western societies to provide their citizens with a plethora of reasonably well-paid jobs.
The intelligentsia's delusions can, however, become frankly counterproductive as the beginning of the energy descent plunges industrialized economy into quasi-perpetual depression. Migrations to and within the industrial world won't stop anytime soon. In fact they will probably increase as political chaos spreads in the Third World. No matter what we do or want, we will have to deal with them.
Unfortunately, we are stuck between two equally unhealthy visions : that of the left intellectuals, who see immigrants both as victims of "capitalism" and as a kind of new proletariat ushering in the long promised "better world"; and that of the populist right, who see them as a barbarian horde right out of the Camps des Saints. Caught in the middle, governments, whether national or local, try to clean up the mess without infuriating the fanatics of their own side. Most of the time, this means publicly burning a few trees to hide the forest.
Needless to say, tokenism won't get us anywhere in a world of growing problems and dwindling resources, and the people – those whom the intelligentsia has come to consider an annoying irrelevance – are painfully, if obscurely, aware of it. They feel that the "better world" is a delusion but remain prisoners of a worldview based on it. This makes them only too vulnerable to the scapegoating tactics of the populist right.
The result is that instead of a peaceful integration within the general framework of French society, we have a growing polarization between natives and immigrants. This polarization is fueled both by the demonizing rhetoric of the populist right and the wishful thinking of the intellectual left. Both prevent the immigrants, and some of their most salient cultural features such as Islam, from integrating into the mainstream. Both force them into a ghetto.
In a world of dwindling resources, and therefore of increasing competition, this is a recipe for disaster. At some point, either the populist right will seize power by stigmatizing the immigrants and their descendants, or the government's party will adopt their policies to stay in power. The immigrants – and their offspring, most of whom have never seen their supposed homeland – will then be forced to choose between being victims and becoming conquerors. This is not the first time this has happened, and we have only to read the words of the British priest Gildas to be reminded how deep and destructive the divide between natives and immigrants can become:
Then all the councillors, together with that proud tyrant Gurthrigern [Vortigern], the British king, were so blinded that, as a protection to their country, they sealed its doom by inviting in among them like wolves into the sheep-fold), the fierce and impious Saxons, a race hateful both to God and men, to repel the invasions of the Northern nations. […]
But in the meanwhile, an opportunity happening, when these most cruel robbers had returned home, the poor remnants of our nation (to whom flocked from divers places round about our miserable countrymen as fast as bees to their hives, for fear of an ensuing storm), being strengthened by God, calling upon him with all their hearts, as the poet says,—"With their unnumbered vows they burden heaven," that they might not be brought to utter destruction, took arms under the conduct of Ambrosius Aurelianus, a modest man, who of all the Roman nation was then alone in the confusion of this troubled period by chance left alive.
Gildas was quite biased and most probably oversimplified a complex situation – the first kings of Wessex were British, after all – but his and his fellow churchmen's rabid rhetoric certainly did not help. The delusions of his successors won't be more productive.


text:
2014 Spring/Summer Louis Vuitton x Dover Street Market BandanaCategories:Louis Vuitton
Last Saturday, March 1st, 2014, Louis Vuitton has been launched a set of new Louis Vuitton x Dover Street Market Bandana which available two colorways choose from. In the Upcoming 2014 Spring/Summer season, Dover Street Market is proud to present their joint venture project with Louis Vuitton. And the New LV Bandana will be a one of great choice in this season.
LV Dover Street Market Bandana as part of the men's collection, produced in classic design to complement the current styles which in some monogram or LV logos scattered throughout the design, and no sign of exaggerated branding in a single logo on the bottom right make it looks perfect and elegance. At our site you will not only find many of classic and fashionable lv bandana sale, but also many of LV bags 2014 cheap sale for free shipping!
Tags: Louis Vuitton x Dover Street Market Bandana


text:
You could make these easily the morning of any get together and just pop them in your oven when your guests arrive...this is my kind of recipe!
Here's What You Need:
1 package Frozen Spinach, defrosted
1 cup Feta, crumbled
1 small Onion, small dice
3 cloves Garlic
½ teaspoon dried Rosemary
½ teaspoon dried Thyme
Pinch of Red Pepper Flakes
2 eggs, one for the filling and one for the egg wash
Puff Pastry, thawed
Preheat oven to 400℉.
Let's get the filling taken care of first...caramelize your onions, garlic and spices with a tablespoon of butter and some olive oil. Don't forget a little salt and pepper please. Thank you. This will take approximately 20 minutes on low. Put this mixture aside to cool.
Squeeze the spinach of it's water with a dish towel and add it to a bowl with one egg, feta and the now cooled onion mixture. Mix everything well.
Now take your puff pastry and roll it out a bit, keeping the rectangular shape. Cut the pastry into 12 squares, trying to keep them as equal as possible. Spray a muffin tin (regular sized if you please) and place a square of pastry in each tin. Press the puff pastry up the sides as best you can and then fill each with about 2 tablespoons of your filling.
Pinch up the four corners and don't worry if some of your filling is showing...it will look nice once it's baked off. Brush the "Puffs" with the egg wash and place it in the oven for 18-20 minutes.
Once they are golden brown place your pan on a cooling rack and let it be for 3-5 minutes to set up. They should pop right out and in no time they will be devoured!
Bon Appetit...it's time to eat!


text:
Oxley Estate Winery
in Riesling Wineries, Pinot Noir Wineries, Chardonnay Wineries, Cabernet Merlot Wineries, Cabernet Franc Wineries
Our spacious grounds and gardens, large Wine Garden patio, and light-filled Barn and Loft accommodate all kinds and sizes of events with comfort and style. We enjoy this place, which we think of as our own, personal piece of Paradise.
533 County Road 50
Harrow, British Columbia N0R 1G0