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WRECK: Critical Art vs Patriots

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: no. 254: Critical Art vs the Patriots Maandag, 17 May 2004 (17.00 to
    Message 1 of 1 , Jun 3, 2004
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      wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: no. 254: Critical Art vs the Patriots

      Maandag, 17 May 2004 (17.00 to 19.00)

      SIMUL-streaming <http://freeteam.nl/patapoe/>

      "Standing on the corner doing nothing is power."
      o Gregory Corso

      "Under this regime [capitalism], individuals of various social groups
      are forced to submit their bodies for reconfiguration so they can
      function more efficiently under the obsessively rational imperatives
      of pan capitalism (production, consumption, and order). One means of
      reconfiguration is the blending of the organic and the
      electromechanical. Potentially, this process could result in a new
      living entity distinct from its predecessors."
      o Critical Art Ensemble, "The Flesh Machine"

      One Night in Tokyo > Colder [1]
      Flex (son.sine - one down road dub) > Pitch Black [2]
      One Night in Tokyo > Colder [1]
      Ph Neutre > Brain Damage Meets Lab [3]
      Surface to Air > Playgroup [1]
      The Soundless Hum of Prayer [remix] > Philosophy Major [3]
      Finally Peaceful > Sam "Kronik" Clayton vs Brain Damage [4]
      Woman's Dub > Lee Perry [5]
      Dub the Tanx > Mossman vs Brain Damage [4]
      Last Freedom Fighter > Renegade Sound Wave [6]
      Struggle [mutant disco mix] > Radio 4 [1]
      Hominid Hump > Outhud [1]
      Pre-Emptive Psychosis > Alter Echo vs Brain Damage [4]
      Finite State Machine Dub > Bill Laswell [3]
      Couchie Dub > Niney & the Reggae Crusaders [4]
      More Music > Tommy McCook [7]
      Straight to the Capitalist Head > King Tubby & the Aggrovators [4]
      Sound Minded > Vibronics [8]
      Dread Locks > Lee Perry & Junior Byles [4]
      Foundation Stepper > Prince Far I & the Arabs [4]
      Boil in the Bag > Chicken Lips [1]
      Stop the Confusion > Keith LeBlanc vs Tim Simenon [9]
      Pipe Bombs > Radio 4 [1]
      Dinosaur > Vibronics [8]
      Wordy Rappinghood > Chicks on Speed vs Playgroup [1]

      [1] "Modern Wild Dub: Dread meets Disco Punk rocker Downtown" on
      Echo Beach <www.echobeach.de> Death Disco Dub never sounded more
      sinister than on this collection rewound charms. With contributions
      and some notes by Mark Stewart. Great collection.

      [2] "Flex" on Kog <www.pitchblack.co.nz> Dub never sounded more
      inter-galactic, like a well-lubricated dip stick impaling a rusty

      [3] "Crooklyn Dub Outernational Presents Certified Dope, vol. 4:
      Babylon is Burning" on Word Sound <www.wordsound.com>. Perfectly
      captures the dystopic feel of New York, there is the grungy
      ever-present hum that you can't tell whether it is psycho-acoustic
      [literally] or whether it is just environmental gone mental Š In any
      case, our surroundings lead to paranoia, vigilance, jadedness and
      some of the darkest dub in the world. This is one of 2004's best.

      [4] "Combat Dub 2" on Hammerbass <www.hammerbass.fr> is a mixed bag
      of remixes by brain Damage. The remixes are only as good as the
      original dub compositions but overall a rousing bunch of bass

      [5] "Dub / Original Bass Culture" on Metro
      <www.unionsquaremusic.co.uk> Very nice and handsome collection of
      some very vital mid-70s roots dub inc. Niney, Lee Perry, King Tubby,
      Prince Far I and Prince Jammy.

      [6] "Howyoudoin?" on Mute 1994. Viva la Renegade. Some still cool
      white dub and hippie-goes-housey material that has RSW riming for the
      revolution and documenting the life of musicians in the world of
      clubs "my ears were numb" and recording studios. Effective sampling
      of Serge Gainsbourg's "Bonnie & Clyde" on "Renegade Soundwave".
      Lyrics: "It's ruckus time again / Europe's on the march again /
      although in a crisis / still can't seem to find the last freedom
      fighters / turntable terrorists / playing lyricists / their playing
      for todayŠ"

      [7] "Blazing Horns / Tenor in Roots" on Blood and Fire
      <www.bloodandfire.co.uk> Joyous celebration of less sexy reggae
      instruments. Makes you realize how essential horns were to that early
      dub and reggae sound.

      [8] "Dubliftment" on Universal Egg <www.wobblyweb.com> more flawless
      dub from Zion Train's UE.

      [9] "Stop the Confusion (Global Interference)" on Echo Beach
      <www.echobeach.de>. Future release of vintage KL trax. From the
      pending liner notes: "One way I can prove it [major world government
      malfeasance] to myself to see if it is true, this horrible truth, is
      to do a record about it. If I get a lot of heat on me off that record
      then I'll know it is true." o Keith LeBlanc / Truth be told, I have
      not thought about Keith LeBlanc for a long time. But truth be
      relativized, as a radio DJ and compulsive wireless headphone wearer,
      I seldom actually think about drummers. I don't think about my own
      backbone either, but certainly don't want to contemplate life without
      one. But then I began relistening to vintage LeBlanc material and
      realized: this kinetic scattershot percussive rabble rouser helped
      produce some mighty landmark late-20th century music. No denying he
      dominated the sound of percussion in the 1980's into the mid-1990s.
      Before LeBlanc drums sounded one way, since LeBlanc they sound pretty
      wangdang-doodle different - tinktink-WALLOP. This is called a
      paradigm shift. I'm not going to write some long
      bio-disco-musicography of LeBlanc; that can be had from any number of
      sources including <www.keithLeBlanc.org>. I am going to insist that
      the revisionist history of music as defined by the captains of
      hyper-commerce be revised - I I hope to explode that view with some
      demolition funk. I'm not saying lifetime achievement Grammy but I am
      encouraging deep respect. This collection of vintage LeBlanc-infected
      material will go some way in the program of appropriate cultural
      revisionism. When I first started listening to LeBlanc [via Tackhead
      and Fats Comet] in the mid-1980s, I immediately heard discourse -
      linking music with the idea of critique - whole tapestries of agony
      between twin hi-hats, samplers, and triggered percussion samples.
      LeBlanc's quandaries about technology ["Technology Works"]
      syncretically dovetail with those about violence ["Story of
      Violence"]. I mean, I was hearing "Guernica" murals of splattering
      ricocheting percussion and sonic terror that seemed to confront some
      of the turmoil of the day.

      ý o ARTISTS Persecuted IN USA PATRIOT ACT CASE: I know Steve Kurtz
      somewhat [he and his wife were the first to publish my short story
      "GG-1 Series of Model Poses," in their
      cultural/critical/post-literary Nomad] and I am sure he does not
      consider himself a cuddly innocuous artist - he is provocative and
      critical, his Autonomedia books with the Critical Art Ensemble "The
      Electronic Disturbance" and "The Flesh Machine" are critical of those
      in power and those fucking with our rights/freedoms be they artistic,
      cultural, electronic or genetic. The CAE "argues that dreams of
      virtuality are little but a spectacular sideshow for the real action:
      the deployment of biotechnologies upon the bodies of citizens in the
      service of the transnational order." Controversial and Provocative
      always and yet this has nothing to do with why Kurtz was busted under
      the Patriot Act. Maybe they know too much but the barbarity of the
      way the police handled the body of his dead wife is enough to make
      you sick. I mean if the government is going to pass such a "sexy"
      aggressive law then you know authorities are just chomping at the bit
      to go out and [ab]use to justify its passage into law. Read onŠ

      As the press release observes: Feds STILL unable to distinguish art
      from bioterrorism Grand jury to convene June 15.Three artists have
      been served subpoenas to appear before a federal grand jury that will
      consider bioterrorism charges against a university professor whose
      art involves the use of simple biology equipment. The subpoenas are
      the latest installment in a bizarre investigation in which members of
      the Joint Terrorism Task Force have mistaken an art project for a
      biological weapons laboratory (see end for background). While most
      observers have assumed that the Task Force would realize the absurd
      error of its initial investigation of Steve Kurtz, the subpoenas
      indicate that the feds have instead chosen to press their "case"
      against the baffled professor.

      Two of the subpoenaed artists [Beatriz da Costa and Steve Barnes]
      are, like Kurtz, members of the internationally-acclaimed Critical
      Art Ensemble (CAE), an artists' collective that produces artwork to
      educate the public about the politics of biotechnology. They were
      served the subpoenas by federal agents who tailed them to an art show
      at the Massachusetts Museum of Contemporary Art. The third artist,
      Paul Vanouse, is, like Kurtz, an art professor at the University at
      Buffalo. He has worked with CAE in the past. The artists involved are
      at a loss to explain the increasingly bizarre case. "I have no idea
      why they're continuing (to investigate)," said da Costa, one of those
      subpoenaed. "It was shocking that this investigation was ever
      launched. That it is continuing is positively frightening, and shows
      how vulnerable the PATRIOT Act has made freedom of speech in this
      country." Da Costa is an art professor at the University of
      California at Irvine.

      According to the subpoenas, the FBI is seeking charges under Section
      175 of the US Biological Weapons Anti-Terrorism Act of 1989, which
      has been expanded by the USA PATRIOT Act. As expanded, this law
      prohibits the possession of "any biological agent, toxin, or delivery
      system without the justification of "prophylactic, protective, bona
      fide research, or other peaceful purpose." (See
      http://www4.law.cornell.edu/uscode/18/175.html for the 1989 law and
      http://www.ehrs.upenn.edu/protocols/patriot/sec817.html for its USA
      PATRIOT Act expansion.)

      Even under the expanded powers of the USA PATRIOT Act, it is
      difficult to understand how anyone could view CAE's art as anything
      other than a "peaceful purpose." The equipment seized by the FBI
      consisted mainly of CAE's most recent project, a mobile DNA
      extraction laboratory to test store-bought food for possible
      contamination by genetically modified grains and organisms; such
      equipment can be found in any university's basic biology lab and even
      in many high schools (see "Lab Tour" at
      http://www.critical-art.net/biotech/free/ for more details).

      The grand jury in the case is scheduled to convene June 15 in
      Buffalo, New York. Here, the jury will decide whether or not to
      indict Steve Kurtz on the charges brought by the FBI. A protest is
      being planned at 9 a.m. on June 15 outside the courthouse at 138
      Delaware Ave. in Buffalo.

      HELP NEEDED - Financial donations: The CAE Defense Fund has so far
      received over 200 donations in amounts ranging from $5 to $400. This
      is a wonderful outpouring of sympathy, but a drop in the bucket
      compared to the potential costs of the case. To make a donation,
      please visit http://www.caedefensefund.org/

      Letters of support: Letters and petitions of support from biologists,
      artists, and others, especially those in positions of responsibility
      at prominent institutions or companies, could be very useful. See
      http://www.caedefensefund.org/ for a sample letter of support.

      Legal offers and letters of support: If you are a lawyer, offers of
      pro bono support or offers to write amicus briefs would be very


      Early morning of May 11, Steve Kurtz awoke to find his wife, Hope,
      dead of a cardiac arrest. Kurtz called 911. The police arrived and,
      after stumbling across test tubes and petri dishes Kurtz was using in
      a current artwork, called in the Joint Terrorism Task Force. Soon
      agents from the Task Force and FBI detained Kurtz, cordoned off the
      entire block around his house, and later impounded Kurtz's
      computers, manuscripts, books, equipment, and even his wife's body
      for further analysis. The Buffalo Health Department condemned the
      house as a health risk. Only after the Commissioner of Public Health
      for New York State had tested samples from the home and announced
      there was no public safety threat was Kurtz able to return home and
      recover his wife's body. Yet the FBI would not release the impounded
      materials, which included artwork for an upcoming exhibition at the
      Massachusetts Museum of Contemporary Art. While most observers
      assumed the Task Force would realize that its initial investigation
      of Steve Kurtz was a terrible mistake, the subpoenas indicate that
      the feds have instead chosen to press their "case" against Kurtz and
      possibly others.

      To join a list about the case, please visit:

      Articles and television stories about the case:

      On advice of counsel, Steve Kurtz is unable to answer questions
      regarding his case. Please direct questions or comments to

      --> o Say no more:

      ý How a tit changed the sound of radio:
      1. First off, what upset/bemused me was how self-righteous and
      fanatically so many Americans reacted to the exposed aureola of Janet
      Jackson's breast. An amazing display of misplaced energy.

      2. It is a rebuilt non-natural tit at that. More Tupperware than
      'lascivious' skin.

      3. JJ was not only contrite but was willing to basically beg for
      forgiveness in order to save her "ass" and ca-rear. How different it
      was even in the oppressive 50s when the Mamie van Doren's, Jayne
      Mansfield's and Marilyn Monroe's had some measure of pride and
      defiance concerning their exposure of delirious skin. It may say
      something about how far the nation has swung into conformity and
      repression for the sake of freedom.

      4. The worst effect has been its effect on media: not only have racy
      companies withdrawn racy ads that suggest conjugal relations or
      bodily fluids or Š fun because, YIKES! Here comes the zeitgeist! An
      exposed nipple's dramatic effect on radio is here detailed in an
      excellent interview conducted by old sonic colleague Dave Mandl and
      my former DJ-mgr colleague at WFMU [the Alamo of sound!] courtesy of

      "Un-Liberating the Airwaves: WFMU's <http://www.wfmu.org/> Ken
      Freedman on the Post-Janet Jackson FCC" by Dave Mandl, Brooklyn Rail

      Dave Mandl (Rail): How have things changed for radio broadcasters in
      the wake of Janet Jackson's Super Bowl performance?

      Ken Freedman: Things have changed drastically in recent months. As
      recently as last fall, the Federal Communications Commission (FCC)
      issued a series of decisions that loosened their language rules
      considerably Ñ ruling, for example, that the word "fuck" was
      permissible if used non-literally, as an adjective. Things have now
      not only reverted to the way they were before, they've become much
      more rigid than ever.

      Although there have not been any new rules passed into law yet by
      either the FCC or Congress, it's an entirely new landscape for TV and
      radio broadcasters. And as is always the case with the FCC, there are
      absolutely no written guidelines or definitions to help broadcasters
      determine what is legal speech and what is illegal speech.

      Rail: Does this affect mostly high-profile broadcasters, or is no one
      under the FCC's radar any more?

      Freedman: It's safe to say that no one is under the FCC's radar.
      Although most language fines have been leveled at larger commercial
      broadcasters, the FCC has historically fined many small community and
      college stations as well. And small non-commercial stations have
      (historically) had to pay the same fines as larger commercial
      stations. I think it's also safe to say that the FCC's most
      inexplicable and unfair language decisions have been leveled at small
      non-commercial stations. The best example of this was KBOO's airing
      of a Sarah Jones poem called "Your Revolution," which was clearly a
      feminist poem, not sexual in nature, but it contained the phrase
      "blow job." The FCC gave KBOO (a small, non-commercial, community
      station in Portland, Oregon) a $7,000 fine. KBOO spent double that in
      legal bills fighting the fine, but they eventually prevailed. Bear in
      mind that this case was several years ago, well *before* the current
      crackdown began.

      Rail: So why now? Is this really just because Janet Jackson flashed a
      breast on TV? Are there politics at work hereÊÑÊsay, kissing up to
      the religious right? Or is this crackdown the kind of thing that some
      FCC member was dreaming of already, and Boobgate provided a golden

      Freedman: The Super Bowl incident just added momentum to a process
      that was already in place. Due to rulings like last October's "Bono"
      ruling, TV and radio stations had been getting more and more
      adventurous with regard to sexual talk and antics on the air. For
      years, one of the FCC's five commissioners (Michael Copps, a
      Democrat) had been lobbying for more severe FCC punishments for
      language violations. He had been getting ignored until earlier in
      2003, when several highly publicized incidents (including the Opie
      and Anthony "sex at St. Patrick's" broadcast, and the Madonna-Britney
      kiss) started giving him some traction. Then there was the Bono
      ruling, which really started the censorship wheels rolling. And then
      the Super Bowl just ignited it all and turned it into a hot political
      issue in an election year.

      The FCC claims they received 200,000 emails in the days following the
      Super Bowl. (They now claim that closer to 800,000 emails and letters
      have been received about this.) This put enormous pressure on Michael
      Powell (FCC head honcho) to deal with it. Powell took an enormous
      public black eye over the FCC's ownership issue last year [when the
      FCC relaxed restrictions on the number of stations individual
      companies could own]. Up until the Super Bowl, the ownership issue
      was the FCC's "most popular" debate ever, and the public came out
      largely *against* the FCC's stance on it. Powell couldn't politically
      afford to ignore Boobgate after the ownership fiasco. In fact, Powell
      did a 180-degree about-face on language. Up until the Super Bowl,
      Powell had a fairly sane approach to the censorship issue. He used to
      make public pronouncements that he didn't want the FCC to become the
      nation's nanny, etc. No more.

      This crackdown also has to be taken in historical context as yet
      another in a series of language crackdowns that the FCC periodically
      undertakes. But there's a big difference Ñ during this crackdown, it
      looks like there will be new federal laws passed regarding language
      and censorship. That's never happened before. So even after this
      political storm subsides, broadcasters may have a whole new set of
      federal laws on the books that they will have to deal with for years.

      Rail: You mentioned the fact that this is happening in an election
      year. What's the significance of that? Is there pressure on the FCC
      from senators or the White House, for example?

      Freedman: There has been a great deal of pressure on the FCC from
      senators and congresspeople, over the indecency issue as well as
      other issues. But mostly, the indecency issue has simply become a
      point that incumbents can point to during the re-election campaigns.
      They can tell their constituents that they're cracking down on all
      the filth on the airwaves.

      Rail: The fines that have been announced recently are enormous Ñ
      orders of magnitude higher than anything before. And with the FCC
      being much more vigilant, it sounds like there's a very real
      possibility that stations (especially smaller ones) may be driven out
      of business for relatively minor obscenity violations. How do you
      think this will play out in the long run?

      Freedman: That is one of many big question marks in all of this. In
      the past, the FCC has never had a separate rate structure for
      different-size stations, or for non-commercial stations. Since the
      basic fines were modest, even a small non-commercial station could
      withstand the "starter" fine of $7,000. Now congress is talking about
      raising the starter fine to $60,000, which would devastate small and
      medium-sized stations, commercial *or* non-commercial. The senate has
      talked about tying the size of fines to the size of the station, but
      that proposal hasn't even been scheduled for a vote yet. So it's a
      fairly worrisome issue. The one thing that gives me solace is that,
      in the past, the FCC has acted on less than one percent of the
      obscenity complaints it receives. That's mostly because the FCC is so
      severely under-funded. Hopefully it stays that way, but if Congress
      allows the FCC to keep a portion of these huge new fines to help its
      enforcement abilities, then that too could change.

      Rail: Now that these obscenity guidelines are being codified as
      federal laws, will the FCC finally be forced to at least be more
      specific about what is and isn't allowed, or will they continue to
      leave stations guessing?

      Freedman: They'll most likely keep us all guessing. In all of the
      proposed new rules and amendments, there hasn't been a single
      congressional request that the FCC define or even clarify their
      language rules. In the early nineties, Congress did instruct the FCC
      to do this, and it took the FCC ten years to do it. What resulted was
      an Orwellian masterpiece, a fifty-page document (released in April
      2001) in which the FCC gave only examples of decisions they had made,
      but no clear definitions as to what is permissible and impermissible.
      And on nearly every page, they defended their lack of definitions by
      saying that they are not allowed to engage in censorship or abridge
      the first amendment rights of broadcasters. Michael Powell continues
      this doublespeak to this day, saying that for the FCC to issue lists
      of illegal words and phrases would have a "chilling effect" on free
      speech. In fact, the opposite is true Ñ if stations had clear
      guidelines, they would have *more* freedom than they have in the
      current climate, where nobody knows what is allowed and what isn't.

      [Ken Freedman is general manager of WFMU-FM, Jersey City (91.1 FM.]

      ý o Wis. Officer Takes Doughnut-Eating Prize [courtesy of Bradlay]:
      ROLLING MEADOWS, Ill. (AP) - A patrolman from Wisconsin left his
      opponents in a cloud of powdered sugar dust by downing 9 1/2
      doughnuts in three minutes to win a doughnut-eating contest for
      police officers in suburban Chicago. Terry O'Brien of the Town of
      Geneva Police Department in Lake Geneva, Wis., said he was destined
      to win Wednesday's contest because law enforcement runs in his
      family. ``Actually, it was my father, who's deceased,'' O'Brien said.
      ``He was a Chicago cop, a lifer. Today is his birthday.'' For the
      second year in a row, the International Law Enforcement Educators and
      Trainers Association held the contest at its annual conference. The
      Dunkin' Donuts World Cop Donut Eating Championship attracted 40
      contestants from the U.S. and Canada.

      ý o The Sound of Space
      66 East
      Sumatrastraat 66, Amsterdam
      Online: www.66east.org
      Time: Friday 4 June 1-8pm
      Saturday 5 June midday-6pm; Price: free

      Newly opened, weekend-opening exhibition space and 'Center for Urban
      Culture', 66 East aims to promote innovative, interdisciplinary
      projects related to the city's surroundings. This particular
      exhibition focuses on contemporary, sound-related work interpret
      'space' in a broad context. Taking part are sound technicians,
      designers and musicians including Guy Bahir, Mark Bain, Seamus Cater,
      Raviv Ganchrow, Flatliners, Tom Parkinson and Research & Development.

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      o "plus another few hundred when it hits the BSI list!" Ezra
      o Old playlists archived at <http://www.wfmu.org/~bart/>
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Soon, the unveiling of new juggernaut: <http://wreckthismess.com/>
      courtesy of Pavement Tulip, a genius stuck in the body of a Polish
      skier in Brooklyn's inner denouement.


      CONTACT ninplant@... FOR REMOVAL

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