13 Ekim 2012 Cumartesi

Down There by the Train lyrics by Johnny Cash

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Down There by the Train lyrics by Johnny Cash

Down There by the Train was written by Tom Waits. Following the sucess of the American Recording album on which it featured, Waits later released his version on the Orphans: Brawlers, Bawlers & Bastards rarities collection.
Lyrics 

There's a place I know where the train goes slow
Where the sinner can be washed in the blood of the lamb
There's a river by the trestle down by sinner's grove
Down where the willow and the dogwood grow

You can hear the whistle, you can hear the bell
From the halls of heaven to the gates of hell
And there's room for the forsaken if you're there on time
You'll be washed of all your sins and all of your crimes
If you're down there by the train 
Down there by the train
Down there by the train
Down there by the train
Down there where the train goes slow

There's a golden moon that shines up through the mist
And I know that your name can be on that list
There's no eye for an eye, there's no tooth for a tooth
I saw Judas Iscariot carrying John Wilkes Booth
He was down there by the train
Down there by the train Down there by the train
Down there by the train
He was down there where the train goes slow

If you've lost all your hope, if you've lost all your faith
I know you can be cared for and I know you can be safe
And all the shamefuls and all of the whores
And even the soldier who pierced the side of the Lord Is down there by the train
Down there by the train
Down there by the train
Down there by the train
Down there where the train goes slow

Well, I've never asked forgiveness and I've never said a prayer
Never given of myself, never truly cared
I've left the ones who loved me and I'm still raising
Cain I've taken the low road and if you've done the same
Meet me down there by the train
Down there by the train
Down there by the train
Down there by the train
Down there where the train goes slow

Meet me down there by the train
Down there by the train
Down there by the train
Down there by the train
Down there where the train goes slow
Check out the lyrics to Cash's Redemption which also from American Recordings.


Tennessee Stud lyrics Johnny Cash

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Johnny and June
Tennessee Stud lyrics Johnny Cash 
Written by Jimmy Drift and made popular by Eddie Arnold in 1956, Tennessee Stud. The stud, if you were wondering was a horse....
Lyrics
Back about eighteen and twenty-five
I left Tennessee very much alive
I never would've made it through the Arkansas mud
If I hadn't been riding on the Tennessee Stud

Had some trouble with my sweetheart's Pa
One of her brothers was a bad outlaw
I wrote a letter to my Uncle Fudd
And I rode away on the Tennessee Stud

The Tennessee Stud was long and lean
The color of the sun and his eyes were green
He had the nerve and he had the blood
There never was a horse like Tennessee Stud

Drifted on down into no man's land
Across the river called the Rio Grande
Raced my horse with the Spaniard's foe
Til I got me a skin full of silver and gold

Me and the gambler, we couldn't agree
We got in a fight over Tennessee
Pulled our guns and he fell with a thud
And I rode away on a Tennessee Stud

The Tennessee Stud was long and lean
The color of the sun and his eyes were green
He had the nerve and he had the blood
There never was a horse like Tennessee Stud

I rode right back across Arkansas
I whupped her brother and I whupped her Pa
I found that girl with the golden hair
She was riding on a Tennessee Mare

Pretty little baby on the cabin floor
Little horse colt playing round the door
I loved the girl with the golden hair
And the Tennessee Stud loves the Tennessee Mare

The Tennessee Stud was long and lean
The color of the sun and his eyes were green
He had the nerve and he had the blood
There never was a horse like Tennessee Stud
Want more? Check out the lyrics to Down There By The Train, also from American Recordings.

Oh Bury Me Not (Introduction: A Cowboy's Prayer) lyrics Johnny Cash

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Johnny and Bob
Oh Bury Me Not (Introduction: A Cowboy's Prayer) lyrics by Johnny Cash

Lyrics:
Lord, I've never lived where churches grow
I loved creation better as it stood
That day you finished it so long ago
And looked upon your work and called it good
I know that others find you in the light
That sifted down through tinted window panes 
And yet I seem to feel you near tonight
In this dim, quiet starlight on the plains
I thank you, Lord, that I'm placed so well
That you've made my freedom so complete
That I'm no slave to whistle, clock or bell
Nor weak eyed prisoner of Wall Street
Just let me live my life as I've begun
And give me work that's open to the sky 
Make me a partner of the wind and sun
And I won't ask a life that's soft or high
Let me be easy on the man that's down
Let me be square and generous with all
I'm careless sometimes, Lord, when I'm in town
But never let them say I'm mean or small 
Make me as big and open as the plains
And honest as the horse between my knees
Clean as a wind that blows behind the rains
Free as the hawk that circles down the breeze
Forgive me, Lord, if sometimes I forget
You know about the reasons that are hid
You understand the things that gall or fret
Well, you knew me better than my mother did 
Just keep an eye on all that's done or said
And right me sometimes when I turn aside
And guide me on that long, dim trail ahead
That stretched upward toward the great divide

Oh, bury me not on the lone prairie
These words came low and mournfully
From the pallid lips of a youth who lay
On his dying bed at the close of day

Oh, bury me not and his voice failed there
But we took no heed to his dying prayer
In a shallow grave just six by three
We buried him there on the lone prairie.
Check out the lyrics to Cash's version of Leonard Cohen's Bird on a Wire.

Delia's Gone lyrics by Johnny Cash

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Cash at San Quentin prison
Delia's Gone lyrics by Johnny Cash 
A hit for Cash in the early 60s, Cash re-recorded this version for the America Recordings albums. 
Lyrics 
Delia, oh, Delia Delia all my life
If I hadn't have shot poor
Delia I'd have had her for my wife
Delia's gone, one more round Delia's gone

I went up to Memphis
And I met Delia there Found her in her parlor
And I tied to her chair
Delia's gone, one more round Delia's gone

She was low down and trifling
And she was cold and mean
Kind of evil make me want to Grab my sub machine
Delia's gone, one more round Delia's gone

First time I shot her I shot her in the side
Hard to watch her suffer
But with the second shot she died
Delia's gone, one more round Delia's gone

But jailer, oh, jailer Jailer,
I can't sleep 'Cause all around my bedside
I hear the patter of Delia's feet
Delia's gone, one more round Delia's gone

So if you woman's devilish
You can let her run
Or you can bring her down and do her
Like Delia got done
Delia's gone, one more round Delia's gone
Check out the lyrics for Cash's Let the Train Blow the Whistle

Jesus and God in Johnny Cash's lyrics

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Jesus and God in Johnny Cash's lyrics

Some might say Johnny Cash was bad guitar player, an alcoholic, a fire starter, a womanizer and a brawler. That's all arguable but you cannot deny that Johnny Cash was a god fearing man. He's quoted as saying:

"The Master of Life's been good to me. He has given me strength to face past illnesses, and victory in the face of defeat. He has given me life and joy where other saw oblivion. He Has given new purpose to live for, new services to render and old wounds to heal. Life and love go on, let the music play."

"Creative people have to be fed from the divine source. I have to get fed. I had to get filled up in order to pour out."

Cash sure fed him self on songs whose lyrics refer to Jesus, especially for the American Recordings series. Here's quick run through of some of them.

I Came to Believe's lyrics suggest a man who has been through some troubled waters and has found solace in God, perhaps through necessity to survive.

God's Gonna Cut You Down is a classic Cash song where lyrics are a particular warning to sinners that no matter how hard they try, they will not avoid God's judgment. The same should probably be said of The Man Comes Around which tells the tale of The Second Coming.

Personal Jesus is a quite a different song. The reference to Jesus is some kind of quasi love song where the other party substitutes in for Jesus.

The Wanderer was a song Johnny Cash did with U2 on their Zooropa album - it refers to a man who has been making a journey in a post-apocalyptic world where he's finally realised that he better get on home to Jesus.

Meet Me In Heaven is a tender love song where the singer knows he's going to Heaven and when his partner dies, they'll end up at their side.

That Lucky Old Sun tells the story of man who works real hard and is disappointed he's not getting any reward while the sun gets to play in the heavens all day - the character ask's the Good Lord if he can hear his concerns. Even more heavy on the asking God to fix a problem is The Kneeling Drunkard's Plea - once you're at the bottom, sometimes the only way out is to look to the Heavens for help. I Hung My Head echoes this sentiment - a murderer has realized his shame and asks God for forgiveness.



12 Ekim 2012 Cuma

Introducing Loyalty Lab

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A woman walks into your museum. She's visited a few times before, and you vaguely recognize her as the lady who loved bubble painting, thought the bike sculpture was funny and didn't like the video installation. Last time she had a kid with her, and he got chalk all over his hands from the mosaic activity they did with a volunteer. They wrote a comment about their experience that got turned into a bird by other visitors in the public sculpture hanging in the middle of the museum. You remember seeing them stand in front of the magic mirror in the history gallery, laughing as they made themselves into giants in the glass.

In the admission log today, she is registered as a tick mark under the column marked "General." That's it. No information about who she is, why she's here, what she's looking for, and what she gets out of her connection to the museum. No memory of her relationship with us.

Our museum has a big challenge when it comes to tracking and rewarding participation. Like a lot of small museums, at the MAH staff and community members build relationships on a daily basis. Staff members invite visitors to help write exhibit labels, create art installations, and give opinions on upcoming programs. Visitors become volunteers and take the lead on new projects and activities. Visitors tell staff members and volunteers again and again how their lives are changing because of their involvement with the museum.

This is wonderful and maddening at the same time. It is wonderful to see the uptick in membership and donations and the positive energy from people who come in the door. It is maddening to have no way to track or intentionally encourage these relationships to grow. Like many small museums, the MAH cannot afford expensive ticketing or membership software systems. We have email newsletters and memberships and conversations, but none of those things talk to each other. Our computers are amnesiacs when it comes to participation. We have very high ability to form relationships with visitors, but very low ability to capitalize on those interactions.

With the support of the National Arts Strategies Chief Executive Program and the Institute for Museum and Library Services, we're starting a new project called Loyalty Lab to change that. In the Loyalty Lab, we will develop a series of low-tech, low-cost strategies and systems for small institutions to track, celebrate, and act on personal interactions with visitors. I'm not talking about RFID chips for every visitor or a Nike+ system to track their every move. I'm talking about human-scale, simple, delightful ways to acknowledge people's involvement and encourage them to go deeper. It could be loyalty cards. It could be charm bracelets. It could be free hugs. We want to be as creative as possible in exploring the options.

Our goals are to:

  • Measure and increase membership acquisition and renewal 
  • Measure and encourage repeat visitation 
  • Increase participant perception of the MAH as a friendly place with high community value

And we want to do it with you, too. We've created a little blog that we will use to track our project openly. It's starting with a workshop tomorrow with Adaptive Path, an experience design firm that focuses on mapping "customer journeys" and developing tools that enable users to more enjoyably and successfully navigate the offerings of the business or organization. In museum terms, that means understanding how visitors hear about us, why they come, what they do when they are here, and what happens after they leave. It means finding the points along the way where we lose people, and the opportunities for us to track and celebrate people's deepening involvement. You can learn more about this process from an Adaptive Path slideshow here.

This is a year-long project for us at the MAH. We'll go from research to prototyping to final design from now until early summer of 2013. We'd love to have you join us as contributors to the Loyalty Lab blog or just follow along and comment on our progress. We've already heard from one museum--the Boston Children's Museum--where they are experimenting with a "V.I.F." program (Very Important Family) to reward repeat family engagement. I know there are other organizations--museums and beyond--playing with innovative approaches to membership, pricing, and tracking to support and encourage deeper relationships. The goal here is for all of us to learn and experiment together.

How do you think about loyalty and relationship-building in your organization?

What's the String that Ties One Experience at Your Institution with the Next?

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Reader, I was wrong.

In 2008, I wrote a post arguing that museums should focus on the pre-visit, not the post-visit, if they want to capture and retain visitors. I said:
In many ways, the ability to successfully set a powerful and useful expectation for museum experiences is MORE valuable than the ability to extend said experience. When you set an expectation, you frame an experience. Once visitors have already banged on the exhibits and watched the giant nostril show, the experience belongs totally to them. The chances of reaching and holding onto them back at home are small. They’ve formed their impressions of the on-site experience, and their chance of returning, becoming members, etc. is heavily based on those impressions. You can send them all the pleasant follow-up emails you like, but such notes are unlikely to be the motivating factor that brings them back through your doors.
While I still believe that framing the experience with marketing and at the beginning of a visit is important, a workshop last week taught me that the end of the visit is potentially very, very important when it comes to encouraging deeper involvement with the museum. I now realize that people can have a great experience and have NO CLUE what other opportunities (return visit, membership, in-depth programs) are available to them. I don't care how many platforms you're active in--if they are not connected to each other, people will not aggregate the experiences.

What's missing for these visitors who attend, enjoy, and don't (or sporadically) return? They are missing a string.

Let me explain. For a long time, I've thought of museum visits or cultural encounters as pearls on a string. Each experience is a pearl. They are not necessarily linear or identical to each other. But if you want to deepen the commitment between visitor and institution over time, you need a string that visitors can hang their pearls on, a thread that holds the growing relationship together. No string, and you've just got a bunch of visits rolling under the furniture.

Yes, pre-visit marketing, announcements, and welcomes are essential to get that first pearl in a visitor's hand. But we all know that it's easier to keep a current user/visitor/patron than to acquire a new one. How do you build your relationship with that person who has gotten their first pearl? How do you give them the string?

Last week, as the kickoff for the Loyalty Lab project, the experience design firm Adaptive Path facilitated a workshop at my museum for staff and visitors in which we created a "map" of the visitor experience at a museum event. Our goal was to wholly understand how visitors experience our events before, during, and after the visit.

One of the surprises was a series of observations from casual visitors--people who attend an event or two per year, who are not members, and who tend to come because of word of mouth or an invitation from a friend. They all reported having a great time at the museum... and immediately letting go of it afterwards. There was no followup. They had not been asked to join an email list or take a newsletter or join the museum. They had not taken photos in our photo booth and gotten an email about them later. They were not part of our Facebook community sharing photos and stories from the event. They came, they made a pearl, and then they dropped in their pocket with the rest of their day.

We realized from this discussion that we have a huge missed opportunity when people are leaving the museum. On their way in, they are excited, curious, ready to engage. They are not ready to hear about membership or take a newsletter about what's coming up next time. They bolt right past those tables to the "good stuff." But at the end, they've had a great time, and they want a takeaway from the experience. They WANT to join the email list. If we're smart, we should be developing a takeaway that both memorializes the visit and leads them to another. In other words, we should be giving them a string for their new pearl.

As a concrete example, consider the library. The pearls are the books you read. But the string is the library card. I've always thought of the library card as the first thing you get at the library, but it actually comes at the end of the first visit, when you have loaded up with books and you want to take them home. The card is a passport to continue your experience with the books and with the library. You want the card because it's your ticket to proceed. But it also becomes the connector that ties one experience to the next.

At our institution, we have several string candidates. Visitors make a lot of stuff here, and we're talking about ways they might be able to exhibit or share it with others in a way that encourages their return to see how their stuff has evolved. We're considering expanding our photo booth survey machine. We're talking about punch cards that serve as cultural passports with a range of museum-related missions or lead you to "earn" a membership. Or, there's just the simple starting point--a newsletter, a membership brochure, a friendly volunteer inviting you back. We're talking about shifting from having "greeters" to having "goodbyers" who thank you for coming and invite you to a next specific event.

What's the string in your organization? How do you invite people back, and how do you help them collect and aggregate their experiences with you in a meaningful way?

Participatory Internships in Santa Cruz this School Year

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It's the end of the summer, which means we are sadly bidding farewell to our fabulous summer interns, getting lonely and scared about how we will possibly do amazing work in the coming months without their brilliance, ingenuity, and creativity.

And then comes the part where we recruit new interns, get blown away by their abilities... and the cycle continues. At the Santa Cruz Museum of Art & History, we take our interns seriously, give them real responsibility, creative challenges, and meaningful work opportunities. We ask a lot and we give a lot and at the end of the day we sometimes throw parachute men off the roof.

I'm particularly excited about two internships that relate to participatory exhibition design. We also have fabulous opportunities in Community Programs, Education, and Development - please check the website for all the options and information on how to apply. You don't have to be a student to be eligible. Our interns include undergraduates, graduate students, and people of all ages looking to jumpstart creative careers in community engagement.

First, there is the Participatory Exhibit Design Internship. These interns work with our curatorial team to develop interactive and participatory components for upcoming exhibitions. Current and former interns have developed everything from games to personality tests to a whole-gallery installation of memory jars. We typically have two to three interns in this role, working 15 to 24 hours per week. Interns this year will be focusing on our winter Work in Progress show (Thomas Campbell, Ze Frank, Timber Framing) and spring Photography and Identity show. We are always looking for interns with strong graphic/3D design skills; the best interns can help us plan exhibits, design labels, AND learn to develop terrific participatory experiences for visitors.

Second, and highly experimental, is the Museum Camp Internship. We have recently decided that in the summer of 2013, we will be hosting a 3-day professional development hack-a-thon in which participants will develop, design, and deploy innovative interpretative experiences around collection objects. It will tie into an experimental, month-long exhibition in our main gallery. In other words, people who participate in Museum Camp will get to test all kinds of wild ideas for visitor engagement with a real live exhibition. We already have enthusiastic support from some museum rock stars like Kathleen McLean, Maria Mortati, and Eric Siegel. Exciting, right? To make this a hit, we're going to need someone who wants to make this their baby and support its creation. So if you want to help develop an unconference and explore participatory exhibit design, this internship is right for you. (And of course, much more to come about Museum Camp in the months to come.)

Fine print: all internships at the MAH are unpaid. We are happy to help you get school credit for your work here, and we love writing glowing recommendations for your future careers. Our interns tend to be highly self-motivated people who have always dreamed of having the latitude to make their dreams real. People who struggle tend to need more structure and direction than our institutional culture affords. Please feel free to comment or email with any questions.

The Public Argument About Arts Support as Seen through the Lens of the Detroit Institute of Arts

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Earlier this month, the Detroit Institute of Arts was "saved" by a voter-approved property tax (called a "millage") in its three surrounding counties. The millage will provide about $23M per year for ten years to support operations, during which time the DIA hopes to raise $400M to enhance its endowment and replace the operating income from the millage. Residents in the three counties that pay the millage will receive special benefits: free admission to the museum and expanded educational programming.

I'm not going to comment on the reasons for the millage or its merits from an arts management perspective--please check out Diane Ragsdale's excellent post for a round-up of commentary and some hard-hitting opinions about the big picture. I'm focusing on the community response to the prospect of the millage and the way the public debate reflects broader conversations about the public value of the arts.

Analyzing Public Comments in the Detroit Free Press Online

The pre-vote public commentary in the Detroit Free Press about the millage is like any online newspaper commentary: polarizing, extreme, and highly varied in tone and reasonableness. But the arguments trotted out represent how far we have to go in articulating the public value of arts institutions (and helping our supporters speak the same language). It's like a giant, free, no-holds-barred focus group that represents a true range of arts users and non-users.

Reading through the 300+ comments online reminded me eerily of the extraordinary 2010 ArtsWave report on the public value of art (full report here, my synopsis here). The report, which focused on Cincinnati, found that the common arguments for public support for the arts don't hold up for most people. In the executive summary, the authors identified several common assumptions that "work against the objective of positioning the arts as a public good." Here are three of those assumptions and their substantiation in the Detroit Free Press:
  • The arts are a private matter: Arts are about individual tastes, experiences and enrichment, and individualexpression by artists. 
    • This perspective was rampant in Michigan. As one Detroit Free Press commenter wrote: "You are not getting it. Your cultural outlet is art galleries and symphonies. Mine is tractor pulls, MMA and the occasional anvil shoot. But why is yours more deserving of my tax dollars?"  
    • The arts are a good to be purchased:Therefore, most assume that the arts should succeed or fail, as any product does in the marketplace, based on what people want to purchase. 
      • Several Detroit comments were in this vein. Commenters asked reasonable questions about why the museum couldn't balance the books, but more importantly, they kept coming back to the argument that if the museum was successful, it would be financially viable. One commenter told a DIA supporter: "[if you support them] just send the DIA a $20 check. Why force everyone else to do it? If all the people that plan to vote yes just bought a membership to the DIA, there would be no need for the property tax. Vote with your money instead."
    • The arts are a low priority: Even when people value art, it is rarely high on their list of priorities.  
      • Detroit, like a lot of cities, is struggling financially on many levels. Many comments on the DIA fell in this category, e.g. "I would rather my $20 goes to my local schools, police, or fire if they are going to raise my tax." Many of the comments also suggested that it was unfair for people throughout the counties to support an institution in the middle of the city.

    Community Case Statements for the Public Value of Art

    So what do we do with these assumptions? The ArtsWave report suggests that we need to make effective, specific case statements for public support of the arts. Several commenters in the Detroit Free Press in support of the millage tried their best. Their arguments ranged in success, mirroring the discussion in the ArtsWave report about the utility and shortcomings of common case statements (see page 15 of the report). Here are just two arguments that were notable for the difference in the responses they sparked:
    • Unsuccessful argument: Great cities should have great arts institutions. As one commenter said: "it's so embarrassing to come back home and find that people in this area don't care for the gems we still have, just no sense of pride here."
      • Rebuttal: That's elitist. Lots of negative and ambivalent reaction to this case statement. This kind of comment was common: "Your elitist tone is what turns people off from wanting to pay higher taxes. The whole 'we know how to spend your money better than you' attitude is condescending and false."
      • Successful argument: Great museums improve quality of life and the value of the region. "it’s just not about a museum, it’s a local AND regional “quality of life” issue. Whether it’s visitors from the suburbs or from out of town, or possible families contemplating relocation, or the city residents themselves…people look at the Entire Big Picture….Education, Culture (Symphony, Opera, Museum), Sporting venues, Shopping, Crime & Safety, etc."
        • Rebuttal: none. Interestingly, these kinds of comments on the website did not spawn heavy critique or vitriol. This was also the argument put forth in news articles by politicians--that cultural amenities, schools, and neighborhoods are all important when courting businesses or prospective homeowners.
      This second argument is one part of the case statement that ArtsWave recommended for the city of Cincinnati. Their recommended case statement is:
      A thriving arts sector creates “ripple effects” of beneï¬�ts throughout our community. 
      They elaborate that:
      The following two ripple effects are especially helpful and compelling to enumerate:
      • A vibrant, thriving economy: Neighborhoods are more lively, communities are revitalized, tourists and residents are attracted to the area, etc. Note that this goes well beyond the usual dollars-and-cents argument. 
      • A more connected population: Diverse groups share common experiences, hear new perspectives, understand each other better, etc.
      Looking at news articles and public discussion, it seems that the DIA's supporters won the day with the first of these arguments. I hunted through the Detroit Free Press discussion with the second ripple effect in mind, but I couldn't find evidence of it in the comments. I found some comments about the fact that the DIA provides programs for schoolchildren and poor families, but that falls into the "services" case statement that often yields unfavorable comparison to "core" civic services (schools, police, social services). I found only one comment about the diversity of visitors to the DIA, but that was presented in rebuttal to someone saying it is an elitist organization. There were no case statements for the DIA that emphasized how the museum brings us all together, connects counties, or creates bridges.

      Opportunities for the Future (and for Other Struggling Arts Institutions)

      This issue and the discussion surrounding it highlighted to me the value of the ArtsWave report as a proactive tool for advocacy. No one wants to wait for a life-or-death situation to start testing out case statements. If I were running the DIA, I would have used the ArtsWave report to map out talking points during the millage debate. And as the director of an organization rebounding from financial crisis, I'm thinking a lot about what messages support our future and how to encourage not just staff but our members and friends to think about the museums in those terms. Every time a visitor talks about enjoying the museum, I smile. But when they use phrases like "making the community a better place" or "part of something bigger," I'm thrilled.

      And what to do when the advocacy is successful, as in the case of Detroit? I'm surprised by the little the DIA has said publicly about the millage effort and its outcome. I understand that the museum was restricted in public statements during the campaign, but afterwards, I expected a much more aggressive reframing. In thanking people for supporting the millage, the DIA focuses on granting benefits (primarily free admission) and makes almost no commentary about what these taxpayers have done and are doing for the future of the DIA and the vitality of the Detroit metro area. I can understand why regular citizens (or irregular, depending on what you think of people who comment on newspaper sites) might not focus on social case statements for the DIA. But the institution should jump on that. There's a missed opportunity to reframe what the millage means and the role of community support in museum funding when saying thank you.

      It's probably a useful exercise for any institution to ask: what are the messages about our value that resonate most--not just with our own supporters, but with the people in our community who don't know anything about us? If people were debating the future of our institution in the paper, what would they say? How can we equip our supporters with the strongest case statements so they can be champions and not pariahs? And how do we engrain those arguments into our operations so they are self-evident?

      Voting on Art and its Surprising Consequences

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      What happens when you let visitors vote on art?

      Let's look at the statistics from three big participatory projects that wrapped up recently. Each of these invited members of the public to vote on art in a way that had substantive consequences--big cash prizes awarded, prestige granted, exhibitions offered.
      • ArtPrize, the grandaddy of visitor voting, just completed its fourth year in Grand Rapids, Michigan. This citywide festival showcased work by 1,517 artists competing for a $200,000 top cash prize awarded by public vote. An estimated 400,000 people attended the event over two weeks, of which 47,000 cast at least one vote. Voters had to register to vote, but there were no restrictions on how many artworks a voter could "like."
      • The Brooklyn Museum just finished the public stage of GO, a "community-curated open studio project." GO invited people to visit artists' studios throughout Brooklyn over one weekend and to nominate up to three favorites; the top ten will be considered for an upcoming group show at the museum. 1,708 artists participated. An estimated 18,000 people attended, of which 4,929 nominated artists for the show. Note that in this case, people had to register to vote AND check in at at least five studios to be eligible to nominate artists for the show. Full stats here.  
      • The Hammer Museum recently awarded the first annual Mohn Award, a $100,000 prize that will be awarded biannually to an artist in the "Made in LA" biennial exhibition based on public vote. Five artists out of sixty in the show were short-listed by a jury. 50,000 people visited the exhibition, and 2,051 voted for their favorite artist of the five. Fascinating (and long) article about the Mohn Award here.
      In each of these examples, the press and public dialogue mostly revolved around the idea of public voting for art. But when it came to the actual experience, the vast majority of participants and attendees did NOT vote. In Grand Rapids, 12% cast a ballot. In Brooklyn, 27% made it through the voting process. In LA, only 4% voted. 
      What's going on here? Why are hundreds of thousands of people flocking to Grand Rapids for ArtPrize but not choosing to vote? Why did the Hammer Museum have record summer attendance if people weren't coming for the thing that was being flaunted--the opportunity to vote?
      There are surely some people who didn't want to go through the hassle of registering and learning the rules of voting. There are others who may not have felt "qualified" to select winners and losers. But my sense is that the biggest reason people didn't vote is that for most visitors, voting wasn't the point. The point was to be part of an exciting, dynamic, surprising new way to engage with art.
      Or at least, that's what I experienced when I went to ArtPrize in 2010. I was blown away by the social experience provoked by the unorthodox format. Voting on individual artworks turned each one into a social object worthy of lengthy conversation. Talking with Shelley Bernstein at the Brooklyn Museum, it sounds like GO comparably sparked a huge number of community conversations in artists' studios around Brooklyn. When the public is invited to decide, they may not take on that power and responsibility... but they may show up in droves to see what the fuss is about.
      This leads me to two conflicting perspectives on voting in exhibitions:
      1. Voting on substantive outcomes (money, exhibitions) is good because it provokes engagement with objects, artists, and fellow visitors. Whether you tick the ballot or not, the opportunity to do so opens up a conversation about what's good, what's bad, and what's art.  
      2. Voting on substantive outcomes is dangerous because not enough people participate to make serious decisions in good faith. The Hammer is reconsidering the public vote component of the Mohn Award after only 2,051 people determined who would win $100,000. And in Brooklyn, Shelley Bernstein noted that the data generated during GO was insufficient to generate statistical significance in a "wisdom of the crowds decision-making" format. In the case of ArtPrize, founder Rick DeVos has explicitly said that the event is a creative act designed to engage people in "conversation" about art. And yet they have added juried prizes alongside the public ones to diversify that conversation.
      How do you weigh the positive engagement that comes with community dialogue against the ethics of voting for outcomes that matter deeply to the artists involved?

      11 Ekim 2012 Perşembe

      Anti-doping authorities don't play fair

      To contact us Click HERE

      Anti-doping authorities don't play fair against athletes
      The system is so relentlessly rigged that even Lance Armstrong doesn't see a point in fighting it.
      Michael Hiltzik
      August 26, 2012
      http://www.latimes.com/business/la-fi-hiltzik-20120825,0,4618562,full.column

      With the whole world atwitter over Tour de France champ Lance Armstrong's decision to drop his legal fight against anti-doping allegations, it's the right moment to be appalled at the travesty in sports this case represents.

      It's not that the case will be seen as a major victory for sports anti-doping authorities. It's that the anti-doping system claiming its highest-profile quarry ever is the most thoroughly one-sided and dishonest legal regime anywhere in the world this side of Beijing.

      It's a system deliberately designed to place almost insurmountable hurdles in the way of athletes defending themselves or appealing adverse findings. Evidence has emerged over the years that laboratories certified by the World Anti-Doping Agency, or WADA, have been incompetent at analyzing athletes' samples or fabricated results when they didn't get the numbers they were hoping to see.

      Athletes' defense attorneys harbored some hope that by picking a fight with Lance Armstrong, the anti-doping system might have sowed the seeds for its own reform. Finally, it was thought, here was an athlete with the money and motivation to expose the legal sophistry, the pseudoscience, the sheer sloppiness that underlies sports anti-doping prosecutions all over the world.

      Instead, the outcome shows that the system is so relentlessly rigged that even Lance Armstrong doesn't see a point in fighting it.

      "We're talking about three, four, five years of litigation," says Mark Levinstein, a veteran sports lawyer and a member of Armstrong's legal team. "Who in his right mind would or could go through that?"

      Before we go further, let's address the question most people think is the nub of the matter. Is Lance Armstrong a doper?

      Here's the answer: I don't know. You don't know either. More to the point, Travis Tygart, head of the U.S. Anti-Doping Agency, doesn't know. That hasn't kept USADA from declaring Armstrong to be guilty of charges it has not proved in public, or to attempt to strip him of his seven Tour de France titles. (It's not yet clear that USADA has the latter authority.)

      And there lies what is, in fact, the nub of the matter. It shouldn't matter if you believe Armstrong doped in winning his titles. You should still be appalled, even frightened, by the character of the prosecution.

      In part that's because under the rules written by the anti-doping system, athletes' cases are heard not in a court of law but in arbitration.

      Arbitration is a system that more Americans are becoming familiar with, to their misfortune and distaste. It's where banks, brokerages, cellphone companies and other powerful business institutions force their customers to litigate grievances, for the simple reason that arbitration systems favor those who use them the most — banks, brokerages, cellphone companies, etc.

      The real secret of why anti-doping agencies have been able to hound athletes out of their sports with impunity is that in this system they're not only the prosecutors but also the judges and juries. They write the arbitration rules, including those governing what evidence is relevant and under what circumstances it can be questioned.

      Defending oneself in this system is horrifically expensive. The hiring of lawyers and scientific experts, the cost of visiting labs in foreign lands and attending hearings all over the country can drive a routine defense to six figures.

      How many amateur athletes have the resources to do that? So most defendants give in and accept a suspension for a year or more. But countless innocent athletes, or competitors whose violations are clearly the result of an accident or blameless error, carry the stigma of cheater because they couldn't afford a defense.

      "You're up against a prosecutor who drafts the rules, and goes back and changes the rules when they go against him," says Michael Straubel, director of the sports law clinic at Valparaiso University Law School and a defense attorney who handed USADA one of its rare defeats in an arbitration case.

      The Lance Armstrong case has inspired several such stealth rule changes.

      For example, World Anti-Doping Agency rules provide for an eight-year statute of limitations, meaning that anti-doping agencies aren't supposed to use test results older than that to bring charges against an athlete. But Armstrong has pointed out that USADA was basing its case against him on test results as much as 14 years old. Presto: WADA is proposing to update its statute of limitations to 14 years — and it's proposing that the update be retroactive.

      Federal Judge Sam Sparks of Austin, Texas, who was asked by Armstrong to block USADA's case against him, found lots not to like about the agency's pursuit of the cyclist. He called USADA's charging document, a letter that listed Armstrong's purported doping violations, "so vague and unhelpful it would not pass muster in any court in the United States." The deficiency, he said, "is of serious constitutional concern."

      He questioned whether USADA's real goal in bringing the charges was to combat doping in sports as it claimed, or whether its motivation was "less noble." Armstrong had argued that the case reflected a vendetta against him by anti-doping authorities, possibly conceived after he blew to smithereens leaked accusations against him in 2005, embarrassing a major WADA lab in the process.

      Yet despite his concerns, Sparks last week dashed Armstrong's hopes on the same shoal that has wrecked the defenses of other athletes. He ruled that by competing in sports events, Armstrong implicitly agreed to arbitrate any doping charges against him. In other words, the matter was out of the court's hands.

      And sure enough, anti-doping prosecutors almost never lose an arbitration. USADA has won all but three cases it has brought to arbitration since 2000. That's a record, it likes to suggest, that points to its unrivaled skill and integrity.

      It should be obvious that if USADA's lawyers were that good they wouldn't be wasting their time badgering athletes for taking a Sudafed before competing or not being at home when drug testers arrive to take a random urine sample; they'd be making national news prosecuting Mafia killers or Wall Street bankers. (Test scheduling issues have constituted nearly 95% of USADA's caseload, according to its own figures.)

      On the rare occasions when anti-doping prosecutors have to bring their cases before a legitimate court, they almost never win. Roger Clemens: two trials, zero convictions. Barry Bonds: four charges, one conviction (for obstruction of justice). After spending months pondering whether to bring Armstrong to trial for doping misdeeds, federal prosecutors abandoned the case in February.

      You may choose to believe that Clemens, Bonds and Armstrong are guilty based on the size of their craniums or their superhuman physical achievements. But on the rare occasions when the facts have been tested in a courtroom subject to the rules of due process and evidentiary standards afforded ordinary Americans, they haven't measured up.

      The biggest problem with the sports anti-doping system is that it's driven by anti-drug hysteria, not by reasoned judgments about what we expect from our athletes and what technological assistance should be permitted.

      The same people lining up to brand Lance Armstrong a cheater will worship a pitcher who undergoes Tommy John transplant surgery to save his career. The Oakland A's Bartolo Colon will be missing 50 games for taking testosterone, but what about the batters he's faced who have had their eyeballs surgically refabricated with Lasik so they can read his pitches better?

      Is the rule that it's OK to enhance your performance by scalpel but not by hypodermic needle? Then let's discuss that and establish exactly what the grounds are for the distinction. Until we clear that up, along with why caffeine isn't on the banned list but marijuana is, athletes will try anything they can to beat their records, thrill the masses and make money. And why not?

      It's all well and good to say the goal of the anti-doping system is to ensure that sports stay clean, and it's certainly true that clean athletes have every reason to resent having to compete against cheaters.

      But we've created a strange way to uphold these principles — a system that writes its own rule book, moves the goal posts at will, lies and fabricates to get the score it wants and fiercely resists playing before an objective umpire. Whatever you choose to think of Lance Armstrong, his case is just one more indication that the supposed guardians of honesty and integrity in sports are among the filthiest players of all.

      Michael Hiltzik's column appears Sundays and Wednesdays. Reach him at mhiltzik@latimes.com, read past columns at latimes.com/hiltzik, check out facebook.com/hiltzik and follow @latimeshiltzik on Twitter.

      Romney's Breakfast of Billionaires

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      Greg Palast - Dollars & Sense Magazine | Tuesday, September 18. 2012
      GregPalast.com

      Greg Palast's brand new book Billionaires & Ballot Bandits: How to Steal an Election in 9 Easy Steps, is out.  To read more about it, go to GregPalast.com, or visit The Konformist Blog at:

      http://robalini.blogspot.com/2012/09/billionaires-ballot-bandits.html

      To order via Amazon.com:

      Paperback:
      http://www.amazon.com/Billionaires-Ballot-Bandits-Steal-Election/dp/1609804783/thekonformist

      Kindle:
      http://www.amazon.com/Billionaires-Ballot-Bandits-Election-ebook/dp/B008EDPP00/thekonformist

      On Friday, Governor Mitt Romney had breakfast with billionaires.

      JOHN PAULSON, Paul Singer and Ken Langone who have dropped more than a million dollars each into the Romney “Super-PAC” Restore Our Future. As Butch said to Sundance, “Who ARE these guys?”

      Singer's known as "The Vulture" on Wall Street. Langone's database company came up with the list of innocent Black voters that Katherine Harris wiped off the voter rolls of Florida in 2000. But who is Paulson, a guy so dark and devious he doesn't even have a nick-name?

      I tried to join them ("Sorry, sir") just to ask why Romney was chowing down with the nation's most notorious billionaires and ballot bandits.

      Here is just a bit about Breakfast Billionaire #3: John Paulson from my new book, Billionaires & Ballot Bandits: How to Steal an Election in 9 Easy Steps—An investigation of Karl Rove, the Koch Gang and their Buck-Buddies. There's a comic book inside by Ted Rall with an introduction by Bobby Kennedy Jr. Get it here now.

      It was just released today and already hit number one non-fiction PAPERBACK in the USA.

      In August 2007, billionaire John Paulson walked into Goldman Sachs, the investment bank, with a billion-dollar idea. Paulson’s brainstorm had all the elements that Goldman found enchanting: a bit of fraud, a bit of flimflam, and lots and lots of the ultimate drug: OPM—Other Peoples’ Money.

      Paulson’s scheme was simple. Paulson, a much followed hotshot hedge-fund manager, would announce that he was betting big on the recovery of the U.S. housing market. He was willing to personally insure that billions of dollars of shaky subprime mortgages, like the ones dumped on Detroit, would never go into default.

      Now, all Goldman had to do was line up some suckers with more money than sense, some big European banks that handled public pension funds, and get them to put up several billion dollars to join with Paulson to insure these shaky mortgages. Paulson, to lure the “marks” into betting the billions, would pretend to put $200 million into the investment himself.

      But, in fact, Paulson would be betting against those very mortgages. Paulson himself was the secret beneficiary of the “insurance” on the mortgages. When the housing market went bust, Paulson collected from the duped banks and they didn't even know it.

      And Goldman would get a $15 million fee, or more, for lining up the sheep for the fleecing.

      Goldman provided Paulson with a twenty-nineyear old kid, a French neophyte, to play the shill, making presentations to the European buyers with a fancy, 28-page “flip-book” about the wonderful, secure set of home mortgages the “clients” would be buying.

      The young punk that Goldman put on the case texted a friend (in French — mais oui! —about the inscrutable “monstruosités”) while he was in the meeting, right as Paulson was laying on the bullshit.

      The carefully selected bag of sick mortgages was packaged up into bundles totaling several billion dollars. To paint this turd gold, Paulson and Goldman brought in the well-respected risk-management arm of ACA Capital. Paulson personally met with ACA and gave them jive that he himself was investing in the insurance (as opposed to investing against the insurance).

      Secretly, Paulson personally designed the package of mortgages to load it up heavily with losers, concentrating on adjustable rate mortgages, given to those with low credit scores, while culling out high-quality loans given by West Coast banker Wells Fargo. ACA, thinking Paulson was helping them pick the good stuff, put their valuable seal of approval on the mortgage packages, though they were quite nervous about their “reputation.” (But that’s what happens when you go out with bad boys.)

      The mortgages in each package were dripping dreck—but with the ACA/Goldman stamp, Moody’s and Standard & Poors gave the insurance policies a AAA rating. European banks that hold government pension investments snapped up the AAA-rated junk.

      In August 2008, over one million foreclosures resulted in the Goldman mortgage securities losing 99% of their value. The Royal Bank of Scotland, left holding the bag, wrote a check to Goldman Sachs for just short of one billion ($840,909,090). Goldman did the honorable thing . . . and turned over the money to Paulson (after taking their slice).

      Don’t worry about the Royal Bank of Scotland. The British taxpayers and Bank of England covered its loss, taking over the bleeding bank.

      And here’s the brilliance of it: when it came out that Goldman and other mortgage-backed securities were simply hot steaming piles of manure, their value plummeted further and the mortgage market, already wounded, now collapsed—and mortgage defaults accelerated nationwide. The result was that as the market plummeted, Paulson’s profits skyrocketed: his hedge fund pulled in $3.5 billion and Paulson put over a billion of it in his own pocket.

      With Paulson skinning some of Europe’s leading banks for billions, there was a bit of a diplomatic and legal dustup. The SEC investigated, confirmed in detail Paulson’s scam and sued the kid at Goldman who acted as Paulson’s assistant, the one who couldn’t even follow the complex deal. Goldman paid a fine, but never admitted wrongdoing.

      And Paulson received . . . a tax break.

      Robert Pratt, a UAW member I met in Detroit, and several million others, lost their homes, including a Saudi prince who, in the recession, had to sell his Vail, Colorado, home ... to Paulson for just $45 million.

      But now the bandit billionaire had a bit of problem. With $3.5 billion of ill-gotten lucre in his pocket, he needed something else in his pocket: politicians who would protect the tax dodge and keep the SEC enforcement dogs on a tight leash. Paulson wasn’t alone in profiteering from the savaging of the mortgage market. There was his billionaire buddy Paul Singer, known on Wall Street as “The Vulture.” Together they launched the super-PAC "Restore Our Future" with a check for one million each. They asked Bill Koch to throw in some change. Koch did: $2 million.

      To restore the billionaires' future, the super-PAC's first order of business was to ally with Karl Rove. "Turdblossom," as George Bush called his mastermind Rove, had created a massive database on Americans, “DataTrust,” which works with a second massive database, “Themis,” funded by two other Koch Brothers, Charles and David. But that's another story in another chapter, read it, in Billionaires & Ballot Bandits.

      Greg Palast is the author of the New York Times bestsellers The Best Democracy Money Can Buy, Armed Madhouse and Vultures' Picnic.

      Palast's brand new book Billionaires & Ballot Bandits: How to Steal an Election in 9 Easy Steps, is out on September 18. You can order Billionaires & Ballot Bandits from Barnes & Noble, Amazon or Indie Bound. Author's proceeds from the book go to the not-for-profit Palast Investigative Fund for reporting on voter protection issues.

      Or donate and get a signed copy of the book.

      Copyright © 2012 Greg Palast, All rights reserved.

      Robalini's Week 4 NFL Picks

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      Here's my results for week 3
      W-L-T record: 5-6
      Season record: 13-16

      I was going to boycott week 4, but as the NFL got a clue and cut a deal with the real refs, I will continue to bet foolishly.  Here's my picks:

      San Francisco 49ers (-4) over New York Jets

      The 49ers underperformed against the Vikings, but it shouldn't happen two weeks in a row.

      San Diego Chargers (-1) over Kansas City Chiefs

      The Chargers fell flat against the Falcons last week, but it too shouldn't happen two weeks in a row.

      Arizona Cardinals (-5 1/2) over Miami Dolphins

      I'm sold on the Cards defense.  Despite Reggie Bush, I'm not sold on the Dolphins.

      Denver Broncos (-7) over Oakland Raiders

      Peyton Manning, despite the Broncos 1-2 start, is playing better in the 4th quarter than his brother Eli.

      Cincinnati Bengals (-1 1/2) over Jacksonville Jaguars

      The Bengals have looked pretty impressive so far this year.

      Philadelphia Eagles (-1) over New York Giants

      I'll take Vick and the Eagles to rebound at home.

      Dallas Cowboys (-3 1/2) over Chicago Bears

      The Cowboys have underperformed the last two weeks, but that should change against the Bears.

      All bets are placed at Station Casinos:

      http://www.stationcasinos.com

      To check Las Vegas odds, The Konformist recommends VegasInsider.com:

      http://www.vegasinsider.com

      It's Over

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      The NFL's Union Referees Return to Work in Style
      Dave Zirin
      September 27, 2012
      http://bit.ly/Snk38d

      The NFL referee lockout is over and we now have an answer to the question, "What does it take to pierce the shame-free cocoon of unreality where NFL owners reside?" All you need, it seems, is condemnation across the political spectrum ranging from the President of the United States to small-town mayors, to even anti-union corporate lickspittles like Wisconsin Governor Scott Walker. All you need is one of your flagship teams, the Green Bay Packers, publicly threatening to strike or "take a knee on every play." All you need are your star quarterbacks Aaron Rodgers and Drew Brees blasting your product. All you need are online petitions with miles of signatures and 70,000 fans calling the league offices in the 24 hours following the debacle of a Monday night game between the Seattle Seahawks and the Green Bay Packers. All of this collective scorn finally punctured the owners' magical mental space, bringing them to the negotiating table to settle.

      The deal is damn near a slam dunk for the NFL referees. Remember the root of this lockout was two-fold: the league wanted to end the pension system and ban refs from holding jobs outside of the sport. Now the league will continue—and even increase—the pension payouts for the next five years before a negotiated transfer to a 401K. Refs will also be given a 25% hike in pay starting next year, with more salary increases until the end of the seven-year agreement. The NFL owners wanted to hire 21 more officials to phase in as full-time employees. The refs agreed to seven new full time hires, and no restrictions on their own abilities to take outside work. In other words, Roger Goodell and the owners were shellacked by the same people they locked out, dismissed, and disrespected. The now infamous words of NFL VP Ray Anderson, “You’ve never paid for an NFL ticket to watch someone officiate a game", is now the league’s version of “You’re doing a heckuva job Brownie.”

      But there is a bigger story here as well: the entire country received a High Def, prime time lesson in the difference between skilled, union labor and a ramshackle operation of unskilled scabs. When Scott Walker is sticking up for the union, you know we've arrived at a teachable moment worth shouting from the hills. People who care about stable jobs with benefits and reversing the tide of inequality in the United States should seize this moment. We should ask not only the Scott Walkers of the world but politicians of both parties drinking from the same neoliberal fever-swamp: why do you think we need skilled union labor on the football field but not in our firehouses, our classrooms, or even our uranium facilities? Similarly players need to be asking questions to the owners: how can you actually posture like you care about our health and safety ever again after subjecting us to this hazardous environment the first three weeks of the season, or as Drew Brees put it on twitter, "Ironic that our league punishes those based on conduct detrimental. Whose CONDUCT is DETRIMENTAL now?"

      Lastly, it's another embarrassment after a year of embarrassments, for NFL Commissioner Roger Goodell. He has through his arrogance created an asterisk on this season, left an indelible mark on his legacy as commissioner, and created a crisis of confidence in his ability to do his job. He learned that people may not pay to watch referees but they do pay to watch a competently officiated contest. He also hopefully learned that if there's one thing people don't pay to watch, it's him: sweating before the cameras and doing his damnedest to make the NFL a reflection of the worst corporate arrogance. Hear the message Roger. This nine billion dollar league? This unprecedented popularity? This limitless national audience? You didn't build that. Your owners didn't build that. The sponsors didn't build that. It was built by the blood, sweat, and tears of those on the field of play including the referees. It was built by fans who invest their passion and the tax payers who have underwritten your archipelago of mega-domes in cities across the country. I can't wait for the union refs to be cheered when they take the field this weekend. We may go back to booing them after the firstplay, but it will be with respect: respect earned because they stood as one  and beat the NFL bosses.

      Robalini's Week 5 NFL Picks

      To contact us Click HERE

      Here's my results for week 4
      W-L-T record: 4-3
      Season record: 17-19

      Arizona Cardinals (-1 1/2) over St. Louis Rams

      How real are the Cards?  Real enough to beat the still inconsistent Rams.

      Minnesota Vikings (-5 1/2) over Tennessee Titans

      The Vikings sure looked better last year than their 3-13 record would suggest.  They are proving that this year.

      Cincinnati Bengals (-4) over Miami Dolphins

      The Bengals are quietly at 3-1, with their only loss against the mighty Ravens.

      Baltimore Ravens (-5 1/2) over Kansas City Chiefs

      Since starting my betting in 2011, the Ravens are the only team I've never bet against.  Eventually I will, but not this week.

      Chicago Bears (-5 1/2) over Jacksonville Jaguars

      I'm still not sold on the Bears this year, but they should handle the Jaguars.

      Denver Broncos (+7) over New England Patriots

      My dog pick of the week, albeit a popular one.  Are the Patriots better than the Broncos?  Yes.  But would I give Peyton Manning a touchdown on any team and bet against him?  Nope.

      New Orleans Saints (-3 1/2) over San Diego Chargers

      The Saints defense is horrible, but is this an 0-4 team?  No way.  Will the Saints go 0-5 on a Sunday night at home in a game where Drew Brees is set to break Johnny Unitas' record for 47 straight games with a TD pass?  No way.

      All bets are placed at Station Casinos:

      http://www.stationcasinos.com

      To check Las Vegas odds, The Konformist recommends VegasInsider.com:

      http://www.vegasinsider.com

      10 Ekim 2012 Çarşamba

      TV Smith: Live at the KWNN, Stevenage, 1993

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      In the nineties, TV Smith (more here), formerly of The Adverts (more HERE), finally struck out on his own. On the advice of Attila the Stockbroker, TV took up his acoustic guitar and began life as an insurrectionary troubadour. The result was the folky-but-fearsome March of the Giants album (just re-released on Easy Action). To document this phase of TV's march from obscurity to semi-obscurity, here's a  good  sounding audience bootleg of a 1993 solo gig.





      Friday 1st October 1993
      Stevenage - KWNN

      1     Atlantic Tunnel          
      2     Immortal Rich          
      3     Haves And Have-nots          
      4     Can't Pay, Won't Pay          
      5     The Day We Caught The Big Fish          
      6     We Want The Road          
      7     Gather Your Things And Go          
      8     March Of The Giants          
      9     Lion And The Lamb          
      10    Runaway Train Driver          
      11    Borderline          
              Encore
      12    Gary Gilmore's Eyes


      MRML Readers give us your take on solo TV and tell us if you want to hear more!

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      Why the Politics?

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      I guess it was the trolls who inspired me.

      Back in January 2009 I posted a 1991 single by Seattle punk-metal band Coffin Break (see HERE). I pointed out that the single's A-side, "Kill the President" wasn't about politics at all but was in fact "...a bright pop song about insanity. The narrator is like Travis Bickle just as the Prozac wears off." Then after sparing a brief thought for the relationship between punk and politics, I cast a wary eye upon the next four years:

      And it does seem like everyone’s in a sincere mood these days doesn't it? It’s kinda like watching that besotted couple who, in their first flush of passion, offer loud, wild promises that make you wince with the pain of regret to come. So, when the inauguration spectacle is packed away, when the word historical gets a well-deserved rest, there’s gonna be some ugliness. The American Right thinks everyone (but them) is a communist and the American Left thinks everyone (but them) is a fascist and they both love political bloodsport. America may well be in a better place in four years but by then the axe-grinders that dictate public discourse in the U.S. will have tossed all this non-partisan sincerity aside.

      Well my crystal ball was a little cloudy (how was I to guess that the American Right  would brand the Left as communists AND fascists!). On the other hand, I did call the cynical malaise that would soon cloud Obama voters view and rightly noted that no good deed by Obama would be acknowledged by the axe-grinding class.

      However, despite the cautious, not-terribly partisan nature of the post, the trolls heard me tromp-tromp-tromping over their Bridge to the 19th Century and came out howling:

      Anonymous January 18, 2009 3:16 PMYou're an idiot. The Left blamed GWB for everything. He kept integrity. Iraq did have WMD, did use them, and Iraq and the world are better off now than before. The economic crisis was created by Dodd, Obama and Frank - the Dem congress. 0bama's "career" was built on fraud and waste and maybe the clueless crowd you hang with is "optimistic", but there is fear with an inexperienced person whose only idea is raising taxes and restricting personal rights among most of the free thinking adults.

      What? The? Fuck?


      Honestly, I was a little shocked (ah, such naivete) at how high the level of hatred BEFORE THE MAN EVEN TOOK OFFICE but just then a blogging legend dropped by to offer a little tutorial on trolling:

      Joe Stumble January 20, 2009 7:27 AMCLASSIC Troll move. He starts off by calling you an idiot thereby shutting the door at the get-go on any meaningful conversation. Then he proceeds to regurgitate right wing nonsense that he's picked up from Rush or Ann or whomever. Finally he does it all anonymously. When did conservatives become such whiny sissies? 

      Not one to allow the noble art of trolling to be so besmirched, a new voice shouted out:

      Maria January 24, 2009 1:08 AMBush never tried to limit anyone's constitutional rights.
      Everything obama says he is going to do is completely wrong.
      You are like the morons that vote based on sunshine logos and bubblegum speeches.
      You should look up the term "useful idiot".

      Now comparing me to a Stalinist showed an ignorance of history (plus a terribly limited array of snappy put-downs) but I realized that if you can express an opinion with a minimum of clarity you're a threat to these reactionary types. And no, I will not sully the word conservative, a legitimate political philosophy, by letting these people take that name upon themselves when they can be more accurately labelled reactionaries. These aren't people of a different view who want to debate ideas and interpretations, no they want to hurl inflammatory invective and then run away and hide in anonymity.


      So I knew I had to keep going on this blog, to do my part to show those people on the fence that this kind of hate-filled, tongue-tied, Fox-fed know-nothingness is an integral part of this imbalanced modern Republican Party which needs to be brought back to sanity.

      Snip-snap-snout 
      this tale's told out....

      TV Smith: We Want the Road (1994)

      To contact us Click HERE


      At the height of his obscurity, TV Smith (more HERE), formerly of The Adverts (more HERE) broke up his loud rock n' roll band Cheap (more HERE). Then, going on the advice of his old friend Attila the Stockbroker, Smith struck out as an angry folkie on 1992's, March of the Giants. By cutting off the electricity and turning up the finger-pointing, he did an anti-Dylan, which is fitting since TV is no man's disciple. While his taking up acoustic arms didn't turn him into a generational icon, it certainly re-launched his career.




      The next album in his solo oeuvre, 1994's Immortal Rich was championed by The Big Takeover's Jack Rabid (TV's 2nd greatest fan) and released in the U.S. on Henry Rollins' (his 3rd biggest fan) label but did not match the relatively high profile of March of the Giants. Despite the lack of smashing commercials success, the album helped establish TV's sustainable practice of recording with a varying cast but touring solo. Thealbum's first single was the somber-but-restless, "We Want the Road, which might make some of our younger readers (Do we have those?) think that TV is Frank Tuner's dad.





      Track Listing

      1 We Want The Road 3:49
      2 Walk The Plank 3:34
      3 Eurodisneyland Tomorrow 3:09
       

      (Image courtesy of Record Collectors of the World Unite)

      MRML Readers give us your take on this TV solo item and tell us if you want to hear more!


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      Update: Don't miss the cool 2006 live show from TV posted over at Aural Sculptures!

      TV Smith: Thin Green Line (1995)

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      TV Smith (more here), formerly of The Adverts (more HERE) has never lost his knack for penning songs with cutting lyrics that assail the privileged with unforgettable tunes that can rouse almost anyone. "Thin Green Line" isn't so-called folk-punk but a blazing punk song hammered out on an acoustic guitar. How TV Smith keeps his energy and passion burning so hot is a mystery I'm not sure I want solved:




      Thin Green Line

      We're faced with mile-high piles of money
      Sitting in banks
      Gold bars, credit cards
      Aeroplanes and tanks
      Buy, buy, satisfy
      Call me when you're rich
      Cheap food, cows dying in a ditch

      We're having a hard time
      Holding the thin green line

      We're faced with out-of-town shopping malls
      Suburban housing boom
      Inner city empty lots
      Damp in all the rooms
      Bulls and bears, speculators
      Marks, francs, yen
      And the baby's crying again

      We're having a hard time
      Holding the thin green line

      So come on down to the bottle bank
      Make your deposit and relax
      Nothing's going on behind your back
      We'll make all the big decisions
      You just watch the television
      Smash the brown!
      Smash the green!
      Smash the clear!
      It won't happen here

      We're having a hard time
      Holding the thin green Line

      We watch the last of the species
      Vanish from the screens
      And get replaced by killer dogs
      And their man on the scene
      There are peeping toms, pop songs
      Crime and sin and sex
      All spewing out on newsprint
      While the forest dies a death
      They're cooling down reactors
      While the natives die of thirst
      They say let's all pull together
      You first

      We're having a hard time
      Holding the thin green line

      They say let's all pull together - you first
      But they never pull together
      No wonder we're having a hard time
      Holding the thin green line




      This Tom Robinson fortified E.P. also includes a sturdy version "The Lion and the Lamb", a pile-driving take on "Runaway Train Driver" (both originally from March of the Giants) and a hard-strumming attack on the Adverts "Gary Gilmore's Eyes". Like the album, the single is way-out-of-print.


      (Image courtesy of Record Collectors of the World Unite)


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      TV Smith and Punk Lurex O.K. (2000)

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      (Image courtesy of Record Collectors of the World Unite)

      TV Smith's (more here), formerly of The Adverts (more HERE) elasticity, demonstrated in his ability to play full-on whether the material is old or new, electric or acoustic, is one of his defining traits. The strongest proof of this elasticity, however, is seen and heard in TV's ability to play solo, just man and guitar or with any number of musicians. We've already heard him play with the Adverts, the Explorers, Cheap and Tom Robinson and even though we've so far ignored his guesting with Florida metal band Amen and German punk band the Nervous Germans, we've really just begun to explore the infinite permutations of TV Smith.





      Punk Lurex O.K., a Finnish band whose origin story is cooler than the Joker backed up TV Smith on a tour and then recorder this little corker. The fact that the record kicks off with re-recorded Adverts song (Alongside his "Punk Rock Poem") prove TV Smith remains in touch with his own past but it's the two new songs, "The World Just Got Smaller" and "The Future Used to be Better" proves that TV's as incisive, melodic and elastic as ever.





      MRML Readers give us your take TV & Punk Lurex and tell us if you want to keep the TV on!


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      9 Ekim 2012 Salı

      "Rock 'n' Roll" by Tom Stoppard, SSU Evert B. Person Theater, Rohnert Park CA

      To contact us Click HERE






      Photo by Jeff Thomas

      Reviewed by Suzanne and Greg Angeo






      With their production of Tom Stoppard’s “Rock ‘n’ Roll” in its North Bay premiere, it appears Sonoma State University’s Theatre Arts Department may have bitten off more than they can chew.

      Despite its name, “Rock ‘n’ Roll” is not a musical lark. It’s an intricate, emotionally difficult and highly intellectual piece spanning the years 1968 through 1990, with the action alternating between Czechoslovakia and England. On the surface, it’s about family and personal relationships affected by differences in viewpoint and geography, but at its core is about the conflicting ideals of capitalism and communism. It puts forth the bold theory that human culture can influence and even destroy the best-laid plans of seemingly unstoppable political movements. Stoppard’s play is like a train barreling down the tracks, powered by the music of revolution and subversion – rock and roll. Does he suggest that rock music led to the fall of the Iron Curtain? Perhaps.

      In many ways, “Rock ‘n’ Roll” contains elements of Stoppard’s own personal story. Born in Czechoslovakia before WWII and raised in England, he morphed from newspaper reporter travelling the world into one of theatre’s most challenging and original talents. The Tony Award-winning playwright of “Rosencrantz and Guildenstern are Dead” and “Travesties” also wrote screenplays for Terry Gilliam’s “Brazil”, Steven Spielberg’s “Empire of the Sun”, and “Shakespeare in Love” for which he won an Academy Award. “Rock ‘n’ Roll” is one of his newest plays, with its premiere on London’s West End in 2006, and a Broadway opening in 2007.

      Very few universities are equipped with enough talent and understanding of Stoppard’s work to successfully mount a production of “Rock ‘n’ Roll”. Sadly, here it looks more like a class exercise. The transitions between scenes are indistinct. The actors’ movements onstage are very constricted and have an unnatural look, and most of the performances lack character development. Instead of aging characters moving through the years, for the most part what we see are SSU students play-acting, wearing period clothes, makeup and wigs.

      This is especially frustrating because the venue is perfectly suited for a production of this stature. The acoustics, lighting and audio-visual effects are superb, as is the set design. The presentation of songs that introduce each decade is very well done, but this fine framework far exceeds the quality of the execution.

      Even a USDA Prime steak in the wrong hands can be disappointing. What should be a pleasurably dense and meaty theatrical experience ends up tough and loaded with gristle. The cast and crew needs to go back to the kitchen.

      When: March 25 to April 2, 2011
      Performance schedule:
      7:30 p.m. Friday March 25, Saturday March 26, Tuesday March 29, Friday April 1, Saturday April 2
      2:00 p.m. Sunday March 27 performance with post-show discussion

      Wednesday March 30 performance with special events:
      • 5 p.m. Pre show event featuring SSU Music Professor John Palmer and live music
      • 6:30 p.m. Faculty staff night/Open to the public; performance features ASL interpreters

      Tickets: $9 to $16 Sonoma State University students FREE for all performances
      Location: Sonoma State University, Evert B. Person Theater
      Address: 1801 E. Cotati Ave., Rohnert Park CA
      Phone: 707-664-2353
      Tickets: http://www.brownpapertickets.com
      Website: http://www.sonoma.edu/performingarts/