Tutu Hockey

Marlon Williams is a singer and guitarist from New Zealand of Maori descent who showed in his debut album last year that he was a big fan of early rock’n’roll, country, and rockabilly. He’s just released his first new song since that album, a catchy, witty number called “Vampire Again.” Even better, he’s released a fun, Nosferatu-themed video to go with it, which Williams himself directed. His vampire, a kind of pathetic loner, loves cats and does not possess quite the superhuman strength you might have expected. Watch till the end to see what I mean. And along the way, enjoy what Williams describes as “my own demented tale of New Age self-affirmation.” Marlon Williams plays Rough Trade in Brooklyn on October 30, just missing Halloween.

shhh, secret code

What Is Encryption?

Encryption

is the mathematical science of codes, ciphers, and secret messages. Throughout history, people have used encryption to send messages to each other that (hopefully) couldn't be read by anyone besides the intended recipient.
Today, we have computers that are capable of performing encryption for us. Digital encryption technology has expanded beyond simple secret messages; today, encryption can be used for more elaborate purposes, for example to verify the author of messages or to browse the Web anonymously with Tor.
Under some circumstances, encryption can be fairly automatic and simple. But there are ways encryption can go wrong, and the more you understand it, the safer you will be against such situations. keep on reading

Here's something we can use!

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Honey And Salt: Music Inspired by the Poetry of Carl Sandburg

https://soundcloud.com/bk-music-pr/fog-matt-wilson

I suppose the jazz drummer Matt Wilson occasionally plays straightahead jazz gigs. But he is certainly not afraid of casting a wide musical net. It takes a lot to get me to listen to Christmas music, for example, but Matt’s Christmas Tree-O was too good to pass up, and an invitation to play in our studio revealed a musician who was smart and funny as well as talented. Now he’s about to release an album called Honey And Salt: Music Inspired by the Poetry of Carl Sandburg. On it, he leads a virtuoso quintet with special guests reading Sandburg’s work; those readers include Jack Black,

e-new-trio/">Christian McBride, Bill Frisell, and others. The album comes out on August 25, but you can hear the track “Fog” right now, and it’s a quietly stunning duet between Matt Wilson and the great poet, who, having been dead for 50 years now, was in no position to decline. Sandburg’s recorded voice, reading one of his most famous texts, is heard in a kind of call-and-response with Matt’s drum kit (which sounds like it’s been tuned almost to the breaking point) – and if you thought the drum kit was not capable of melody, well, listen to how his drumming mirrors the poet’s voice, in both rhythm and in the actual shape of the line. At the very end, a moment of magic: the voice and the drum kit play in unison, and they really are “playing” the same tune.
Matt Wilson’s band plays at the Jazz Standard in NYC on September 19 and 20.

Free, White and 21

Howardena Pindell
(American, born 1943)

1980. Video (color, sound), 12:15 min.

See this work in MoMA’s Online Collection

In 1979, after working in The Museum of Modern Art’s curatorial ranks for 12 years, artist Howardena Pindell was in a car accident that left her with partial memory loss. Eight months later, during what she describes as “one of the hottest summers in New York,”¹ she set up a video camera in her apartment, focused it on herself, and made Free, White and 21, a deadpan account of the racism she experienced coming of age as a black woman in America. She developed the work out of her need to heal and to vent: “My work in the studio after the accident helped me to reconstruct missing fragments from the past….In the tape I was bristling at the women’s movement as well as the art world and some of the usual offensive encounters that were heaped on top of the racism of my profession.”²
Born in Philadelphia in 1943, Pindell grew up when the South was still lawfully segregated and racism was rampant nationwide. She was 21 when the Civil Rights Act passed in 1964. In Free, White and 21, she illustrates the stark divide between black and white Americans by appearing as both herself and as a white woman. The video opens with a glancing shot of the artist in whiteface and wearing a blond wig, in the guise of a white woman from the 1950s or 60s. This character is the free, white, 21-year-old to which its title refers, who appears throughout the video, discounting Pindell’s searing experiences with statements like, “you really must be paranoid,” and “you won’t exist until we validate you.”³
When she comes onscreen as herself, Pindell first recounts the abusive racism that her mother endured, and then talks viewers through the milestones of her own life—including elementary and high school, college, and young adulthood—via the discrimination that made her advancement such a struggle. At one point, she peels a translucent film off of her face, as if to reference the facial masks and other cosmetic products marketed to women to beautify and transform their looks. But this film has not changed the artist’s looks, and especially not the color of her skin. Instead, it serves to re-emphasize the fact that they were transformed by a white-dominated American society—into a liability. via
WATCH Free, White and 21