Posts Tagged ‘U.K.’

Kerry Trueman: Let’s Ask Marion Nestle: Is Fido The New Hummer?

December 22nd, 2009 admin No comments

Let’s Ask Marion: Is Fido The New Hummer?

(With a click of her mouse, EatingLiberally’s kat corners Dr. Marion Nestle, NYU professor of nutrition and author of Pet Food Politics, What to Eat and Food Politics :)

Kat: Dog lovers are howling over a new book called Time to Eat the Dog: The Real Guide to Sustainable Living. The book claims that “the carbon pawprint of a pet dog is more than double that of a gas-guzzling sports utility vehicle,” according to a report from the Agence France Presse.

The book’s authors, Robert and Brenda Vale, sustainable living experts at Victoria University in Wellington, New Zealand, estimate that a medium-sized dog’s annual diet–about 360 pounds of meat and 200 pounds of grains–requires roughly double the resources it would take to drive an SUV 6,200 miles a year.

You’ve become an expert on the pet food industry in recent years with Pet Food Politics: The Chihuahua in the Coal Mine, and your upcoming book, Feed Your Pet Right. So, what’s your take on the Vales’ claims? Is Fido really the new Hummer?

Dr. Nestle: Since Mal Nesheim is my co-conspirator on Feed Your Pet Right, this response is from both of us. Hence, “we.”

We ordered this book through Amazon in the U.K. but it is taking its own sweet time getting here. So all we really know about what these authors say is what we read in the October 24 New Scientist, which not only reviewed the book (in an article titled, “How green is your pet“) but also ran an editorial that begins, “If you really want to make a sacrifice to sustainability, consider ditching your pet – its ecological footprint will shock you.”

Oh, please. We don’t think so for two reasons, one quantitative, one qualitative. First, the quantitative:

The New Scientist review says:

To measure the ecological paw, claw and fin-prints of the family pet, the Vales analysed the ingredients of common brands of pet food. They calculated, for example, that a medium-sized dog would consume 90 grams of meat and 156 grams of cereals daily in its recommended 300-gram portion of dried dog food. At its pre-dried weight, that equates to 450 grams of fresh meat and 260 grams of cereal. That means that over the course of a year, Fido wolfs down about 164 kilograms of meat and 95 kilograms of cereals.

We don’t really have all the facts at hand. We have not seen the book, we don’t know what assumptions the authors made, and we can’t be certain that the review quotes the book accurately. Still, we are puzzled by these figures.

By our estimates, an average dog does indeed need about 300 grams of dry dog food a day; this much provides close to 1,000 calories. Fresh meat supplies about 2 calories per gram, so 450 grams would yield about 900 calories. Cereals have less water so they are more caloric; they provide nearly 4 calories per gram. The 260 grams of cereals would provide nearly 1,000 calories. If New Scientist got it right, the authors of the book are overestimating the amount of food needed by dogs by a factor of two.

On the qualitative side: Most dogs don’t eat the same meat humans do. They eat meat by-products–the parts of food animals that we wouldn’t dream of eating. These are organs, intestines, scraps, cuttings, and other disgusting-to-humans animal parts.

We think pet food performs a huge public service. If pets didn’t eat all that stuff, we would have to find a means of getting rid of it: landfills, burning, fertilizer, or converting it to fuel, all of which have serious environmental consequences. If dogs and cats ate the same food we do, we estimate that just on the basis of calories, the 172 million dogs and cats in American would consume as much food as 42 million people.

But they don’t. They eat the by-products of human food production. If we want to do something to help reverse climate change, we should be worrying much more about the amount of meat that we ourselves are eating–and the amount of cereals we are growing to feed food animals–than blaming house pets for a problem that we created.

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Emily Henry: Rage Against the Machine Get Christmas Number One Spot in the U.K.

December 21st, 2009 admin No comments

The war that has waged for dominance of the Christmas singles chart in the U.K. has been decided. In the blue corner, “X-Factor” reality pop T.V. show winner Joe McElderry, with his Miley Cyrus cover (Yes, Miley Cyrus cover) “The Climb”, stands shaking at the knees a few thousand copies behind his competitor, according to HMV. In the red corner, pulsing with ’90s angst, Rage Against the Machine are enjoying the sweet smell of victory with their 1992 semi-hit “Killing in the Name.” The two songs are as different as ebony and ivory, but without the harmonious relationship. In fact, the feud has been more a contest of “cool” versus “cushy”: those who are willing to drop an “F” bomb 17 times versus the teary-eyed and inspired.

But what has made this battle so interesting isn’t the contenders themselves. It’s the rallying of the troops. Every year the “commercial” hit is pitted against a niche, cooler underdog. The tidal wave of music consumers are more-often-than-not barely slowed down by “real” music lovers who, unfortunately for their much-loved bands, are more inclined to swap, create, or “acquire” than flock to the shops. This time, however, a neat little Internet gimmick known as “social networking” has allowed the conventional greasy-haired, black-shirted unconventionalists to band together in the virtual realm and take on the beast of popular music (even though, it might be said, Rage Against the Machine isn’t exactly obscure or unpopular).

The campaign to oust Simon Cowell’s pop machine has been steadily growing on Facebook since December 13th, thanks to the group “RAGE AGAINST THE MACHINE FOR CHRISTMAS NO.1“. “Fed up with Simon Cowell’s latest karaoke act being Christmas No.1?” asks the group. Then buy “Killing in the Name” as a “protest to the X-Factor monotony”. The group has attracted more than 450,000 members (2 percent of the U.K. Facebook population) in the two weeks of its existence.

In the campaign for Rage Against the Machine to get the Christmas No.1 spot, a salute is owed to Facebook for its ability to organize the disorganized. Simon Cowell and his music manufacturing machine have been reminded of the fact that no one man decides the fate of the music industry. It is a democratic process. “The silent majority has spoken,” said my 15-year-old brother via his Facebook status. Rage has been accomplished against the machine. At least, that’s the idea, right?

However, like most attempts to stick-it-to-the-man, the effort is futile in the long run. Cowell is not cowering because his grand scheme has been undone. As one Facebook RATM group member points out, “Rage Against the Machine is under Simon’s Sony deal anyways, so no matter what, he’ll still be getting money.” Come to think about it… bringing another Sony band under the radar at Christmas time was an excellent idea for the record label. No matter who won the battle of music ideology, Sony won the war. And the profits are no doubt mounting. For Cowell, and Sony, and Rage Against the Machine (who, let’s face it, originally only got to number 25 in the charts with “Killing in the Name” and will find an ever-appreciated popularity boost in their stocking this year) Christmas has come early. Thanks Facebook!

On the downside, Joe McElderry is suffering a slew of rub-it-in-your-face comments from RATM fans on his Facebook page. “I’ve just read that British Airways are after cabin crew, Joe,” says one gloating commenter. “So the list of future employment options are.. Tescos, Burger King and now B.A.” Another user simply says, “Britain thinks your a Number 2.” It’s a harsh way for a fresh-faced 18-year-old to start his music career… but at least Facebook users will have successfully cremated any sense of naivety left in Mr. McElderry before Christmas Day. (By the way, Joe, Santa isn’t real…)

Friday was the last day for Brits to buy their way to victory. By midnight GMT, all the votes were cast. Tom Morello told the Sun newspaper: “This really does seem like the biggest ‘which side are you on?’ moment in the history of UK music.”

A nice idea, Tom. But in the end… we’re all on the same side, no matter how rowdy the crowd get. Perhaps ebony and ivory, “cool” and “cushy”, Rage and Joe, live together in perfect harmony after all.

Read the preamble to this article on A Day Like This.

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Jim Wallis: Sotomayor and the Fundamentals of Diversity and Affirmative Action

July 20th, 2009 admin No comments

The confirmation hearing for Judge Sonia Sotomayor this week again brings up the fundamental issues of diversity and affirmative action. Regardless of what we think of the good judge – I like her, and was honored to be at the White House for the announcement of the first Latina for the Supreme Court by the first African-American president, something that I actually did find very moving – it is worth reflecting theologically and politically on the issues involved.

The story of creation in Genesis provides a great depth of insight into the being and nature of God. In those first chapters of scripture we see that the image of God is best reflected not through sameness but through the breadth that exists within the grand diversity of creation. Jonathan Sacks, Chief Rabbi of the U.K., argues in his book, The Dignity of Difference, that the Tower of Babel stands as a warning against the hubris of humans who try to impose uniformity where God has created diversity. The doctrine of the Trinity holds that God, while perfect in unity, is at the same time diverse as Father, Son, and Holy Spirit.

Our country is always at its best when diversity is not viewed as a problem to be overcome but as a strength to be celebrated. The challenge diversity presents is not for the country to become colorblind but for us all to be able to recognize and celebrate our differences while maintaining the proposition our country was founded upon, that all are created equal. While all are equal, we are not all the same — and that is a very good thing.

This principle was affirmed in the 1978 case of Regents of the University of California vs. Bakke, when the Supreme Court struck down as unconstitutional a strict quota system for admissions into medical school. But it was in the opinion of Justice Lewis Powell that another precedent was established. Justice Powell affirmed the role of well-designed affirmative action policies because of the benefits for society as a whole. Jeffery Toobin describes and quotes from the opinion as follows in his book The Nine:

…Powell justified affirmative action because of what it did for everyone, not just for its immediate beneficiaries. In his view, diversity — a buzzword that came into wide use only after Bakke -- helped all students of all races. “The nation’s future depends upon leaders trained through wide exposure to the ideas and mores of students as diverse as this Nation of many peoples,” Powell wrote, so “race or ethnic background may be deemed a ‘plus’ in a particular applicant’s file.” … In the subsequent 25 years, Powell’s rationale had become the dominant intellectual justification for affirmative action — not as a handout to the downtrodden but as a net benefit to the society as a whole.

In the 2003 cases against the University of Michigan (Gratz vs. Bollinger) and the university’s law school (Grutter vs. Bolinger), the principle of taking race into consideration as one factor of admission to achieve the goal of diversity was again affirmed. In those cases, the law school’s affirmative action policy was considered to be set up in a way that promoted this principle while it was determined that the undergraduate system was not. Of special concern in the case was a brief signed by top retired military officers who argued that affirmative action programs in place for officer training was vital to the quality, effectiveness, and cohesiveness of our armed forces.

One of the great benefits of diversity is that whether in regards to life in general or the particulars of a court case, our background, life stories, and identities all afford us different perspectives and unique insights. A diverse class, officer training program, community, or Supreme Court is going to have a broader and deeper wealth of knowledge and experience to interpret the world around them or a plaintiff’s grievance. This is the value of empathy that the president laid out as one of his requirements for a judge. Empathy allows us to rightly consider our emotions in the process of making a decision and to view the facts within more than just one framework. David Brooks, conservative columnist for the New York Times, said it like this:

It is incoherent to say that a judge should base an opinion on reason and not emotion because emotions are an inherent part of decision-making. Emotions are the processes we use to assign value to different possibilities. Emotions move us toward things and ideas that produce pleasure and away from things and ideas that produce pain. People without emotions cannot make sensible decisions because they don’t know how much anything is worth. People without social emotions like empathy are not objective decision-makers. They are sociopaths who sometimes end up on death row.

The belief that diversity is a goal worth pursuing because it is a benefit to all of us is not a conservative belief or a progressive belief, but a deeply held moral value and American proposition. As Brian McLaren wrote, this is not racism. It is from this foundation that our country has overcome the sins of slavery and legalized segregation — and it is from this foundation that our country will continue to make strides in overcoming racial inequality through the courts, legislation, and the transformation of society.

Jim Wallis is the author of The Great Awakening, Editor-in-Chief of Sojourners and blogs at

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More on Sonia Sotomayor

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Gordon Brown Supports Holding Bankers’ Bonuses for 5 Years

July 17th, 2009 admin No comments

July 16 (Bloomberg) — Prime Minister Gordon Brown said the U.K. government will adopt plans forcing banks to hold back half of all bonuses for senior traders and executives for up to five years to discourage excessive risk taking.

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Mike Ragogna: HuffPost Video Premiere: Third Eye Blind "Don’t Believe A Word," plus The Jayhawks, Genesis, and Peanuts 1960’s Collection

July 9th, 2009 admin No comments

“I wanted to create a video that actually represented Third Eye Blind,” says Stephan Jenkins, lead singer and songwriter for the group (and famous Punk’d guest). “The song is full angry, bold and dirty and so are we!” Yup, the guy who fronted the band that gave us huge hits like “Semi-Charmed Life,” “How’s It Going To Be,” “Jumper” and “Never Let You Go” has just directed/pieced together a new, innovative video for the group that utilizes hundreds of photos to mimic stop-motion production. Like some of the best Third Eye Blind tracks, the song has political implications, and its promo clip now debuts on The Huffington Post. So here’s your chance to be the first kid on your block to experience all four minutes of the angry, bold and dirty that is “Don’t Believe A Word”…

Third Eye Blind – Don’t Believe A Word from Sneak Attack on Vimeo.

The Jayhawks – Music From The North Country/The Jayhawks Anthology


For fans of roots music, The Jayhawks’ new anthology, Music From The North Country, is an excellent study of the sound as well as a marvelous overview of the band’s career. This double disc plus DVD collection assembles tracks dating back to their 1986 debut album, their Twin/Tone Blue Earth release, and their five successive Def American/American Recordings that include classic ’90s works such as “Settled Down Like Rain” from Hollywood Town Hall, “Blue” from Tomorrow The Green Grass, and “Save It For A Rainy Day” (no, not the Stephen Bishop song) from their last studio outing, 2003’s Rainy Day Music.

Taking off with their own unique alt sound, The Jayhawks (whose moniker was derived from Bob Dylan’s old backing troupe, The Hawks aka The Band) were influenced initially by other avian ensembles like The Flying Burrito Brothers, The Byrds, and even a bit by the early Eagles. But the music that founding members Mark Olsen and Gary Louris created was pioneering, especially for the ’80s, and in turn, it was used as a blueprint for any number of alt-country bands that followed. Once called “The only country rock band that matters” (The Village Voice, 1989), Olsen’s and Louris’ Everlys-meets-Louvins harmonies and variation on country rock found many fans, such as Def American producer/A&R guru George Drakoulias (who heard the group’s music in the background while on a phone call to Twin/Tone), and fellow Minnesotan, Bob Dylan, who had the band open for him. The Jayhawks also found themselves gigging with Johnny Cash and playing at Farm Aid, so by the mid-’90s, this was the group to watch, pretty much poised for mega-success.

But timing and band members’ entrances and exits–including Olsen’s in ‘95 when he moved to California, eventually recording with his wife, Victoria Williams–stunted their career’s growth, leaving Louris (who, himself, had exited the band briefly in ‘88 following a car wreck) to attend a revolving door membership and constantly shifting sound. However, over the course of seven studio albums and singles such as a couple of the above-mentioned plus “I’m Gonna Make You Love Me” and “Waiting For The Sun,” every line-up contributed great personnel and recordings to the band’s colorful history. In addition to Olson and Louris, semi-consistent membership included bassist Marc Perlman, drummer/vocalist Tim O’Reagan and keyboardist/vocalist Karen Grotberg; and though the group’s various configurations and musical styles have challenged its followers, The Jayhawks’ fan base remains loyal, rewarded recently by the news that Olsen and Louris, already having toured as a duo with and without JH band members, will reunite for another album.

Though the pair’s harmonies always were magic (check out early tracks like “Ain’t No End” with its stunning Gram Parsons/Chris Hillman voicings), the group’s musicianship equaled its vocal prowess. Beyond the joy that is the first CD of Music From The North Country (that expertly frames The Jayhawks’ roots-pop revolution), the second CD is filled with gobs of rarities and unreleased tracks, plus their fraternal music vids with a couple of live performances shape up the DVD. This collection, serving as an efficient recap, hopefully sets up their new Jayhawks project to soar even higher than past flights.


CD 1
1. Two Angels
2. Ain’t No End
3. Waiting For The Sun
4. Martin’s Song
5. Clouds
6. Settled Down Like Rain
7. Blue
8. I’d Run Away
9. Over My Shoulder
10. Miss Williams’ Guitar
11. Trouble
12. Big Star
13. The Man Who Loved Life
14. Smile
15. I’m Gonna Make You Love Me
16. What Led Me To This Town
17. Tailspin
18. All The Right Reasons
19. Save It For A Rainy Day
20. Angelyne

CD 2
1. Falling Star
2. Old Woman From Red Clay*
3. That’s The Bag I’m In*
4. Won’t Be Going Home*
5. Stone Cold Mess*
6. Mission On 2nd*
7. Lights
8. Darling Today
9. Break My Mind
10. Get The Load Out
11. Poor Little Fish (early version)*
12. Someone Will
13. Cure For This*
14. I Can Make It On My Own*
15. Rotterdam*
16. Follow Me*
17. In The Canyon*
18. Tailspin (early version)*
19. I Think I’ve Had Enough*
20. Help Me Forget*
*previously unreleased

1. Waiting For The Sun (video)
2. Take Me With You (When You Go) (video)
3. Settled Down Like Rain (video)
Hollywood Town Hall EPK
4. Settled Down Like Rain (live)
5. Take Me With You When You Go (live)
6. Blue (video)
7. I’d Run Away (video)
8. Big Star (video)
9. Sound Of Lies EPK
10. Save It For A Rainy Day (video)

Peanuts – Peanuts 1960’s Collection


This is pure ’60s heaven. All six of that decade’s “Charlie Brown” TV specials have been gathered for this sweet release, covering everyone’s childhood favorites A Charlie Brown Christmas and, of course, It’s The Great Pumpkin, Charlie Brown. Included in the next tier of specials, though not as essential perennially, are the pop-iconic You’re In Love, Charlie Brown (that introduced us to Peppermint Patty), Charlie Brown’s All-Stars (featuring the famous “stealing home” scenes and Charlie’s uniform being made out of Linus’ blanket), and He’s Your Dog, Charlie Brown (where the mischievous Snoopy ends up with a weirdly strict Peppermint Patty before returning home to good ol’ CB).

Also included is an endearing 37 minute documentary on Vince Guraldi, the jazzmeister behind the most popular Peanuts themes. The feature guests Guraldi’s past band members, his son David, and George Winston and David Benoit, both of whom have released albums of material by the composer. Peanuts producer Lee Mendelson gives the back story on his hearing the pianist’s “Cast Your Fate To The Wind” on a jazz station, then hunting the artist down to supply music for a documentary he wanted to film on Peanuts creator, Charles M. Schultz. That led to Vince Guraldi’s excitedly playing “Linus & Lucy,” immediately after its creation, over the phone to the film maker so that it would be remembered by at least one of the two.

To be honest, this is probably all the Charlie Brown you’ll ever need, its classic first five misadventures featuring Peter Robbins as CB, Christopher Shea as Linus, Sally Dryer as Lucy, Kathy Steinberg as Chuck’s little sister Sally, and director Bill Meléndez as the snickering Snoopy far outshining every Peanuts special that aired in the ’70s. (Okay, maaaaaybe except for A Charlie Brown Thanksgiving…)

DVD 1:
A Charlie Brown Christmas
Charlie Brown’s All-Stars
It’s The Great Pumpkin, Charlie Brown
You’re In Love, Charlie Brown

DVD 2:
He’s Your Dog, Charlie Brown
It Was A Short Summer, Charlie Brown
Vince Guraldi: The Maestro Of Menlo Park


Genesis Live 1973-2007

Rhino Continues To Upgrade The Group’s Catalog With A Fourth Boxed Set Containing Live Albums Expanded With Bonus Audio And Unreleased Tracks


10-Disc Boxed Set Will Be Available September 29 From Rhino

LOS ANGELES — Following the reissue of the 14 Genesis studio albums in the stunning boxed sets Genesis 1976 – 1982 and Genesis 1983 – 1998 in 2007, Genesis 1970 – 1975 in 2008, on September 29, Rhino will release Genesis Live 1973 – 2007, a boxed set gathering the four live albums recorded by the legendary British group from 1973 to 1992. Featuring brand new stereo mixes, the boxed set also includes the long-awaited release in stereo and 5.1 of Live At The Rainbow 1973 only available with this collection.

Genesis Live 1973 – 2007 is a sumptuously presented boxed set that includes:

Genesis Live, the band’s first Top 10 album in the UK, recorded in Leicester and Manchester and issued in 1973, and featuring the classic line-up of Tony Banks (keyboards), Phil Collins (drums, vocals), Peter Gabriel (vocals, flute), Steve Hackett (guitars) and Mike Rutherford (bass, guitars). Genesis Live, for this box-set release, has been extended to feature five bonus tracks recorded at the Shrine Auditorium, Los Angeles on January 24, 1975 and the full album is also presented in 5.1 for the first time.

The double set Seconds Out, a Top 5 entry in 1977 that documented the group’s Paris dates as a quartet with Collins on lead vocals following Gabriel’s departure in 1975. The concerts featured touring drummers Bill Bruford and Chester Thompson. Exclusive to this boxed set, Seconds Out is presented in stereo and 5.1 versions.

Three Sides Live, a #2 album in the U.K. in 1982, mostly showcasing the Banks-Collins-Rutherford incarnation augmented by Thompson and guitarist Daryl Stuermer.

The Way We Walk, finally sees these two live albums re-sequenced as per the original show’s set list. Originally released separately and entitled Vol I: The Shorts, which made the Top 3 in Britain in 1992, and Vol 2: The Longs, this was the band’s sixth #1 album, and their only concert recording to top the charts in 1993.

First formed in 1967, Genesis have sold 150 million albums worldwide and have influenced the likes of Elbow, Flaming Lips, and Jeff Buckley. In the early ’70s, their ambition in the studio was matched by groundbreaking live shows as they presented such classic albums as Nursery Cryme, Foxtrot, Selling England By The Pound, and The Lamb Lies Down On Broadway to audiences across Europe and the U.S. Following Gabriel’s exit in the mid-’70s, Collins stepped up to the microphone and the group scored Top 5 albums with A Trick Of The Tail and Wind And Wuthering. Hackett left in 1977 but the “remaining three” had their first Top 10 single with “Follow You Follow Me” and their first U.S. Top 20 album with …And Then There Were Three… the next year. A simpler, more direct approach to songwriting worked so well that Banks-Collins-Rutherford scored consecutive #1 albums with Duke, Abacab, Genesis, and Invisible Touch in the ’80s, and with We Can’t Dance in 1991, and became a stadium act without losing any of their sophistication and attention to detail. This was evidenced again when they returned to the stage after a ten-year hiatus. When In Rome 2007, the DVD of the free concert they gave at the Circo Massimo in Rome in front of 500,000 spectators topped the DVD charts in the U.K. last year.

Recorded at Leicester De Montfort Hall and Manchester Free Trade Hall in February 1973, Genesis Live was not originally intended for release but rather mixed to be broadcast on the King Biscuit Flower Hour show on US radio. It comprises versions of the melodramatic set opener “Watcher Of The Skies” and “Get ‘Em Out By Friday” from Foxtrot, the band’s fourth studio album–which had reached #12 in October 1972–”The Return Of The Giant Hogweed” and “The Musical Box” from 1971’s Nursery Cryme, the first album featuring Collins and Hackett, and the tour de force quiet-loud dynamics of “The Knife,” from Trespass, the group’s 1970 debut for the Charisma label. Given the band’s growing reputation for its theatrical shows, it is no surprise that Genesis Live spent ten weeks in the charts in 1973, paving the way for the release of Selling England By The Pound later that year. The album’s iconic cover features Gabriel wearing one of his many costumes, in this case the “Magog” mask and black cape he donned during “Supper’s Ready.”

Bonus material includes five tracks from the celebrated concept album The Lamb Lies Down On Broadway, a Top 10 release at the end of 1974, recorded at the Shrine Auditorium in Los Angeles in January 1975.

Recorded at the Palais des Sports in Paris with the Manor Mobile studio in 1976 and 1977, Seconds Out stayed on the British charts for four months. The double set was much more in keeping with the times, the increasing availability of bootleg recordings and the phenomenal success of Frampton Comes Alive! Former Yes and King Crimson drummer Bill Bruford had joined Genesis for the 1976 dates and features on “The Cinema Show,” one of two tracks from Selling England By The Pound. The other, “Firth Of Fifth,” and the rest of the album, features Chester Thompson, a drummer best known for his work with Frank Zappa and Weather Report at the time. Collins tackles Gabriel-era material like “The Musical Box,” “Supper’s Ready,” “The Carpet Crawlers,” the title track from The Lamb Lies Down On Broadway, and “I Know What I Like (In Your Wardrobe),” the group’s first hit, with aplomb. “Squonk,” “Robbery,” “Assault & Battery,” “Dance On A Volcano” and “Los Endos” came from A Trick Of The Tail while “Afterglow” originally featured on Wind And Wuthering. Hackett left while Seconds Out was being mixed. The album’s distinctive cover and the other pictures used were shot by Armando Gallo, the band’s biographer.

Recorded in Germany in 1981, Three Sides Live was originally released in 1982 as a double vinyl set with a fourth side of studio recordings — basically the 3X3 EP and two B-sides–in the US while the European version contained three more extended live tracks. The studio versions of “Turn It On Again,” “Behind The Lines,” “Duchess” and “Misunderstanding” featured on 1980’s Duke while “Dodo,” “Me And Sarah Jane” and “Abacab” first appeared on Abacab in 1981. “Follow You Follow Me” came from …And Then There Were Three… and “Afterglow” and “One For The Vine” were originally recorded on Wind And Wuthering. “The Fountain Of Salmacis” harked back to Nursery Cryme and the “In The Cage”/”Cinema Show”/”The Colony Of Slippermen” medley slotted a track from Selling England By The Pound between two slices from The Lamb… while “It”/”Watcher Of The Skies”–recorded in 1976 with Hackett and Bruford–spanned The Lamb… and Foxtrot.

Recorded in 1992 in arenas including London’s Earls Court, the two installments of The Way We Walk were first issued in quick succession at the tail end of 1992 and the beginning of 1993, with The Shorts concentrating on the band’s run of hit singles, and The Longs delving into the medleys and the more extended pieces from their repertoire. Genesis Live 1973-2007 takes the opportunity to reconcile the two albums and recreate the We Can’t Dance tour experience in sequence. Hits from the group’s MTV-friendly era include “Mama,” “That’s All,” “Invisible Touch”–which charted again in its live version in 1992–”In Too Deep,” “Land Of Confusion,” “Tonight, Tonight, Tonight,” “Throwing It All Away,” “No Son Of Mine,” “I Can’t Dance,” “Hold On My Heart” and “Jesus He Knows Me.” “Driving The Last Spike” and “Fading Lights” came from We Can’t Dance, “Domino” originally appeared on Invisible Touch and “Home By The Sea/Second Home By The Sea” on Genesis. The “Old Medley” rounded up nine tunes from the band’s early days and Collins and Thompson’s “The Drum Thing” did just that. “Turn It On Again” is exclusive to this release.

Recorded in London by the Banks-Collins-Gabriel-Hackett-Rutherford lineup, Live At The Rainbow 1973 expands on the live material first issued on the Archive 1967-1975 boxed set in 1998 and will delight die-hard fans of that period in their lengthy career. The concert from October 1973 features most of Selling England By The Pound at the time of its release, along with the conceptual piece “Supper’s Ready” and “Watcher Of The Skies” from their breakthrough album Foxtrot, and “The Musical Box” from Nursery Cryme, the last two titles on 5.1 version only. It captures the band at a crucial point in their history, before they left the Lewis Carroll-like universe of their early albums behind, before the departure of Gabriel and Hackett, before their time as ubiquitous hitmakers of the ’80s.

Genesis Live 1973 – 2007 has been designed to incorporate space for the most recent live Genesis release — the 2-CD set Live Over Europe 2007. All albums feature brand new stereo mixes created by Tony Banks, Nick Davis, and Mike Rutherford, while Genesis Live, Seconds Out and Live At The Rainbow 1973 all feature 5.1 Dolby Digital Surround Sound versions.

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A Dire Warning for the U.S. Economy

July 8th, 2009 admin No comments

Jeff Nielson submits: Perhaps the U.K.’s leading economic commentator is The Telegraph ’s Ambrose Evans-Pritchard. Somewhat schizophrenic, Evans-Pritchard vacillates between pandering to the banksters of London and New York (along with their servants in government) and condemning them. His July 4th commentary is an example of the latter. Evans-Pritchard supplies some alarming data (and astute research) which totally repudiates the noise from the U.S. propaganda-machine that an “economic

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Louis Susman, Obama’s Choice for U.K. Ambassador, Raises Eyebrows

July 7th, 2009 admin No comments

CHICAGO — President Barack Obama has raised some eyebrows with his decision to send as ambassador to the U.K. a little-known retired investment banker — and top fund-raiser — from his hometown who has little diplomatic experience.

The post at the Court of St. James’s in London is one of the most prestigious in U.S. diplomatic circles. Though largely ceremonial and rarely controversial, it is a prominent position given the close relations between the U.S. and the U.K. In recent years, it has usually gone to political boosters of the president.

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