If you watch the YouTube video below, you’ll see evidence of a cop harassing a civilian for filming an arrest. In several states it appears that federal wiretapping laws have been used to justify this sort of behavior by the police, effectively putting you in their crosshairs for interfering with a police investigation, illegal wiretapping, or worse. (original story courtesy of: boingboing )
In a victory for all camera-phone ninjas everywhere, young and old, a Federal circuit court in the state of MA has ruled that filiming the coppers is an unambiguously constitutionally protected right. For most of us, that’s mere common sense, for the police department, however, the news couldn’t be worse.
Undeterred, in February 2010, Glik filed suit in federal court against the officers and the City of Boston under 42 U.S.C. § 1983 and the MassachusettsCivil Rights Act. Glik alleged that the police officers violated his First Amendment right to record police activity in public and that the officers violated his Fourth Amendment rights by arresting him without probable cause to believe a crime had occurred.
Naturally, the police officers moved to dismiss on the basis of qualified immunity, but Judge Young was having none of that, denying the motion from the bench and ruling that "in the First Circuit . . . this First Amendment right publicly to record the activities of police officers on public business is established." The police officers then appealed to the First Circuit, but they have now struck out on appeal as well, with the First Circuit ruling that "Glik was exercising clearly-established First Amendment rights in filiming the officers in a public space, and that his clearly-established Fourth Amendment rights were violated by his arrest without probable cause." .::Citizens Media Law
Sour have released a new music video.
Incidentally, the word "released" in that previous sentence could easily have been replaced by a verb like "uncorked", or perhaps "unleashed". The project deserves that much drama - it’s less of a video and more a state-of-the-art web extravaganza. To view it you go to a specific website, input your Facebook/Twitter/webcam details, and let the thing take over your life.
It’s fun, interesting and more than a little bit scary; click below to take the plunge.
Sour are making something of a reputation for themselves. They’ve already blown the internet’s collective mind once with their video for aa ("Tone of Everyday"). It shapes a collection of webcam footage into some incredible patterns.
It’s strange though, that here we are, this far into an article about a band, with no mention of the actual music. That’s Sour’s problem; they’re in danger of becoming known as a technological art project, rather than musicians. It’s a crying shame too, as they’re really quite wonderful. Internet comments highlight the problem: "Fun video and idea, which was entertaining to watch. Problem was it’s a mediocre song, with horrible singing," says one viewer.
I thought the same thing about the singing, at first. The voice in question is a flawed, cracked, fragile thing. It was only over time that its emotive power became apparent; without it, Sour would have much, much less impact. Unfortunately, most of the Internet doesn’t give the band enough time to let them reveal their more subtle charms; they watch the videos once and move on.
Perhaps people reading this with 3 minutes to spare wouldn’t mind trying out the music itself. Watch the videos on YouTube, then minimise the window. Don’t watch, just listen.
If you find something you like, then go ahead and investigate aaaaaa ("Ensemble"), the band’s recently-released third album.
Sour’s homepage: sour-web.com
This column is about the pop stars shining down from Osaka’s building-sized TV screens. It’s about the nervous teenagers performing for the first time at some obscure Shimokitazawa livehouse. It’s also about everything imbetween: the guys busking on the streets for change, or the punks spitting bile on grimy basement stages. In short, it’s about everything that comes out of Japan’s stereo.
November’s best music news was the announcement of All Tomorrow’s Parties’ first Tokyo concert. If you happen to be a British music nerd then you already know who they are - a company named after an old Velvet Underground single that consistently books the bands you thought you’d never get to see.
Their Japanese debut is named "I’ll Be Your Mirror", after the B-side from that same Velvet Underground single. The line-up includes a handful of typically cool-as-hell western groups; Fuck Buttons are bringing their multi-coloured noise/trance, and post-rock luminaries Godspeed You! Black Emperor have been tempted out of retirement. What’s more interesting, however, is the selection of native Japanese bands that have been chosen.
They’re not interesting because they’re surprising - everyone appearing at I’ll Be Your Mirror has performed at an ATP event before. They’re interesting because they offer a western perspective on what good Japanese music is. In my own (foreign) opinion, the concert assembles some incredible talent.
It’s all utterly unique; an extraordinary treat for the audience. But who will that audience be? Tourists and ex-pats, or Japanese music fans? The acts on show are veteran globe-trotters; perhaps more famous abroad than on home soil. Their names would be mere small-print on the posters for any Japanese music festival. Does Japan care which of its performers have done well in America, Britain and Europe? Or will this event simply cater to the well-travelled portion of ATP’s fans, who just happen to be in Tokyo?
I’ll Be Your Mirror reflects opinions on February 27th, at Studio Coast.
Joshua Prince-Ramus believes that if architects re-engineer their design process, the results can be spectacular. Speaking at TEDxSMU, Dallas, he walks us through his fantastic re-creation of the local Wyly Theater as a giant "theatrical machine" that reconfigures itself at the touch of a button.
I really don’t know what this is all about…but you should watch it. I found it a little bit horrifying for some reason, actually.
Studio Banana TV interviews Japanese architectAToyo Ito on the occasion of his lecture at the European University of Madrid. Toyo Ito is one of the world's most innovative and influential architects. Ito is known for creating extreme concept buildings, in which he seeks to fuse the physical and virtual worlds. Interview realised with the sponsorship of theAEuropean University of Madrid.
Toyo Ito is a Japanese architect born in 1941. He graduated fromATokyo University'sADepartment of Architecture in 1965. His office Toyo Ito & Associates is a world leading exponent of architecture that addresses the contemporary notion of a 'simulated' ciy, and has been called "one of the world's most innovative and influential architects."
[note: if this video won't play, visit the original here at PBS]
Blueprint America: Beyond the Motor City examines how Detroit, a symbol of America's diminishing status in the world, may come to represent the future of transportation and progress in America. The film debuts nationally on PBS on February 8 at 10 pm (check local listings).Detroit is the crucible in which the nation's ability to move toward a modern 21st century transportation infrastructure is put to the test. The documentary shows how investments in the past a beginning with the construction of canals in the 18th century a profoundly shaped Detroit's physical layout, population growth and economic development. Before being dubbed the Motor City, Detroit was once home to the nation's most extensive streetcar system. In fact, it was that vast network of streetcars that carried workers to the area's many car factories. And it was the cars made in those factories that would soon displace the streetcars in Detroit a and in every major American city.
Detroit's engineers went on to design the nation's first urban freeways and inspired much of America's 20th century transportation infrastructure system a from traffic signals to gas stations a that became the envy of the word.
But over the last 30 years, much of the world has moved on, choosing faster, cleaner, more modern transportation and leaving America a and Detroit a behind. Viewers are taken on a journey beyond Detroit's blighted urban landscape to Spain, home to one of the world's most modern and extensive transit systems; to California, where voters recently said yes to America's first high speed rail system; and to Washington, where Congress will soon decide whether to finally push America's transportation into the 21st century.
My ninjas, PLEASE! Hilarious.
Kind of hilarious.