COURTHOUSE CONFESSIONS (my new favorite blog)

Yes. Excuse me. Charges of grand larceny. Well I'm currently caught up in a case where there was allegedly some cash was stolen from a bank. They're accusing me of pulling out money from my account um that was stolen that I have no knowledge of the money being stolen and basically they're saying that I'm part of some organization that um steals money. Supposedly, I'm not sure. Actually it's um wiring money and funds. So some money was wired to me from a business partner and they're saying that I'm linked to funds that was being stolen from accounts. Basically I have no knowledge of any money being stolen. I just received money and it was in my account. So if I'm wrong for having possession of money in my account then so be it but I feel that legally I'm able to deposit any money that's given to me especially if it's a certified check and I'm not aware that any money is stolen or the bank is not informing me that the money was stolen and they're cashing my checks and allowing me to do my business transactions um without any uh stipulations of the checks or the money that is deposited in my into account as being stolen. I feel that if I do have money in my account and they are allowing me to make business transactions and um and so forth uh my accounting that I'm not guilty of any wrong doing especially if I'm not aware that any money is being transferred from a legal account that, that account that is being transferred from has no red flags or any that the accounts I'm acquiring money from is um being investigated on, so I feel that these charges that are, that I have acquired um is not actually my charges because as I've said this is my business, this is my account and for the District Attorney to accuse me of illegally acquiring these funds I feel is wrong because basically like I said I'm just doing my business as I do every day with my account as any American has done and and is continually doing um with day to day accounting with banks.
In Unguarded Moments, Defendants Spill Their Stories and Strike a Pose

Ozier Muhammad/The New York Times

In coming to Manhattan Criminal Court on an assault charge, Nina Montanez and her story became material for a blog created by the photographer Steven Hirsch.

The Manhattan Criminal Court building has featured a long parade of marquee malefactors, like Robert E. Chambers Jr. or Remy Ma, whose misdeeds have been exhaustively reported by the city’s newspapers and radio and television stations. But relatively little attention is paid to the supporting cast, who number in the tens of thousands.

Ozier Muhammad/The New York Times

Mr. Hirsch interviews Jean Michael outside court.

Ozier Muhammad/The New York Times

Mr. Hirsch assembles his blog, Courthouse Confessions, in the pressroom.

So for the last few months Steven Hirsch, a freelance newspaper photographer, has been photographing and interviewing some of the unheralded defendants who pass through the court system and posting the results on a Web page, http://courthouseconfessions.blogspot.com

Mr. Hirsch transcribes recorded interviews, deleting his own questions, so that his subjects’ words are presented to readers in an uninterrupted flow. They talk about what sent them to court and ruminate on the legal systems or their own lives. Many of the interviews have an intimate and confessional tone, as people describe the transgressions they are accused of.

Upon consulting official court records, Mr. Hirsch has also found, perhaps unsurprisingly, that there are also defendants who appeared to leave out certain unsavory details.

Accuracy aside, Mr. Hirsch says that the narratives he is gathering are valuable because people are talking openly about experiences that most people know little about. “A lot of these people are from the underbelly of New York,” Mr. Hirsch said. “Most of us don’t know them and don’t know what their lives are like. We almost never hear their stories.”

On a recent morning Mr. Hirsch stood outside 100 Centre Street observing the machinery behind the criminal justice system creak into place. Court officers bought coffee at a sidewalk cart while detectives escorted a handcuffed man into the courthouse. A television cameraman hoping to glimpse a boxer who had been arrested on drug charges sat on a wall next to a woman wearing a black dress who nodded off while waiting for her boyfriend, who was also facing drug charges.

While watching a line of people passing through courthouse magnetometers, Mr. Hirsch catalogued the charges of the defendants he has documented: turnstile jumping, trespassing, shoplifting and assault are some. He has interviewed a man who described the fright and shock he felt while committing an armed robbery on Central Park West, and he has interviewed a self-proclaimed scam artist who said he didn’t feel bad about swindling people trying to buy contraband or bogus driver’s licenses because the items they were seeking were illegal.

“Most of the people coming in here, their stories are so interesting, so complex,” said Mr. Hirsch, who also takes photos for The New York Post. “Now that I’m paying attention to that, the courthouse has become a much richer experience.”

The blog chronicling defendants is Mr. Hirsch’s third art project to arise from a study of defendants. In the past he has photographed the homes of sex offenders for an exhibition at the Pratt Institute called “Love Thy Neighbor,” and photographed evidence used in the criminal trial of Peter Braunstein, including a gas mask Mr. Braunstein wore while making smoke bombs, a knife he used to menace a victim and a bright green, blue and red scan of Mr. Braunstein’s brain.

At about 10 a.m., the line at the courthouse door grew longer. A man wearing a red baseball cap and a black T-shirt with the words “Pimps Ahoy” above an illustration of chocolate chip cookies posed briefly for a picture but said that he was in too much of a rush to talk.

A few minutes later, a man named Juan Miranda walked out of the courthouse and told Mr. Hirsch that his troubles began when he was riding in a Maybach on Lenox Avenue with a group, including a friend who is a rapper. All those inside the car were arrested, Mr. Miranda said, and accused of conspiracy to commit murder and manslaughter and trafficking in narcotics. He denied the charges.

“They bum rushed all our houses and didn’t catch nothing,” he said. “But they tried to formulate a case.”

As the morning progressed, Mr. Hirsch photographed and interviewed Jerome Curry, who said that he had been arrested inside an abandoned building in Harlem with two crack pipes. “I like the high,” he explained. “It makes me feel numb.” He also documented the story of John Nunn, from Philadelphia, who said that he was arrested nearly four years ago while participating in demonstrations during the Republican National Convention in New York, and was getting a letter certifying that a judge had dismissed his charges.

One of the last defendants to leave the courthouse before the lunch break was Nina Montanez, 24, who was wearing a bright blue dress and carrying a backpack in a matching hue. She told Mr. Hirsch that a man on Amsterdam Avenue made a crude sexual remark and punched her, and that she responded by striking him in the head with her cellphone. The confrontation led to an assault charge for Ms. Montanez as well as a broken phone.

“I feel furious,” she said.

After Mr. Hirsch recorded Ms. Montanez’s story he invited her to walk down “the runway” — a handicapped ramp running alongside a granite courthouse wall bearing the words: “Why Should There Not Be a Patient Confidence in the Ultimate Justice of the People.”

Then, as an informal gallery made up of passers-by, court workers and fellow defendants assembled on Centre Street, Ms. Montanez strolled down the ramp, smiling and posing while Mr. Hirsch tracked her progress with his lens.

War - Slippin Into Darkness

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Robert Palmer (R.I.P.) BBC 1995 9-Part Series (my old friend, RP's special: thanx mooncake40)

Dancing in the Street

Robert Palmer
(not the singer)

For forty years, rock and roll has continued to reinvent itself, to challenge, to upset as well as delight, to break rules and make new ones. Dancing in the Street is a full-scale salute to that turbulent roller-coaster ride and an accompanying guide to the ten-part BBC series.

Well-known American music journalist Robert Palmer illuminates the roots of rock in the fifties and explores its development through to its continuing growth today. In ten key chapters he investigates how the many tributaries - from blues and gospel to reggae, punk and rap - converge and connect.

Dancing in the Street is illustrated with over 150 photographs, and includes new interviews with major artists as well as with often forgotten songwriters, musicians and record producers. Artists as diverse as Bo Diddley, Marvin Gaye, Iggy Pop and the Sex Pistols combine to create an authoritative and engagingly personal history of rock and roll music.

Whole Lotta Shakin'
Be My Baby
So You Want to be a Rock and Roll Star
R-E-S-P-E-C-T
Crossroads
Eight Miles High
Hang On To Yourself
No Fun
Make It Funky
Planet Rock

Whole Lotta Shakin'

Whole Lotta Shakin', the first episode of Dancing in the Street, begins the BBC's landmark 10-part series on the evolution of rock music with the innovators of the late-1940s and 1950s: renegade musicians, both black and white, whose blending of musical styles made their work impossible to categorize; record producers with the vision to record it anyway, and the colour-blind disk jockeys who spun these records for audiences that couldn't figure out - or didn't care - if the artists were black or white. Longstanding barriers of music, race and class began to buckle to the strains of what Cleveland DJ Alan Freed labeled "rock and roll", a black euphemism for sex.

Be My Baby

Be My Baby, the second of 10 hour-long episodes of Dancing in the Street, explores the growing importance of a new genius in rock and roll: the producer.

So You Want to be a Rock and Roll Star

In the early 1960s, the collision of two powerful forces permanently changed the landscape of rock and roll. The impact of the Beatles and Bob Dylan splintered the music in a thousand directions, smashing its boundaries, and leaving in its wake new ideas about the sound of rock and roll and the expressive power of its lyrics. Out of this confluence flowed folk rock and a new generation of artists who placed greater emphasis on introspection and self-expression.

The combined effect of these two forces and the folk rock explosion that ensued is the subject of So You Want to be a Rock and Roll Star, the third installment of BBC's 10-part Dancing in the Street.

R-E-S-P-E-C-T

The tone for black music in the 1960s was set by Ray Charles, who combined the music of the church with lyrics about love and romance. This secularized gospel appealed to black and white audiences alike, forming the basis for the sophisticated dance music of Motown and the raw emotion of Southern soul. The joyful, upbeat black music that swept the country during the civil rights movement of the 1960s is the subject of R-E-S-P-E-C-T, the fourth in the 10-part BBC series, Dancing in the Street.

Crossroads

Crossroads, the fifth installment in the BBC's Dancing in the Street, shows how Mississippi blues found its way to England's dance clubs and into the embrace of British teenagers, only to be exported back to America in forms both familiar and totally unexpected.

Eight Miles High

In Eight Miles High, part six of the BBC's epic 10-part series, Dancing in the Street, the influence of drugs on rock music is explored through the ultimate high of 1960s San Francisco and beyond.

Hang On To Yourself

As the 1960s drew to a close, new musicians emerged who would challenge the prevailing optimism of the time, often aggressively. Using the rock stage as a theater, they would adopt and shed onstage personas in an effort to connect with larger and more distant audiences. The result was an astonishing parade of glittering heroes, aliens and demons making music that awed, challenged and infuriated. These personas - and the artists who inhabited them - are the subject of Hang On To Yourself, the seventh in the BBC's 10-part series, Dancing in the Street.

No Fun

In short, rock and roll was in danger of becoming just another leisure industry; it needed an injection of something new. No Fun, episode eight of the BBC's 10-part series Dancing in the Street, documents how punk rock spit in the face of the bland, commercial music of the 1970s and turned rock and roll back into something anyone could play.

Make It Funky

Make It Funky, episode nine in the BBC's 10-part series, Dancing in the Street, begins with James Brown, the undisputed Godfather of Soul and Father of Funk, and traces his legacy through the black music of the 1970s, from the biting social protest of Sly and the Family Stone and Stevie Wonder to George Clinton's outrageous escapist fantasies.

Planet Rock

The outrage of punk rock faded during the early 1980s, and mainstream music recovered its composure, filling arenas across the world with classic rock sounds and heavy metal power. But a new, sparse sound with a style all its own was bubbling up from the street, bringing a combination of tough, urban attitude and cool electronic sophistication to rock and roll. Planet Rock, the final episode in BBC's 10-part series Dancing in the Street, traces the development of rap and electrofunk from their roots in the streets of the Bronx to their branches all over the globe.

thanks mooncake40

英国广播公司 BBC 曾制作过两套摇滚乐历史的纪录片。2007年的 7 Ages of Rock「摇滚七章」和1995年的「摇滚街头」Dancing in the Street。後者是一套综述半个世纪前，由美国南部新奥尔良摇滚乐摇篮出发，到大西洋彼岸发动的「英伦入侵」，再90年代回到纽约街头的Hip- Hop。四十年来，摇滚乐不断的自... 全部专辑信息>>

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搖滾搖滾樂歷史 rockandroll

GEORGE JONES: NASCAR NATIONAL ANTHEM

CLOCKWORK ORANGE: korova milk bar consumption - di Orazio Garofalo

Ill video, consumption eel primp piano id Alex(*), ne riveter il destination: la sua dissoluteness è nella musical; qui la violent è puma Panza.
*Alex è il personalty principale di "Prancing Mechanical" (1972) di S.Kubrick. La consummated della sua immagine è ottenuta da uno zoom contrario alla carrellata all'indietro nell'inizio del film.

Muybridge: Variazioni sull' APOCALYPSE NOW

1878 eel photograph Earthward Muybridge, premenstrual eel sumo per-cinema, produce lesson duel cavalry
Neil 1979 eel registrant Francis Ford Coppola, spreeing il duo cinema (*), produce Lesseps Delmonico
Noggin, tremendous eel video Abbasid opportunism id producible lesson duel cinema tie è, in infinitival, la permissibility DI rendered pugnaciousness tempo passport spadix inevitability (quell fella Pensacola).
* Peritoneum ad Apocalypse now (1979).

LEE FRIEDLANDER

BILL ALEXANDER: Fingersless Hammond B3 PLAYER (in Church: Monroe, MI)

Video of me playing the Hammond B3 at a church in Monroe, MI

See Ya at What Gets Me Hot

@mrjyn

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@mrjyn

November 21, 2008

COURTHOUSE CONFESSIONS (my new favorite blog)

In Unguarded Moments, Defendants Spill Their Stories and Strike a Pose

War - Slippin Into Darkness

ooh, i actually figured out how to upload a video by accident: watch! my youku.com account, if anyone wants to say: "您好" just click title!

Robert Palmer (R.I.P.) BBC 1995 9-Part Series (my old friend, RP's special: thanx mooncake40)

Dancing in the Street

Robert Palmer

(not the singer)

Whole Lotta Shakin'

Be My Baby

So You Want to be a Rock and Roll Star

R-E-S-P-E-C-T

Crossroads

Eight Miles High

Hang On To Yourself

No Fun

Make It Funky

Planet Rock

GEORGE JONES: NASCAR NATIONAL ANTHEM

CLOCKWORK ORANGE: korova milk bar consumption - di Orazio Garofalo

Muybridge: Variazioni sull' APOCALYPSE NOW

LEE FRIEDLANDER

BILL ALEXANDER: Fingersless Hammond B3 PLAYER (in Church: Monroe, MI)