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Today's Stories March 31, 2008 Mats Svensson Paul Rockwell Patrick Cockburn Peter Morici
Alexander Cockburn Patrick Cockburn Mike Whitney Christopher Brauchli William Blum Robert Fantina John Ross Allison Kilkenny Nelson P. Valdés Suzanne Baroud Richard Rhames Christopher Fons Carl Finamore Eamonn McCann Missy Beattie Fred Gardner Kim Nicolini David Yearsley Jeffrey St.
Clair Poets' Basement Website of
the Weekend
March 28, 2008 Saul Landau Alan Farago Peter Morici Andy Worthington Felice Pace Peter Montague Dave Lindorff March 27, 2008 Patrick Cockburn Binoy Kampmark Joanne Mariner Norman Solomon William S. Lind John V. Walsh Robert Weissman Ron Jacobs Ralph Nader David Macaray John Borowski Website of
the Day
March 26, 2008 Stan Cox Sharon Smith Anita Sinha / Jill Tauber Matt Vidal William S. Lind Joe Mowrey Dave Lindorff Ray McGovern Justin Smith Sam Husseini Martha Rosenberg Michael Dickinson Website of the Day
March 25, 2008 Ishmael Reed Corey D. B.
Walker Linn Washington Jr. Alan Farago Vijay Prashad Joshua Frank Ralph Nader David Rovics Peter Morici Dave Zirin David Krieger Website of
the Day March 24, 2008 Jeffrey St.
Clair Peter Morici Uri Avnery Wajahat Ali Paul Craig Roberts George Ciccariello-Maher Stephen Lendman Christopher
Brauchli Cat Woods Stacey Warde Dave Lindorff Website of
the Day
March 22 / 23, 2008 Ralph Nader Nicole Colson James Petras Laura Carlsen Greg Moses Andy Worthington Michael Dickinson John Ross Missy Comley Beattie David Michael
Green Ramzy Baroud Martha Rosenberg Paul Watson Isabella Kenfield James Murren Jacob Hornberger Kathlyn Stone Seth Sandronsky Kim Nicolini Jeffrey St.
Clair Poets' Basement Website of
the Weekend
March 21, 2008 Marleen Martin Peter Montague Saul Landau Anis Hamadeh Jacob Hornberger Khalil Nakhleh Adam Isacson Kenneth Couesbouc Madis Senner Monica Benderman Website of the Day March 20, 2008 Damien Millet
/ Mike Whitney John Ross Dave Lindorff Wajahat Ali Jill Nagle Manuel Garcia, Jr. Dan La Botz Robert Weissman Stella Dallas
/ Website of the Day
March 19, 2008 Patrick Cockburn Robert Fisk Jeff Taylor Ed Ruggero Ron Jacobs Christopher
Fons Sherwood Ross Cynthia McKinney Joshua Frank Robert Weissman Walter Brasch Yifat Susskind Andrew Wimmer Website of
the Day
March 18, 2008 David Price Paul Craig
Roberts Tim Wise Patrick Cockburn Conn Hallinan James T. Phillips Uri Avnery David Macaray Marjorie Cohn Peter Zinn Dan La Botz Monica Benderman
March 17, 2008 Pam Martens Sasan Fayazmanesh Nelson P. Valdés Peter Morici Wajahat Ali Ronnie Cummins Shaun Harkin Ali Khan Robert Jensen P. Sainath Greg Moses Dr. Susan Block Website of the Day
March 15 / 16, 2008 Patrick Cockburn Mike Whitney Ralph Nader Robert Pollin Diane Christian Wajahat Ali Tom Wright
/ Alan Farago Greg Moses Michael Hudson Martha Rosenberg John Goekler Uzma Aslam
Khan Oren Ben-Dor David Underhill Fred Gardner David Michael
Green Rev. William E. Alberts Gail Dines David Yearsley Chris Clarke Poets' Basement Website of
the Day
March 14, 2008 Paul Craig
Roberts Don Santina
Patrick Cockburn
Tim Rinne Robert Fantina
Saul Landau
David Macaray
Franklin Lamb
Michael Neumann
March 13, 2008 Paul Craig
Roberts Mike Whitney
Assaf Kfoury
Andy Worthington Adam Federman
March 12, 2008 Dave Lindorff
R.F. Blader
Yonatan Mendel
Jonathan Cook
Bill and Kathy
Christison James J. Brittain
Ron Jacobs
March 11, 2008 Paul Craig
Roberts Ed O'Loughlin
Ramzy Baroud Kathy Christison
China Hand John Joslin
Mike Averko
Ben Rosenfeld
Thierry Paquot
March 10, 2008 Uri Avnery
Col. Dan Smith
R.F. Blader
Michael Neumann
Bob Fitrakis
and Harvey Wasserman James J. Brittain
Missy Comley
Beattie March 8-9, 2008 Weekend Edition JoAnn Wypijewski
Mike Whitney
Peter Morici
Ralph Nader
Jonathan Cook
Steve Niva
Bill and Kathy
Christison Hervé
Do Alto and Franck Poupeau Eric Walberg
Scott Johnson
Mark Scaramella
Bill Clinton Poet's Basement
Website of
the Weekend March 7, 2008 Patrick Cockburn
Robin Blackburn
Saul Landau
Binoy Kampmark
Chris Floyd
Andy Worthington Will Potter March 6, 2008
March 6, 2008 Vincent Navarro Forrest Hylton Peter Morici George Ciccariello-Maher John Ross Jacob Hornberger Paul Watson Dan Bacher Website of the Day
March 5, 2008 Cockburn /
St. Clair Joanne Mariner Fidel Castro Christopher
Brauchli Steven Sherman Dave Lindorff James Murren Adam Engel Website of Day
March 4, 2008 Wajahat Ali William Blum Bill Quigley Ralph Nader Patrick Irelan James J. Brittain
/ Norman Solomon Jacob Hornberger Andy Worthington Mike Averko Website of the Day
March 3, 2008 Jennifer Loewenstein Alan Farago Richard Gott Wajahat Ali Paul Craig Roberts Robert Weissman Uri Avnery Martha Rosenberg Eva Liddell Michael Donnelly Website of the Day
March 1 / 2, 2008 Alexander Cockburn Paul Craig
Roberts Kathleen and Bill Christison Nelson P. Valdés Christopher Brauchli Ron Jacobs John Ross Robert Fantina Robert Weissman Mohammed Omer Remi Kanazi Bob Jackson Richard Rhames Franklin Lamb Rannie Amiri David Michael
Green Conn Hallinan Faheem Hussain Poets' Basement Website of
the Weekend
February 29, 2008 Matt Gonzalez Jonathan Cook Joshua Frank Anthony DiMaggio Linn Washington, Jr. Binoy Kampmark Robert Bryce Sonja Karkar Dave Lindorff Website of
the Day
February 28, 2008 Patrick Cockburn Fred Gardner Michael Levitin William S.
Lind David Macaray Stephen Fleischman George Wuerthner Laura Carlsen Carl Finamore Michael Dickinson Website of the Day
February 27, 2008 David Rosen Vijay Prashad Harvey Wasserman Andy Worthington Wajahat Ali Peter Morici Stephen Philion Michael Donnelly Erica Rosenberg / Website of
the Day
February 26, 2008 Debbie Nathan Alan Dershowitz
Harvey Wasserman Michael Colby Gary Leupp David Orchard Martha Rosenberg Fran Shor Serge Halimi Global Balkans Website of
the Day
February 25, 2008 Roger Morris Anthony DiMaggio Ralph Nader Patrick Cockburn Paul Craig Roberts Peter Morici Dave Lindorff Saul Landau
/ Heather Gray Robert Weitzel John Halle Website of the Day
Alexander Cockburn Paul Craig
Roberts Wajahat Ali Ralph Nader Jürgen
Vsych Fidel Castro Andy Worthington David Macaray Jeremy Scahill David Krieger Ron Jacobs Michael Garrity Brian McKenna Missy Beattie Fred Gardner Boris Kagarlitsky Mike Ferner Dan Bacher Christopher
Ketcham Poets' Basement Website of
the Weekend
February 22, 2008 Mike Whitney Jason Hribal Liaquat Ali Khan Joshua Frank Dave Lindorff Liliana Segura Robert Fantina Yifat Susskind Norm Kent Website of
the Day February 21, 2008 Saul Landau Elizabeth Schulte Helen Redmond Benjamin Dangl Michael Levitin Liam Leonard Patrick Irelan Linn Cohen-Cole Michael Simmons CounterPunch
News Service Website of the Day
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March 31, 2008 Scorsese Does the StonesFirst the Sun and Then the MoonBy PHYLLIS POLLACK The Rolling Stones and director Martin Scorsese deliver an impressive visual and auditory masterpiece with the upcoming documentary film, Shine A Light. Stocked with an arsenal of 2006 performance footage from New York City's Beacon Theater, the two hour film, distributed by Paramount Classics, is produced by Steve Bing, Michael Cohl, Zane Weiner and Victoria Pearman, executive produced by band members Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood. Jane Rose serves as co-executive producer. The film, slated for theatrical release on April 4, is is dedicated to the memory of Ahmet Ertegun. Having been in St. Louis in 1987 to write a review for Billboard Magazine on the two concerts that were held to generate footage for Taylor Hackford's feature film, Hail, Hail, Rock And Roll, A Tribute To Chuck Berry, for which Stones guitarist Keith Richards served as musical director, and my later having reviewed several other Rolling Stones films, among them, the reissue of that film on DVD, as well as The Biggest Bang, Rock And Roll Circus, Four Flicks, my cherished limited edition release of Keith Richards and the X-Pensive Winos: Live At The Hollywood Palladium, and my owning numerous other Stones films, a few of which include Let's Spend The Night Together, Bridges To Babylon, Live At The Max, Gimme Shelter, Sympathy For The Devil, plus the rest of the footage that is stashed in my shelves, I knew I would be more than qualified to make a comparison, when seeing what Martin Scorsese would bring to the mix. Many years ago, ever since a friend of mine had given me a bootleg copy of Cocksucker Blues, which featured the legendary vision of Keith Richards and Bobby Keyes throwing a TV set out of a hotel window, I was hooked. Since then, I have somehow also acquired numerous other bootleg Rolling Stones videos recorded around the world. By now, I was more than ready to finally witness what the director of brilliant works like Taxi Driver, The Last Waltz, Good Fellas, and No Direction Home would create when intersecting with the Glimmer Twins. The result is priceless. In the early moments of the film, Scorsese and Jagger pontificate over potential song lists, an immense feat in itself, considering the band's prolific catalogue, in addition to the many cover songs the Stones have performed over the years. Scorsese wanted a sequenced set list prior to the show, in order to be fully prepared to get the shots he would ultimately need. With almost twenty cameras simultaneously filming various angles, choosing the shots to be included in the film would require skillful editing, which would subsequently be done by David Tedeschi. The resulting choice comprised of countless close-ups and well-chosen pan shots make the film move quickly. Among personnel working the cameras were longtime pros that include Al Maysles, dual Oscar winner John Toll, and two time Academy Award winner Robert Richardson. As preparations for lensing the concert are made, a model of the stage set is viewed by Jagger, who comments, "It looks like a doll house." The set is different than other shows on the Bigger Bang tour. Here, there is no B-stage rolling towards the back of the venue; there are none of the usual backdrops or tongue logos. Nor are there pre-fabricated, graphic-filled video screens to watch in addition to seeing the band, itself, on stage. In this sense, the house is scaled down, with the focus solely on the performers and the music. We see glimpses of the rehearsals, for numbers including "She Was Hot," for which Jagger referred to a lyrics sheet. As expected, the band looks great throughout the film. Bassist Darryl Jones is particularly dapper this evening, fine-tuned for a peak performance. Richards is strikingly elegant, donning a black, glittery bandana. Jagger's energetic non-stop drive is punctuated by his many changes of clothing, well chosen for the evening's attire. The vocalist's glittery jackets and shirts sparkle as they attract attention, while he prances like a firefly, or conversely simmers down at other times during the evening's performance. Interspersed throughout the film, older Stones catalogue is heard in the background, including snippets from "Paint It, Black," "Under My Thumb," and "Have Your Seen Your Mother Baby, Standing In The Shadow?" An amazing accomplishment of Shine A Light is the impeccable sound of the film, an audiophile's dream, sound that was masterminded by sound mixer Bob Clearmountain, a highly esteemed producer and studio engineer, who has worked on albums with the Stones and many other artists. Concert footage from the Beacon includes performances of "Jumping Jack Flash," "All Down The Line," and "As Tears Go By," a song that was also recorded by Marianne Faithfull. The audience is also treated to "Shattered," with its shots of interplay between Jones and Richards. During "Loving Cup," the band is joined by Jack White of the White Stripes, who plays acoustic guitar, as does Jagger throughout the song. Christina Aguilera steps in for a rowdy version of "Live With Me." The tongue-in-cheek number "Far Away Eyes," features Ronnie Wood on his Emmons pedal steel guitar, and back-up vocalist Blondie Chaplin on acoustic guitar. During the chorus, the band harmonizes, making the song as authentically countrified as Willie Nelson, himself, could. Richards laughs during the country gospel tweaked harmonies that strikingly ring as a work of perfection, with tonalities so clearly appropriate for this song. The film is rated a PG-13. Although during the performances, certain lyrics differ from their original studio recordings, particularly during the live performance of "Some Girls," in no way does this detract from the film, and most of the band's fans likely already have all of the original studio recordings anyway. Some lyrics are changed for apparently no reason at all. During "Some Girls," Jagger inexplicably changes the lyrics from, "Some girls I give all my bread to, I don't ever want it back," to "Some girls I give all my love to, I don't ever get it back." While performing the Temptations' "Just My Imagination," Jagger, playing an electric guitar, ad libs, "But in reality, she doesn't fucking know me." Back-up singer Bernard Fowler, sporting short dreads, is performing next to back-up vocalist Lisa Fischer, who is wearing an alluring black, mid-calf length dress. They both look and sound incredible. Chuck Leavell is seen on keyboards near Tim Reis on horns, as the band covers the Temptations song "Just My Imagination." "Champagne And Reefer" by Muddy Waters is taken on by the band, who are joined by Buddy Guy, and as would be expected, Jagger proficiently plays harp. The band rolls "Tumblin' Dice" during the performance, and other live sequences include "Connection." Richards greets the crowd by saying, "It's good to see you. It's good to see anybody!" He then performs "You Got The Silver," joined by Ronnie Wood on acoustic slide. Richards, who has silver trinkets hanging from his hair, is also wearing a skull, with two red swords crossed through it, pinned onto his jacket. Richards acknowledges Wood's contribution to the song's performance. "Sympathy For The Devil" is also offered, featuring more shots of Charlie Watts. "Start Me Up" is performed, as is "Brown Sugar," with Bobby Keyes' transcendent saxophone solo. The anthemic "Satisfaction" makes it onto the set list, as well. Most of the humor in the documentary comes from Jagger. The film flashes back through interview footage from decades ago, in which Jagger tells one reporter, "I never thought we'd be doing it more than two years. I think we're at least pretty well set up for another year." A flashback from a 1972 episode of the Dick Cavett Show offers a view of a heavily mascaraed Jagger, wearing red lipstick with blue glitter on his forehead. Jagger is asked, "Can you picture yourself at age sixty doing what you do now?" to which he replies, "Oh, yes. Easily." When drummer Charlie Watts is asked subsequent to their second tour in the Sixties about the immense success of the band, and "What happened," his innocently quiet response is, "I don't know." In other interview footage, Richards is asked what he thinks about during his performances. "I don't think on stage," responds Richards, "I feel." Through Scorsese's lens, in turn, we inherently feel Richards, and at times, the experience is nothing less than hypnotic. Scorsese flawlessly zeroes in on such moments, as he shines a light on Richards. The highlight of the film is haunting, and where Shine A Light is at its most powerful, in the poignant, yet almost painful, cinematographic moment that is so elegantly captured on film, as Richards is seemingly drained on stage, accentuated by his demeanor. Seeing Richards in this immensely exhausted state after his intense performance, we are left as breathless as he is. The impact of the scene effectively drives home the magnitude that Richards has given of himself, both emotionally and physically to millions of fans for over forty years, pouring out both his spirit and soul on stage. The moment is heart-rending, expressive and as compelling as is Richards' performance. Beautiful, yet making one feel awkward and awestricken at the same time, we are taken aback, as we witness Richards' delivery and his alluring presence. We become acutely aware of how much we take from him, and the demands we make, for which he always delivers far more than what we ask. This passionate scene shows Richards' humanity, bringing to the screen a person who sweats and bleeds, rather than simply redelivering the one-dimensional stereotype that the media has perpetually doled out about Richards for several decades. Here, we see Richards in his most human form, not just the so-called "human riff," but the man, himself, behind the riff. A segment of the media is another aspect included in the film that is interspersed with press footage, both in black and white and in color, from various tours, going back into the Sixties. Members of the press ask the band ridiculous questions, and are often unprepared for their interviews; despite their credentials and job titles, they are unqualified in a variety of ways to be reporting on the band. One reporter giggles while asking Mick Jagger his age. One portion of footage shows the absurdity of Jagger being confronted by a former Attorney General and religious leaders for promoting "anarchy," as the singer explains that he is not attempting to be a role model for religion. Jagger and Richards are questioned about drug busts, after the two had been released from arrests, and a flurry of rumors had subsequently hit the press. The band is asked about creating controversy, as the next sequence in the film shows the band posing in drag for promotional photos. A late seventies interview gets the response from the band, "Every tour they say is the last tour." President Clinton makes an appearance on stage, as he had previously done at a Los Angeles Staples Center gig during a 2003 "Forty Licks" gig, and he is briefly seen with his wife Hillary. Jagger very briefly comments on Clinton's environmental organization. Meanwhile, Richards is seen, joking, "Hey, Clinton, I'm bushed!" The film's ending scene shows the band leaving the venue, as the final shot transcends into a magnificent, panoramic view of New York City, ascending into the night skyline, and then dramatically, the full moon splendidly turns into a tongue logo. First the sun, and then the moon. One of them will be around soon. Phyllis Pollack lives in Los Angeles where she is a publicist and music journalist. She can be reached through her blog.
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