Sunday, July 11, 2010

Saturday, June 26, 2010

utah arts fest 2010

i'll be posting more images and videos as they become available. Here is the first flickr photo stream of our set that i've found on the web

Tuesday, June 1, 2010

Tuesday, May 18, 2010

Tuesday, May 11, 2010

ouch...

UN fears 'irreversible' damage to natural environment

Australia blames 'tired' sailor for reef crashAFP/HO/Great Barrier Reef Marine Park – Handout photo from the Great Barrier Reef Marine Park Authority shows a scuba diver inspecting the damage …

GENEVA (AFP) – The UN warned on Monday that "massive" loss in life-sustaining natural environments was likely to deepen to the point of being irreversible after global targets to cut the decline by this year were missed.

As a result of the degradation, the world is moving closer to several "tipping points" beyond which some ecosystems that play a part in natural processes such as climate or the food chain may be permanently damaged, a United Nations report said.

The third "Global Biodiversity Outlook" found that deforestation, pollution or overexploitation were damaging the productive capacity of the most vulnerable environments, including the Amazon rainforest, lakes and coral reefs.

"This report is saying that we are reaching the tipping point where the irreversible damage to the planet is going to be done unless we act urgently," Ahmed Djoghlaf, executive secretary of the UN Convention on Biological Diversity, told journalists.

Djoghlaf argued that extinction rates for some animal or plant species were at a historic high, up to 1,000 times those seen before, even affecting crops and livestock.

The UN report was partly based on 110 national reports on steps taken to meet a 2002 pledge to "significantly reduce" or reverse the loss in biodiversity.

Djoghlaf told journalists: "There is not a single country in the world that has achieved these targets, we continue to lose biodioversity at unprecedented rate."

Three potential tipping points were identified.

Global climate, regional rainfall and loss of plant and animal species were harmed by continued deforestation of the Amazon rainforest, the report said.

Many freshwater lakes and rivers were becoming contaminated by algae, starving them of oxygen and killing off fish, affecting local livelihoods and recreation for local populations.

And coral reefs were collapsing due to the combined blow of more acid and warming oceans, as well asoverfishing, the UN found.

UN Environment Programme (UNEP) director general Achim Steiner underlined the economic value and returns of "natural capital" and its role in ensuring the health of soil, oceans and the atmosphere.

"Humanity has fabricated the illusion that somehow we can get by without biodiversity or that it is somehow peripheral to the contemporary world," Steiner said.

"The truth is we need it more than ever on a planet of six billion heading to over nine billion people by 2050."

The report argued that biodiversity was a core concern for society that would help tackle poverty and improve health, meriting as much attention as the economic crisis for only a fraction of the cost of recent financial bailouts.

It advocated a new strategy to tackle the loss alongside more traditional steps such as the expansion of protected natural areas and pollution control.

They included attempts to regulate land consumption, fishing, increased trade and population growth or shifts, partly through a halt to "harmful" or "perverse" subsidies.

The issues raised by the report are due to be discussed at a UN biodiversity meeting in Japan in October.

  1. UNEP report

Saturday, April 24, 2010

Thursday, April 15, 2010

lindsay heath orchestra

[Photo: Sam Milianta]

There is no excuse for missing SLUG Localized on April 16 at Urban Lounge. The line-up includes Lindsay Heath’s newly minted post-classical project, the ethereal, unearthly drones of Tiny Lights and opening band My Dead Ego. Five bucks at the door, be prepared to be floored.

Lindsay Heath
Lindsay Heath– Composition, guitar, vocals
Cache Tolman – Bass
Kim Pack – Violin
Amy Marquez – Guitar
Moey Nelson – Vocal Harmonies
Camilo – Drums


Pop quiz, name as many female drummers as you can in the next 10 seconds … Ok, time’s up. Does your list include: Janet Weiss? Hannah Blilie? Paloma Romero? Maureen Tucker? Sheila E.? Sandy West? If that list doesn’t include Lindsay Heath, you should really take a cursory look at the liner notes of your favorite SLC band’s album. Chances are Lindsay Heath is credited somewhere in there, if not behind the drums, then elsewhere in the production. Don’t feel bad if your list isn’t too extensive, Heath herself would have a hard time creating one. When I asked if her inspiration to pick up the drums at a young age was a reaction to the (seemingly) low percentage of women playing the instrument, she says, “That actually did have some play into wanting to be a drummer in metal and things like that. I liked being an example of someone that bent gender stereotypes, especially in the community I grew up in. I did like that attention for a while. Then it became this novelty that I wasn’t into. I’m just a drummer. I’m not the girl drummer, I am just the drummer.” So, it makes sense when Lindsay Heath cites Dave Grohl over Samantha Maloney.

Lindsay’s life-long mastery of the drums has helped stake her claim as the go-to girl for percussion, contributing to wildly successful local acts such as Redd Tape, The Tremula, Vile Blue Shades, Mushman, Musclehawk, Delicatto, her semi-solo project Kid Madusa and the list goes on. The list also oversteps geographic boundaries with her contributions to NYC-based musicians Sybil Buck and Valerie Geffner. This year, however, finds Heath staring down her musical past, re-treading ground that came before many and existed side-by-side with some of her louder, heavier projects. “With this project I have come full circle, some of these compositions were written close to 10 years ago. A lot of them have been works in progress,” she says. When asked why these songs are just seeing the light of day now, Heath said, “I never felt like they were done justice and weren’t ready to be recorded. I had never been satisfied with any of the recordings that I had. I finally realized that I was on the right foot in the very beginning with the classical music. I realized strings would be the best way to go.”

This mysterious new project is so simple it can seem radically experimental. Heath is dropping any moniker and performing under her given name. “I feel I am in a place in my life where I want that raw vulnerability. That is something I am trying to cultivate in myself and in my person and it is happening musically and artistically in the songs,” she says. With this newfound emotional transparency, Heath prefers to engage the songs at face value instead of pigeonholing them into a certain genre as she did in the past. Heath says that in her former projects, “I definitely wanted the songs to cause a reaction. I wanted them to be as accessible as possible for everyone. But, I realized I was doing the songs injustice by doing that. They are what they are. I think with the name change it is really parallel to what I am doing with the songs, stripping them down.” She warns, “I don’t think I have any songs that are under six minutes.”

Don’t let the picture on top of the article fool you—this is all Lindsay Heath. Each song is written and composed by Heath and then played by a cast of recruited accompanists that act as an outgrowth of Heath’s musical vision. She explains it as such, “I’ve arranged a group of professionals. Cache Tolman is my stand-up bassist, Kim Pack is playing violin. I’m giving Cache my left hand, giving Kim the upper range, and I am working with a cellist who will have the mid range. I write all the guitar and I do lead work or mix rhythm and really simplified percussion.” This new project is more prone to footnote Erik Satie and Arvo Part than Nirvana and Sonic Youth, but, in the musical landscape of Heath there is little difference between sprawling noise rock and classical compositions. “The obsession was always the music and the sound itself. The life of it, whatever it is, just bled into me, I didn’t see any separation between the music and myself, as cliché as that sounds,” she says.

This new project announces a kind of cycling back to what drew her into music in the first place. A new beginning of sorts. She even wore lipstick for the first time ever in preparation for the photo shoot and interview. Not that I’m flattered or anything.


http://www.slugmag.com/articles/2117/Localized.html