April 11th, 2006

Chris Keeley

Panic in Babylon

Lee “Scratch” Perry & the Whitebellyrats
Panic In Babylon
Moll-Selekta / Damp Music

What a difference three decades can make. The common thread between these two releases is the presence of Lee “Scratch” Perry, who mixed Mike Brooks' first record; but if “The Earth Is the Fullest” was ultra-serious, Panic in Babylon is all fun and games.

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Chris Keeley

CNI Ad in New York Times: Hamas, America and the Israel Lobby


Our full-page advertisement in the "Week in Review" section of the
Sunday /New York Times/ will come out on April 16th, this Easter Sunday.
Because we can save $17,000 per insertion, we have agreed to place
full-page advertisements in five more issues of the Sunday /Times/ in
the coming year. This Sunday's advertisement will appear on the back
page of the "Week in Review," which should be a premiere position for us
to reach the most readers. Subsequent ads will appear opposite the
editorial page in the same section.

A draft copy of the first ad can be seen on our website, which still has
to be accepted by the New York Times in the next 72 hours:
We are open to suggestions, which you can submit by replying to this
email. We do not anticipate any serious problem with the approval process.

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Chris Keeley

How Not to Save Iraq--A Response to Ray Close

wish to share herewith a very significant exchange of messages between
Ray Close and Steven Cook.  The sequence, and the order in which these
documents should be read are as follows:

       A.  first read the second attachment titled:  Ray Close's
commentary on the Steven Cook piece _ How not to Save Iraq
       B.  then read the first attachment  --  Fw_How Not to Save Iraq
(etc) which is Cook's response to Ray
       C.  then finally the message below which is Ray's very telling
rejoinder to Cook

For any who have not been intimately connected with the Middle East,
particularly the Arab Middle East, exposuure to this exchange is a
classic education.

To assist further understanding, I find it suitable to quote from
General Tony Zinni's new book  */_The_/* */_Battle for Peace_/* , page 2:

       QUOTE:  Immediately after 9/11 . . . one Arab friend was more
than just upset by the shocking terrorist attacks;  he seemed intensely
worried about something deeper.  And this caught my attention. . . .

       "I'm worried that this tragedy  could cause America to stop
being America," he said.

       I asked him to explain.

       "You Americans don't know your power, your influence, and your
goodness." he said.  "Your anger and the retaliation you'r e about to
take are justified.   But in doing what you must do to respond to this
evil, I hope, for the sake of the world,  that you never lose sight of
your values and your sense of justice in the actions that you take.  The
world needs you more than you realize."

       My friend was telling me much more than the obvious -- that we
Americans don't know our own power and influence.  He was telling me
that we haven't really learned how to use them to get what we want or
need;  that we don't really know who we are, in the sense that we've had
to struggle to work out our proper role in today's world; and that our
role must include the */moral dimension/*  [emphasis added] that has
been essential to America's actions in the world since the days of the
nation's founders. . . . What he was saying is that America always
sought to do right -- that both our friends and our enemies have seen that.


Ray Close's account below of the 153 years of intimate involvement by
the Close family  with the Arab Middle East is significantly
illustrative of that basic goodness and moral dimension which the word
American has consisstently brought to mind, at least heretofore.

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Chris Keeley

Mr. Barney's take not only on his own life and art history but also on the act of creation itself —


Movie Minute: 'Drawing Restraint 9'

Movie Minute: 'Drawing Restraint 9


Chris Winget/IFC Films

Chris Winget/IFC Films

Bjork in a scene from "Drawing Restraint 9," a film by her partner, Matthew Barney, for which she also created the music; it is the first creative project they have worked on together.

The Bjork-Barney Enigma Machine

STARING out a wall of windows into a foggy Reykjavik afternoon, Bjork searched for an image to describe a man with whom she had just spent a year making a movie and composing a two-and-a-half-hour soundtrack, the longest and perhaps most ambitious musical project of her career.

She had been in Iceland for several days, so the English language was hitting her at odd angles, but she finally found the word she was looking for.

"He's a bit of a submarine," she said, and grinned.

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