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9.11 investigation

Support artists that are challenging the media's support of 9-11 cover-up

Here is list of artists challenging the Bush regimes complicity in the 9-11 attacks. Check-out their record labels and support them. Also, if you think your community would support a show featuring these artists let them know. Send them an e-mail. This is the new shit. The Truth Hurts!
paris banner
paris banner
Immortal Album Cover
Immortal Album Cover
Check out these artists and the links to their websites. This is the new shit.
Paris hails from the San Francisco Bay Area and was catapulted onto the national scene in 1990 with his hit single "The Devil Made Me Do It" and album of the same name. Since then his uncompromising stance on political issues and biting social commentary have both aided and hindered his quest to bring solid music and messages to the masses. When his second album, Sleeping With The Enemy was ready for release in 1992, Paris was dropped from now-defunct Tommy Boy Records and distributor Time Warner when they discovered it's incendiary content - content which included fantasy revenge killings of then-President Bush and racist police officers. Rather than buckle under pressure, he released the LP himself on his newly-formed Scarface Records to major sales and national acclaim.

Paris signed a major artist and distribution deal with Priority Records for himself and Scarface Records in 1993 and released his third LP, Guerrilla Funk, and several then up-and-coming groups, most notably the Conscious Daughters. Paris and Priority formally severed their business relationship due to creative differences in 1995, and in 1997, Paris signed a one-off deal with now-defunct Whirling Records (distributed by Rykodisc), for the release of his 4th LP, Unleashed. Released in limited numbers, the LP went largely unnoticed due to lack of focus and funding.

Flash forward to 2003, where new technology yielded newfound artistic freedom. Back for his fifth LP, Paris returned with a vengeance, injecting a much needed dose of reality and consciousness into an industry which now seems to only reflect corporate hip-hop sensibilities. Sonic Jihad was released to strong sales and critical acclaim, with Paris emerging with his new label and website, Guerrilla Funk Recordings (www.guerrillafunk.com). Born out of necessity, it's a musical organization that counters the corporate stranglehold of censorship currently plaguing the entertainment industry.

Paris has never been one to shy away from controversy. During his self-imposed hiatus, he finely tuned his most well-crafted project to date. Never one to mince his words, he remains relentless in his quest to match bomb tracks with messages that range from passionate to incendiary. With new music forthcoming from Public Enemy, MC Ren, Kam and The Conscious Daughters, Guerrilla Funk is set to balance out an industry seemingly hell-bent on exploitation.

For publicity information, please call Nicole Balin at Ballin' Entertainment at 323-651-1580.


Also, Check out Immortal Technique, from NYC. Here's his info.  http://www.viperrecords.com/

Born in a military hospital in South America, Immortal Technique was brought to the United States in the early 80's while a civil war was breaking out in his native Peru. The US supported puppet democracy and Guerilla factions were locked in a bitter struggle which ended like most do in Latin America, with the military and economic aid of the State Dept. through channels like the CIA. Although he had escaped the belligerent poverty and social turmoil of life in the 3rd world, he was now residing in Harlem which had its own share of drama. Growing up on the streets of New York, the young man became enamored with Hip Hop culture, writing graffiti and starting to rhyme at an early age. Although he frequently cut school and ended up being arrested time and time again for his wild behavior, the kid still managed to finish high school and got accepted to a state university. Unfortunately the survivalist and aggressive attitude that was the norm in New York City caused him to be involved in more violent altercations at school, whether it was with other brothers, false flaggers or the relentlessly racist population of an uncultured Middle America.

Compiling multiple assault charges in New York State and in other states eventually caught up to the uncompromisingly hardheaded actions of one Immortal Technique. He faced several charges for Aggravated Assault in the tri-state area. Realizing his inevitable incarceration, Technique began to prolifically write down his ideas about what he had lived and seen in the struggle back at home in relation to his visits back to his native land. He came to embrace his African roots that stemmed from his grandfather and understood the nature of racism and ignorance in its role in Latino culture, separating oppressed peoples and keeping them divided. He also began to study in depth about the Revolutionary ideas that had caused a history of uprising in the indigenous community of his Native South America. Although pressured to turn states evidence before and during his bid, he refused the DA and lawyers. He was facing a 5-10 stretch, but the hiring of a pittbull attorney helped him compile the cases without turning snitch like his co-defendants. The result was a 1-2 year sentence in the mountains, 6 hours away from the city. There Technique studied, worked out vigorously, began to document his lyrics, and create songs. Besides the creation there was destruction, and the fights were nothing compared to the verbal battles that he engaged in occasionally. This proved to be a foreshadowing of what was to come...

Paroled in 1999, Immortal Technique returned to NYC and began a campaign to claim victory to what he had discovered he had a talent for; battling. One of the rites of passage in establishing oneself in the Hip Hop community is following in the steps of those who made their name in lyrical warfare before you. Immortal Technique quickly became known throughout the underground. His brutally disrespectful style was trademark, and it was not long until he had won countless battles not just on stage and in clubs, but on the streets whenever a random cipher would pop up. From Rocksteady Anniversary, to Braggin Rites, SLAM DVD's and hookt.com's infamous battles, he established himself as someone who could captivate a crowd and who people looked forward to seeing. But it was then that Technique realized what every battle champion had come to terms with before him, battles was just that, battling, and not synonymous with success at making music. Turning his eye to production and touching up some of the songs he had written in prison he now focused on trying to get an album together, but major labels wanted a more pop friendly image and were uncomfortable with his hardcore street style that was complemented by his political views. In response to their lack of vision, Immortal Technique left the battle circuit and released his critically acclaimed Revolutionary Vol.1, which at first moved 3000 copies, but to date has moved more than 12,000. This earned him Unsigned Hype in the Source (11/02) and numerous articles in Elemental & Mass Appeal.

Established in the underground circuit Tech began another round of dealing with record labels unwilling to see the direction of his brutally honest and cultured rhymes. He decided to continue with what had been so successful, his hand to hand out the trunk hustle. In the post 9.11 climate, as the music industry crumbled, Immortal Technique built on the truth with a hardcore brand of street politics. Being featured in XXL, The Washington Post, and having been titled with the Hip Hop quotable in The Source (10/03) for his sophomore independent release Revolutionary Vol.2 was just the beginning.. On Viper Records, where he is the Executive VP, he sold 29,000 copies of Revolutionary Vol.2 to date and has appeared on soundtracks for new movies including the new Mario Van Peebles film "BAADASSSSS". Immortal Technique has also worked with Mumia Abu Jamal and AWOL magazine. His single "Industrial Revolution" released in conjunction with Uncle Howie Records hit #1 on CMJ and #50 on the Billboard charts. Recently back from a successful West Coast tour, Immortal Technique is now booking a European tour in the Fall of 2004 and recording his highly anticipated third album...


Check out free samples of his newest album at his web page and remember to spread the word.


Peace

homepage: homepage: http://www.guerrillafunk.com/paris/sonic_jihad/

NOBODY BATS A THOUSAND ALL THE TIME 17.Mar.2005 19:45

The Grand Narrator (reposting)

NOBODY BATS A THOUSAND ALL THE TIME

(A 9/11 "Concept" for Hollywood -- )

Go for the big sweep of the narrative, skipping the Pentagon sub-plot. What's the big deal about the Pentagon? It was pretty much just a side show in the big picture. Military bases get hit all the time. They're in the business of exchanging hits with "the enemy" -- for sure, when they go too long without a hit, they have to hit themselves. It's "just business" for them.

The main story line takes place in Manhattan, of course. But its so big, how do you settle on the up-close personal stories? There are thousands of them. Yet it's essential to focus on just one story -- what is known as the "human interest" angle. So, from the opening actual footage of the horror and chaos at Ground Zero (skip the planes crashing into towers) -- we fade/jump to a shot of Flight 93 (exterior of the plane). Then we move back for a long shot. A NORAD interceptor is closing in from Screen Right.

Then we see it from the point of view of the NORAD pilot, through the cross hairs of a computerized sight, and onward along the trajectory to the fuselage of the plane which rips open (comic book style, forshadowing what is to come) the walls of the passenger cabin -- and we are now looking in on a comfortably domestic (except for the cramped seating) scene of travellers reading, watching tv, dozing, whatever -- a kind of virtual American idealized living room. One of the passengers is studying her itinerary, which shows that she's trying to reach a transfer point on time. Scoping in for detail, we read her ticket: a great big "FLIGHT 93".

The woman checks her watch, expressing some anxiety or frustration. She says to her neighbor, "It looks like we just might be falling a behind schedule."

Her neighbor, an older comfortably retired looking guy, says, "You know why I love to fly? It's the feeling of being on top of the world. I mean we're literally on top of the world. AND, we're on top in every other way too -- we're on top of the game, at the cutting edge of all the wonders of modern technology. We're really experiencing the . . the ultimate, the culmination of . . of history. I just wonder if young people can really appreciate . . . "

The man's ruminations are suddenly interrupted by an alert buzz as the "FASTEN SEAT BELTS" sign lights up.

"Ladies and gentlemen, this is the pilot speaking. I have at this time a knife at my throat. [clears throat] Please do not panic. The flight attendants will be giving you instructions as we go along. Fasten your seat belts."

Then a fast fade-out to the White House. Cheney in the War Room. There's some confusion. Generals are milling around. Someone is filling some one else in on the details, quietly, in the background -- "Something's gone wrong at top strategy level. I dunno, something about Delta team. They're working on it. Just stand by."

CHENEY: "Damn! This is the first I even heard about this god damn Delta team. They never got the change orders? What the fuck is that?"

NORAD GENERAL: "Sir, I need presidential-level authorization to do anything about this Flight 93."

CHENEY: "Fuck you! I'm still trying to get through to the President."

Cut to the Presidential hellicopter flying rapidly over a bucolic southern landscape. Closing in on the hellicopter, to the pilot through the big front window. Then on into the hellicopter to the passenger section to settle on a close-up of a logo on a comic book -- "AMERICAN HERO COMIX". The President is absorbed in the comic book as an obviously enamored female aide in the uniform of a USMC Lt. Colonel, looks on. [Be sure to take our time at this point, unrushed, let him finish the whole episode that he's reading.] Finally he looks up, his eyes widening as he signals with a "C'mon, Baby, do it!" smile. "You ever done it in the air?" he asks. His eyes look down for a moment, as he purses his lips to make a decision, shrugs slightly and says, "I dunno, let Dick take care of it."

Cut back to the War Room. Someone hands Cheney a piece of paper hot off the computer printer (which has both a U.S. Air Force "CODE ONLY -- NO CHATTER" logo on its top and an "APPLIED THEORY INC." corporate logo on its face).

CHENEY: "Okay, here it is. I'm President now, General."

Cheney glances into a folder where he's been studying documents. He finds the page he's looking for, dog-ears it, and closes the folder, revealing the cover. Close up on the label: Imperial Eagle logo with "TOP SECRET ULTRA -- OPERATION REICHSTAG -- NO NEED TO KNOW", all in holographically enhanced gold.

CHENEY (more or less addressing NORAD GENERAL):  "Well, thing is, looks like Team D ... never got Plan B ... and the sons of bitches are improvising now! Situation normal all fucked up."

NORAD GENERAL:  "Sir, we have an intercept on it, but if you want us to do anything other than just track it and follow it, I gotta have presidential authorization."

CHENEY:  "Who the fuck says that?"

NORAD GENERAL:  "Sir, this goes back to a NSC thing  -- might as well call it part of my general orders."

CHENEY:  "Bull shit.   I run the NSC and I never authorized it."

NORAD GENERAL:  "Sir, it goes back to the Carter adminstration.  Do you want to see a copy of my orders?"

CHENEY:  "Jezuz tits, NO, I don't want to see a god-damn copy of your god-damn order. I'll give you your god-damn order right now!  What do you need this presidential authorization for -- to do what exactly?"

NORAD GENERAL:  "Sir, for example, I don't have the authority to shoot this Flight 93 down. Our thinking on this has been, there's women and children, who knows what or who, do you see the problem?  Plus I just received this report from a NSA intercept  -- apparently a call from a cell phone on the plane -- talking about taking the plane by force, clobber these ass-holes upside the head, knock 'em out, tie 'em up or whatever, says all these Arab ass-holes have is little razor blades or something."

CHENEY sighs with a grunt at the end of the vocalisation, expressing frustration turning into angry determination.  He sets his jaw.

CHENEY:  "We can't afford survivors from these ass-holes.  They're operatives!  Or they were supposed to be, at some time or another.  Shit!"

NORAD GENERAL:  "Sir, do you want me to take some action, or just continue tracking?"

CHENEY:   "What the hell is the matter with you today, Numb Nuts?  It seems pretty obvious to me. WE DO WHAT WE HAVE TO DO!"

NORAD GENERAL:  "Yes, Sir, always.  But what it comes down to, operations-wise, is either I hit this button, just this one button, or I don't."

CHENEY:  "Ferchris sake, General, HIT THE GODDAMN BUTTON!"

NORAD GENERAL:  "Sir, women and children  . . .  "

CHENEY:  "What the fuck is this?  The violin treatment?"

NORAD GENERAL:  "You're authorizing the button then?"

CHENEY:  "General, once we get through this, it never happened anyway, okay?  You know, when I think this over, we've had a damn-near perfect day so far, considering everything, and I'm not gonna risk messing it up now.  So I'll say it just one more time, HIT THE GODDAMN BUTTON!  And don't worry about it  --  nobody bats a thousand ALL the time."