August 2009


Print

Yo this is a new movie coming out 2010!! HAAAAA! They are shooting now though. Produced by Atl’s own Eljay and Shari Williams(Comcasts: The Stand on Demand) comes the story of young man Sean Pathways entrepreneurial trails. Starring Ozy Reigns, Joel Coleman and Naira, this film… well I can’t give you that info. HAAAAAA! Also featuring Boog Brown, Adrift Da Belle, Rita J, Fluxwonda, Fort Knox and Senor Kaos. This is a debut for most of them but the script is BANGin’  and the skill of these artists are amazing. If I do say so myself! HAAAAAA! You can come to a live taping that will be going on Tuesday night at The Drunken Unicorn(back side of MJQ) at 9pm. Also, just for y’all people out there…. A FREE show! That’s right. come on down, it’s FREEEEEEEEEEEE! Hosted by Senor Kaos with sounds by Dj Rasta Root and Dj Fudge. Performances by by Kazy, Clan Destined and the film Featured Artist… “Undeniable”. FANGGGGGGG! And oh…. IT”S FREEEEEEEEEEEEEEE! So come on out! Do you here me COT DAMNIT!!!?!!?!?!? HAAAAAAAA! FISKKKKKKKKKKKKKK!! Yo, Yo… if you need some info check: http://www.pathwaysthemovie.com, pathwaysthemovie@gmail.com and twitter.com/pathways2010

Print

The author Cathy Harris has a e-newsletter called “The National Black Agenda” and it exposes some great info. I received this  this morning:

Oh Shit! If you didn’t think it was coming… you were dead ass wrong! Peep this info from News.Cnet.com.

Bill would give president emergency control of Internet

(by Declan McCullagh)

Internet companies and civil liberties groups were alarmed this spring when a U.S. Senate bill proposed handing the White House the power to disconnect private-sector computers from the Internet.

They’re not much happier about a revised version that aides to Sen. Jay Rockefeller, a West Virginia Democrat, have spent months drafting behind closed doors. CNET News has obtained a copy of the 55-page draft of S.773 (excerpt), which still appears to permit the president to seize temporary control of private-sector networks during a so-called cybersecurity emergency.

The new version would allow the president to “declare a cybersecurity emergency” relating to “non-governmental” computer networks and do what’s necessary to respond to the threat. Other sections of the proposal include a federal certification program for “cybersecurity professionals,” and a requirement that certain computer systems and networks in the private sector be managed by people who have been awarded that license.

“I think the redraft, while improved, remains troubling due to its vagueness,” said Larry Clinton, president of the Internet Security Alliance, which counts representatives of Verizon, Verisign, Nortel, and Carnegie Mellon University on its board. “It is unclear what authority Sen. Rockefeller thinks is necessary over the private sector. Unless this is clarified, we cannot properly analyze, let alone support the bill.”

Representatives of other large Internet and telecommunications companies expressed concerns about the bill in a teleconference with Rockefeller’s aides this week, but were not immediately available for interviews on Thursday.

A spokesman for Rockefeller also declined to comment on the record Thursday, saying that many people were unavailable because of the summer recess. A Senate source familiar with the bill compared the president’s power to take control of portions of the Internet to what President Bush did when grounding all aircraft on Sept. 11, 2001. The source said that one primary concern was the electrical grid, and what would happen if it were attacked from a broadband connection.

When Rockefeller, the chairman of the Senate Commerce committee, and Olympia Snowe (R-Maine) introduced the original bill in April, theyclaimed it was vital to protect national cybersecurity. “We must protect our critical infrastructure at all costs–from our water to our electricity, to banking, traffic lights and electronic health records,” Rockefeller said.

The Rockefeller proposal plays out against a broader concern in Washington, D.C., about the government’s role in cybersecurity. In May, President Obama acknowledged that the government is “not as prepared” as it should be to respond to disruptions and announced that a new cybersecurity coordinator position would be created inside the White House staff. Three months later, that post remains empty, one top cybersecurity aide has quit, and some wags have begun to wonder why a government that receives failing marks on cybersecurity should be trusted to instruct the private sector what to do.

Rockefeller’s revised legislation seeks to reshuffle the way the federal government addresses the topic. It requires a “cybersecurity workforce plan” from every federal agency, a “dashboard” pilot project, measurements of hiring effectiveness, and the implementation of a “comprehensive national cybersecurity strategy” in six months–even though its mandatory legal review will take a year to complete.

The privacy implications of sweeping changes implemented before the legal review is finished worry Lee Tien, a senior staff attorney with the Electronic Frontier Foundation in San Francisco. “As soon as you’re saying that the federal government is going to be exercising this kind of power over private networks, it’s going to be a really big issue,” he says.

Probably the most controversial language begins in Section 201, which permits the president to “direct the national response to the cyber threat” if necessary for “the national defense and security.” The White House is supposed to engage in “periodic mapping” of private networks deemed to be critical, and those companies “shall share” requested information with the federal government. (“Cyber” is defined as anything having to do with the Internet, telecommunications, computers, or computer networks.)

“The language has changed but it doesn’t contain any real additional limits,” EFF’s Tien says. “It simply switches the more direct and obvious language they had originally to the more ambiguous (version)…The designation of what is a critical infrastructure system or network as far as I can tell has no specific process. There’s no provision for any administrative process or review. That’s where the problems seem to start. And then you have the amorphous powers that go along with it.”

Translation: If your company is deemed “critical,” a new set of regulations kick in involving who you can hire, what information you must disclose, and when the government would exercise control over your computers or network.

The Internet Security Alliance’s Clinton adds that his group is “supportive of increased federal involvement to enhance cyber security, but we believe that the wrong approach, as embodied in this bill as introduced, will be counterproductive both from an national economic and national secuity perspective.”

Update at 3:14 p.m. PDT: I just talked to Jena Longo, deputy communications director for the Senate Commerce committee, on the phone. She sent me e-mail with this statement:

The president of the United States has always had the constitutional authority, and duty, to protect the American people and direct the national response to any emergency that threatens the security and safety of the United States. The Rockefeller-Snowe Cybersecurity bill makes it clear that the president’s authority includes securing our national cyber infrastructure from attack. The section of the bill that addresses this issue, applies specifically to the national response to a severe attack or natural disaster. This particular legislative language is based on longstanding statutory authorities for wartime use of communications networks. To be very clear, the Rockefeller-Snowe bill will not empower a “government shutdown or takeover of the Internet” and any suggestion otherwise is misleading and false. The purpose of this language is to clarify how the president directs the public-private response to a crisis, secure our economy and safeguard our financial networks, protect the American people, their privacy and civil liberties, and coordinate the government’s response.

Unfortunately, I’m still waiting for an on-the-record answer to these four questions that I asked her colleague on Wednesday. I’ll let you know if and when I get a response.

21kl4peI saw this cover and the word that can best describe my thought about it is out⋅land⋅ish–adjective 1.freakishly or grotesquely strange or odd, as appearance, dress, objects, ideas, or practices; bizarre: outlandish clothes; outlandish questions. Now check out Pen N’ Pixel history of some of these rapper with out⋅land⋅ish covers. Drama with a shotgun. Smh

If you didn’t know, my young braddah Senor Kaos has been pushing this song for at least a year and finally… he got a video for. Directed by Mike Moore for “Moore Image Production”. Although this is not his first video… it feels like it!!!!!!! Only he can understand that one. .so with no further a due…. SENOR KAOS starring in ” Automatic Classic “!!! OH, also I must plug myself! HAAAAA! I did the intro screen as well as the flyer. HAAA, FANGGGGGGGGGGG!!

(CLICK PICTURE TO SEE VIDEO)


Kaos Video opener

Got to be REALLLLL!!!! You know what it is… Cheryl Lynn!! One of the best from the late 70’s to the 80’s. I know I all ways say “One of the best” but shiiiiiiiiiiiiiiiiiiiiiiii… you bets believe it. HAAAAAAAA! Lets get into it. FANGGGGGGGGGGGGGGGGGGGG!

Bio(from www.angelfire.com):

Cheryl Lynn was born in Los Angeles on March 11, 1957, and raised in the Church of The Living God. Her mother, Opal Smith, was the minister of music. “That’s where all of my spirit and soul comes from”, she witnesses in a heartbeat. Cheryl harmonized her way through the the tiny tots choir to the adult chorus, later traveling the circuit with greats James Cleveland and Stan Lee. She was too shy to sing in church, but Cheryl Lynn was brave enough to take a shot on the silly Seventies television hit, ‘The Gong Show’, where she saaang the pop standard ‘You Are So Beautiful’. Cheryl performed on the campy TV show in order to please her boyfriend at the time, and her powerful performance would prove to change her life because an executive from Columbia records took notice of her talent. Needless to say, Cheryl was signed to Columbia Records, and before releasing her debut album, she provided vocals to the classic Toto song ‘Georgy Porgy’ (Remade by Eric Benet & Faith Evans in the mid 1990’s). In 1978, Cheryl released her debut album ‘Cheryl Lynn’ with production by Toto’s David Paich, Ray Parker Jr., and others.The first single, ‘Got To Be Real’ (An all-time Disco & R&B Classic!), topped the R&B charts and reached number 12 on Billboard’s Hot 100 Pop Chart. In the mid 1990’s Patti LaBelle claimed to have been offered ‘Got To Be Real’, but she SUPPOSEDLY turned it down (yeah, right!!), so it became Cheryl’s trademark classic. Too bad Patti-Patti!!

The follow up single, ‘Star Love’, was a Top 20 R&B smash that opened with a slow, scene-setting intro, gallops into a disco trot, then takes us to the stars. Cheryl’s debut album also included ‘Come in From The Rain’, which was a Melissa Manchester standard. With Cheryl gaining intense popularity from her debut album, the executives at Columbia wanted her next album ASAP, and the resulting project was ‘In Love’ (1979), which included songs like ‘I’ve Got Faith In You’, ‘Keep It Hot’, and ‘I’ve Got Just What You Need’. David Foster worked with Cheryl, and none of the releases were big hits, so the album faded quickly, and Cheryl had to prepare for her next album while being under pressure from Columbia.

At the close of the 1970’s, Cheryl was facing stress from her label, and the changing music scene, which declared ‘disco is dead’. She decided to put her best foot forward, and reunited with Ray Parker Jr. to record her 1981 album, ‘In The Night’. All of the hard work paid off, and Cheryl had smash hits with ‘Shake it up Tonight’ & the title track. ‘In The Night’ sold enough copies (500K) to almost reach Gold Status, and Columbia was happy to have Cheryl back on top.

Fresh off success with Aretha Franklin’s ‘Jump To It’, Marcus Miller & Luther Vandross were tapped to produce Cheryl’s 1982 album, ‘Instant Love’. They proved to be the right choice and Cheryl sang great tunes like the title track, ‘Sleep Walkin’, and the heart-wrenching ‘Day After Day’, which was written by Mtume’s Tawatha Agee, who provided background vocals throughout the album. The song that became an instant classic was the duet between Cheryl & Luther Vandross, ‘If This World Were Mine’. While this song was a 1960’s hit for Marvin Gaye & Tammi Terrell, Cheryl & Luther breathed new life into the song, and their vocal chemistry was just perfect (almost heavenly!). The remake was so popular that the duo began making television appearances, and Cheryl was exposed to an even wider audience. After an exciting 1982, Cheryl had to face the prospect of recording her next album without the Miller-Vandross team who were responsible for the classic (& now out of print) ‘Instant Love’ CD. They had to invest time in Luther’s solo career (‘Busy Body’) in addition to other projects like ‘Get it Right’ by Aretha Franklin during 1983.

The period of Late 1982-Early 1983 was a time when Jimmy Jam & Terry Lewis’ (Flyte Tyme Productions) were the best hit making duo in the business. They created massive hits for The S.O.S. Band, Cherrelle, and Alexander O’Neal (among others), while pioneering a new type of ‘Minneapolis Sound’. Cheryl was lucky enough to have some of Flyte Tyme’s ‘time’, so she flew up to their studio in Minneapolis & cut another smash hit (‘Encore’), which made her 1983 ‘Preppie’ a big seller. ‘Encore’ was the only song to be produced by Jam & Lewis for Cheryl’s 1983 release, and it was followed by ‘Fix It’, which was a minor hit (Not to be confused with Teena Marie’s hit also from 1983 which beared the same title!). Another song worth mentioning is ‘No One Else Will Do’, which was a beautiful showcase for the range of Cheryl’s great vocals.

Following ‘Preppie’, Cheryl teamed-up with Michael Bolton, to record the single ‘At Last Your Mine’ for the movie soundtrack to the film ‘Heavenly Bodies’. The movie and soundtrack were both released on February 1, 1985. Michael wrote the song and the single became a minor hit for Cheryl, reaching #34 on the Billboard’s R&B charts. Although the single contained Michael’s soft pop-rock flavor, and not Cheryl’s typical Dance/R&B sound, it proved that she able to face the challenge of being quite diverse in music.

Cheryl rode the resulting success from ‘Preppie’ (& More!) for almost 2 years before reuniting with Jam & Lewis for her 1985 follow-up album, ‘It’s Gonna Be Right’. Jam & Lewis were more involved with this album, and it had some great moments. The first single, ‘Fidelity’, resembled ‘Encore’, but had a harder edge to it, and it became known as ‘Encore II’ in some circles. In the end, ‘Fidelity’ wasn’t a huge hit like it’s predessesor, but if you were lucky to obtain the 12″ extended mix like me, things would be somewhat better. It seemed as if Jam & Lewis were starting to use a ‘formula’ on many of their productions, and fans took notice to songs that sounded too much ‘alike’. Hence, the performance of ‘Fidelity’ mirrored the success of Cheryl’s 1985 album…Not a big hit!! This seemed to be a pattern for Cheryl Lynn during her career. The first release from her albums generally set the momentum (i.e. Tone) for the entire project(s), so maybe another song should’ve been released first. Other standouts included the title track, ‘Fade To Black’, and another standout ballad, ‘Love’s Been Here Before’, that showcased the beauty of Cheryl’s soprano. This would prove to be Cheryl’s swansong for Columbia Records, and after 6 albums, she was free to move on to another label. (Part 2 Here).

(Note: The Encore video disturbs me a little. HAAAAAA)

Next Page »