‘The Threat’ stands apart.

This is the best book to date about Trump’s Presidency (and the future of the country he is charged with leading). Intelligent and exceptionally well written, Andrew G. McCabe’s ‘The Threat’ clearly illustrates the values of the American men and women of the FBI, in a stark comparison with the President and his cabinet’s values.

In the abundance of books about the current administration, ‘The Threat’ stands apart. It is not a tell all - not a sensational bread-winner from a former White House employee.

‘The Threat’ is a book that describes all that is important about the situation US citizens must now confront. It illustrates how the FBI works and how the Trump Administration works. All who read this book will know clearly the threat that the United States of America is now facing. By far the best book on the subject, it is a direct, truthful and articulate account.

‘The Threat’ is a tale to be considered thoughtfully, having a lot to do with American values and the future of a secure American democracy.

In some ways it is your worst nightmare how well this situation is described by the author.

The Threat is a good refresher for lost Republicans.

If you care about the future of America and Democracy, read it or listen to it.

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Today's answer to tomorrow

photo: dhlovelife

California has 149 million dead, dry trees ready to ignite like a matchbook. 18 million trees died just last year. That poses a huge fire and injury hazard.

What do you think is causing that? Is there anything you can do?


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Plummeting insect numbers 'threaten collapse of nature'


“Unless we change our ways of producing food, insects as a whole will go down the path of extinction in a few decades,” they write. “The repercussions this will have for the planet’s ecosystems are catastrophic to say the least.”

Exclusive: Insects could vanish within a century at current rate of decline, says global review.
Damian Carrington Environment editor

The rate of insect extinction is eight times faster than that of mammals, birds and reptiles.

The world’s insects are hurtling down the path to extinction, threatening a “catastrophic collapse of nature’s ecosystems”, according to the first global scientific review.

More than 40% of insect species are declining and a third are endangered, the analysis found. The rate of extinction is eight times faster than that of mammals, birds and reptiles. The total mass of insects is falling by a precipitous 2.5% a year, according to the best data available, suggesting they could vanish within a century.

The planet is at the start of a sixth mass extinction in its history, with huge losses already reported in larger animals that are easier to study. But insects are by far the most varied and abundant animals, outweighing humanity by 17 times. They are “essential” for the proper functioning of all ecosystems, the researchers say, as food for other creatures, pollinators and recyclers of nutrients.

Insect population collapses have recently been reported in Germany and Puerto Rico, but the review strongly indicates the crisis is global. The researchers set out their conclusions in unusually forceful terms for a peer-reviewed scientific paper: “The (insect) trends confirm that the sixth major extinction event is profoundly impacting (on) life forms on our planet.

Insect collapse: the red flags

The analysis, published in the journal Biological Conservation, says intensive agriculture is the main driver of the declines, particularly the heavy use of pesticides. Urbanization and climate change are also significant factors.

“If insect species losses cannot be halted, this will have catastrophic consequences for both the planet’s ecosystems and for the survival of mankind,” said Francisco Sánchez-Bayo, at the University of Sydney, Australia, who wrote the review with Kris Wyckhuys at the China Academy of Agricultural Sciences in Beijing. The 2.5% rate of annual loss over the last 25-30 years is “shocking”, Sánchez-Bayo told the Guardian: “It is very rapid. In 10 years you will have a quarter less, in 50 years only half left and in 100 years you will have none.”

One of the biggest impacts of insect loss is on the many birds, reptiles, amphibians and fish that eat insects. “If this food source is taken away, all these animals starve to death,” he said. Such cascading effects have already been seen in Puerto Rico, where a recent study revealed a 98% fall in ground insects over 35 years.

The new analysis selected the 73 best studies done to date to assess the insect decline. Butterflies and moths are among the worst hit. For example, the number of widespread butterfly species fell by 58% on farmed land in England between 2000 and 2009. The UK has suffered the biggest recorded insect falls overall, though that is probably a result of being more intensely studied than most places.

Bees have also been seriously affected, with only half of the bumblebee species found in Oklahoma in the US in 1949 being present in 2013. The number of honeybee colonies in the US was 6 million in 1947, but 3.5 million have been lost since.

There are more than 350,000 species of beetle and many are thought to have declined, especially dung beetles. But there are also big gaps in knowledge, with very little known about many flies, ants, aphids, shield bugs and crickets. Experts say there is no reason to think they are faring any better than the studied species.

A small number of adaptable species are increasing in number, but not nearly enough to outweigh the big losses. “There are always some species that take advantage of vacuum left by the extinction of other species,” said Sanchez-Bayo. In the US, the common eastern bumblebee is increasing due to its tolerance of pesticides.

41% of global insect species have declined over the past decade...

Endangered, >50% loss
Threatened, >30% loss
In decline, </30% loss

All insects 41%
Caddisflies 68
Butterflies 53
Beetles 49
Bees 46
Mayflies 37
Dragonflies 37
Stoneflies 35
Flies 25

... compared with 22% of vertebrate species

All vertebrates 22
Birds 26
Amphibians 23
Land mammals 15.4
Reptiles 19

*Source: Sánchez-Bayo & Wyckhuys, Biological Conservation, 2019 *

Most of the studies analyzed were done in western Europe and the US, with a few ranging from Australia to China and Brazil to South Africa, but very few exist elsewhere.

“The main cause of the decline is agricultural intensification,” Sánchez-Bayo said. “That means the elimination of all trees and shrubs that normally surround the fields, so there are plain, bare fields that are treated with synthetic fertilizers and pesticides.” He said the demise of insects appears to have started at the dawn of the 20th century, accelerated during the 1950s and 1960s and reached “alarming proportions” over the last two decades.

He thinks new classes of insecticides introduced in the last 20 years, including neonicotinoids and fipronil, have been particularly damaging as they are used routinely and persist in the environment: “They sterilize the soil, killing all the grubs.” This has effects even in nature reserves nearby; the 75% insect losses recorded in Germany were in protected areas.

The world must change the way it produces food, Sánchez-Bayo said, noting that organic farms had more insects and that occasional pesticide use in the past did not cause the level of decline seen in recent decades. “Industrial-scale, intensive agriculture is the one that is killing the ecosystems,” he said.

In the tropics, where industrial agriculture is often not yet present, the rising temperatures due to climate change are thought to be a significant factor in the decline. The species there have adapted to very stable conditions and have little ability to change, as seen in Puerto Rico.

Sánchez-Bayo said the unusually strong language used in the review was not alarmist. “We wanted to really wake people up” and the reviewers and editor agreed, he said. “When you consider 80% of biomass of insects has disappeared in 25-30 years, it is a big concern.”


What is biodiversity and why does it matter to us?

Other scientists agree that it is becoming clear that insect losses are now a serious global problem. “The evidence all points in the same direction,” said Prof Dave Goulson at the University of Sussex in the UK. “It should be of huge concern to all of us, for insects are at the heart of every food web, they pollinate the large majority of plant species, keep the soil healthy, recycle nutrients, control pests, and much more. Love them or loathe them, we humans cannot survive without insects.”

Matt Shardlow, at the conservation charity Buglife, said: “It is gravely sobering to see this collation of evidence that demonstrates the pitiful state of the world’s insect populations. It is increasingly obvious that the planet’s ecology is breaking and there is a need for an intense and global effort to halt and reverse these dreadful trends.” In his opinion, the review slightly overemphasizes the role of pesticides and underplays global warming, though other unstudied factors such as light pollution might prove to be significant.

Prof Paul Ehrlich, at Stanford Universityin the US, has seen insects vanish first-hand, through his work on checkerspot butterflies on Stanford’s Jasper Ridge reserve. He first studied them in 1960 but they had all gone by 2000, largely due to climate change.

Ehrlich praised the review, saying: “It is extraordinary to have gone through all those studies and analysed them as well as they have.” He said the particularly large declines in aquatic insects were striking. “But they don’t mention that it is human overpopulation and overconsumption that is driving all the things (eradicating insects), including climate change,” he said. Sánchez-Bayo said he had recently witnessed an insect crash himself. A recent family holiday involved a 400-mile (700km) drive across rural Australia, but he had not once had to clean the windscreen, he said. “Years ago you had to do this constantly.”

Supporting the Guardian

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Every contribution we receive from readers like you, big or small, goes directly into funding our journalism. This support enables us to keep working as we do – but we must maintain and build on it for every year to come. Support The Guardian from as little as $1 – and it only takes a minute. Thank you.

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GAMBLING heyamerica-flag-1408


You represent the people and:

Believing that only you know what’s best, even though 95% disagrees with you, you ignore the great majority.

  • You waste money you don’t have, increasing the people’s debt by more than any of your predecessors
  • you decide to save on things that people want, like clean energy.
  • you cut subsidies on new electric car prices while subsidizing big oil.

You brag about the great economy while:

  • proceeding to tear down environmental protections previously put in place for future generations of the people you have sworn to protect.
  • borrowing money from future generations.
  • breaking laws meant to protect the citizens you serve.
  • not paying your own taxes.
  • defrauding the people you represent
  • illegally profiting from your office
  • not recognizing that any people could have a great economy by selling out core values and the beliefs of science

When the experts on the National Security of your people all disagree with you:

  • you pretend they were misrepresented by the media
  • you lie
  • you disregard proof that you have lied.

When the Justice Department investigates a foreign country meddling in any election in your people’s country:

  • you take it personally and call them names in front of the people they are serving.
  • you threaten witnesses who want to tell their own story
  • you refuse to talk to the Justice Department or answer a face to face question.

When you are faced with an opposing view:

  • you call names that disparage race, dignity and equality


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a review that takes you there

By Tony Paris

In 1976, Neil Young barnstormed across the U.S. with Crazy Horse, playing shows that established the band as a musical tour de force and earned their performances legendary status. Each evening, Young would open with an acoustic set; a tape compiling them has made the rounds to collectors for years. Now, Young is giving them an official release with Songs for Judy, the latest installment of his “Archive Performance Series” of releases. Twenty-three songs, eight cities, ten shows capturing Young at a time many thought him to be at the peak of his powers. Who knew, four decades later, he would still be going strong? Six of the tracks on Songs for Judy were recorded during the early and late shows at Atlanta’s Fox Theatre Nov. 24, Thanksgiving Eve, of that year. The next day, Young would fly to San Francisco, joining Eric Clapton, Bob Dylan, Van Morrison and many others to bid farewell to the Band at the Last Waltz.

At the beginning of the album, Young welcomes the audience by telling a story of seeing Judy Garland in the Fox’s pit — "the abyss," he jokes, that separates him from the audience. Young says that he saw the actress, who portrayed Dorothy in The Wizard of Oz, down there carrying a music folio of “Somewhere, Over the Rainbow.”

The first show that Wednesday night was sold-out. You can hear the Atlanta crowd’s enthusiasm during the “Songs for Judy Intro” at the beginning of this album, and during “Old Laughing Lady” and “The Needle and the Damage Done.” Young was incredible, solo and with Crazy Horse, performing write-home-about versions of “Like a Hurricane” and “Cortez the Killer” (both with Crazy Horse and neither included here). When the early concert was over, it was worth playing cat ’n’ mouse with ushers and security, running low, undercover, around the Fox, hiding from their flashlights as they cleared the house for the late show. When the doors for the second show finally opened, two people crouching behind the wall of “Black Heaven” at the top of the balcony surfaced and merged with the ticket-holders to find their seats. The second concert did not disappoint, as “The Losing End,” “Here We Are in the Years,” “Pocahontas” and “Sugar Mountain” here attest.

It was during that last song that Young again referenced Garland’s presence, urging her to, “come on up, Judy” when he began “Sugar Mountain,” his ode to lost youth. But Garland didn’t. She wasn't there. She was never there, staring up at Young from the abyss, “Somewhere Over the Rainbow” sheet music in hand. No, the only ones there were those in the audience facing their own future, preparing to grow up and having to leave Sugar Mountain behind, whether they wanted to or not. It was time to experience life, learn its lessons, and to treasure the experiences one encounters on the journey. Outside the Fox Theatre, the temperature dipped into the mid-30s. People bundled up as they left the concert and headed out into the cold, crisp night. The future looked bright, as bright as the stars shining in that clear November sky. The wind began to blow.

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The Quiet Innovation

by Phil Baker

Normally tech innovations are announced with a huge, well-orchestrated PR campaign, press briefings, and a large advertising budget. And often times the supposed innovation is hardly one at all. Yet, for the first time in the history of the Internet, there’s been a sea change in music streaming, but hardly anyone is aware of it.

It didn’t come from Google, Apple, Amazon or any of the leaders in streaming music. Instead it came from a musician that couldn’t understand why his fans had to listen to his music, severely degraded using old technology.

While all the current streaming services use old technology that compresses and strips out most of the data – something invented when Apple needed to compress their music files to fit on their iPod -this musician asked why did his music and his fans need to continue put up with it?

And it turned out they did not need not put up with it. The musician, Neil Young, has recently, quietly, and unassumingly, released his entire music catalog on a new website and app that lets everyone listen to it at the full quality of when it was recorded. It took some technical ingenuity to develop the solution, and he had help from a small company in Singapore. But it’s now out there for everyone to listen to and enjoy at a very nominal cost. It is proof that ingenuity can come from a tiny company and a few motivated entrepreneurs. And it is proof that as the tech giants get bigger, they lose their ability to innovate.

So, if you enjoy listening to music, you should try it and see how much better music can sound on your phone, computer or tablet. And you should challenge those giant companies, the streaming companies, and the record labels, to give you what you deserve, the best quality streaming music the Internet has ever experienced. Tell them to listen to Neil at

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The year was 1972 and Vietnam continued to divide the nation. A reporter asked Elvis, a veteran, about his views on Vietnam protesters and asked if he would refuse his draft orders.

"Honey, I just ... keep my own personal views to myself because I am just an entertainer and I would rather not say," Elvis said. The reporter followed up by asking if other entertainers should do the same, and Elvis refused to even say that much.


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We just got this letter in and want to say, “everyone is welcome”. Respect to all voters! We all have our differences and that is what democracy is about. Speak your truth. PEACE


I have been and continue to be a huge fan of the music of Neil Young. I have been following him since 1970 or so. Been to many concerts. He always gives all. Is it possible to love Neil and Love President Trump? Well I do. I think every person has good in them and I do not like the constant negativity towards my President. I wish it didn't affect me but Hollywood celebrities are turning half of their audience away, DeNiro, Streep, Streisand, etc. Great actors and musicians with opinions that freedom has given them but it does affect many people who voted for DT. Of course my opinion carry's no weight because I do not have an audience but by the same token the one's that do should be just a little sensitive and realize many fans that love you are conservatives and didn't vote for your candidate. Some should heed Elvis Presley's answer, which he gave prior to a MSG concert, about politics. He knew. I love you Neil, and you do what you like because I'll always love your music.

This is a thoughtful person. I don’t like DT, and I don’t hide it, but I have respect for anyone who voted their conscience.

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tickets v3


You guys have our heads spinning today with pre-sale questions and we are thrilled to have seen our subscriber numbers double since we announced these midwest shows and all before the app is released! (which between us is going to happen any day now…) so thanks for that.

Here are the straight facts about NYA presales.

  1. ONLY yearly subscribers get access to pre-sales. It says it right there while you are subscribing. Don’t worry if you missed it - reach out to customer support and we will help you out.
  2. The tickets page lives in the account panel. (global menu>account>tickets) But when there is a pre-sale going on you will ALWAYS find a stack of tickets on the front cabinet. Click on that and it will take you straight to the tickets page.
  3. Browse that page and when you find the show you want to buy tickets for click the “Get Code” button. Your code will magically be revealed. This code can only be used once. You can give it away if you like, but once it's used it’s toast.
  4. Click the “copy code” button to copy your code to your computer’s “clip board” then click “Buy Tickets.” This button will open the ticket vendors page in a new tab. Use the code you just copied on this page and you should be all set.

Always reach out to customer support if you have issues on the NYA end of things. If you have issues on the ticket vendor page, it’s going be quickest if you reach out to them directly.

If you can’t get a code on NYA - ask us. If your code doesn’t work on the vendor page - ask them.

We will redirect you if you reach out to us - but just trying to save you guy some time. In the frenzy for the best seats in the house minutes are hours.

This system was created to make sure that all of you get the best and easiest access to tickets. We think it’s great and we hope you do to.

Enjoy the show(s)!

-The Archives Team

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DT does not have my permission to use the song ‘Rockin’ in the Free World’ at his appearances. Legally, he has the right to, however it goes against my wishes.

I made this perfectly clear after he played it in a media moment to announce his candidacy. I asked him then, in a widely shared, public letter to cease and desist.

However, he chose not to listen to my request, just as he chooses not to listen to the many American voices who ask him to stop his constant lies, to stop his petty, nasty name calling and bullying, to stop pushing his dangerous, vilifying and hateful rhetoric.

This man does not represent the character of the people in the USA that I have come to know and love.

I’m Canadian so I can’t vote in the states, but if you can,
Take this great opportunity to make your voice heard,
and Vote!
Keep on Rocking in the Free World!
Neil Young

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Oceanside Countryside

A breath of fresh air

The hand written title seen above is found on the timeline in March 1977, where it soon will be replaced by original album art.

When I walked into Reprise in 1977 and played Oceanside-Countryside for the company, Mo Ostin and Lenny Woronker were the listeners. I trusted their musical tastes then and still do. They were a sounding board for me for many years.

Oceanside Countryside was a record I felt really good about. It was quite a personal record, mostly made up of acoustic songs which had no bass or drums. I made the lion’s share of it in Ft Lauderdale, just playing myself, singing the songs and overdubbing a few acoustic instruments. I was alone and went in to Triad recording studios there daily for a while, laying these new songs down. I got seven tracks there, including overdubs I added to Pocahontas, recorded previously at Indigo Ranch in Malibu. That version ended up on Rust Never Sleeps.

Following Triad, I went to Nashville and recorded at Crazy Mama’s. (JJ Cale’s studio) with Rufus Thibiodeaux- fiddle, Ben Keith-dobro, Karl Himmel-drums and Joe Osborne -bass.

Zeke, Rufus and I in Nashville 1977-ny

It was my first recording with Joe Osborne and he was great, laying it down. What a feel. He is legendary. I’m glad I got to feel that. The tracks were all done on one day, mixed and finished. Bobby Charles, writer of ‘See you Later Alligator’ and ‘Walkin to new Orleans’ to name a couple, was with us there too, cheering us on in the control room, laughing and joking, playing the part of the Wizard. We cut one of his incredible songs, “You’ll always live inside of me,” as well. I gave it to Bobby for his own record.

The resulting record was what I took to Warner Brothers in Burbank. Listening, they thought that the songs were good but they missed the drums and bass that I had not used on the seven acoustic tracks and were asking me if I thought I could do those songs with a rhythm section to make it sound more like a record and not a demo. I trusted them.

“OK. I can go to Nashville and do some more there. It would be fun,” I told them.

I did that; and also recorded a few more songs at Woodland Studio in Nashville. The result of that trip was the album, ‘Comes a Time’. It’s an album I know a lot of folks enjoyed. But….. it was not Oceanside Countryside.

Yesterday, listening to Oceanside Countryside in the car with John Hanlon, I drank a beer and smoked a little weed. I listened to it for the first time in forty years. That album was so free and open, unencumbered by the rhythm overdubs I had added to it in Nashville. The record was alive and breathing, with all the space in the world. The acoustic guitars I had layered on at Triad were all there, in my original mixes, just as i had originally envisioned them. Hearing them made me feel so good.

Unchanged and unheard for years since I first made it in Fort Lauderdale, the album was a breath of fresh air. It was a real album and it got to me. Listening to it gave me a an uplifted feeling, so heartfelt. I could see those Countryside faces in my mind; those great musicians. What an amazingly true sound and feeling it was!

I am happy that I will be sharing it with you soon. OCEANSIDE-COUNTRYSIDE.

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painting by Igor Morski

Climate Change and its deniers are on a crash course with history.

By electing a leader in denial, who believes he is smarter than the world’s scientists, the USA has enabled an enemy of the people to impose his will on the life of Planet Earth.
VOTE for change.

VOTE for a future.

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medical marijuana treatment

Dr. Robert Elkins of Saint Augustine, FL has a cannabis certification clinic where he examines patients to determine whether they can be prescribed medical marijuana, in accordance with Florida State law.

He recently examined a fourteen-year-old girl with post encephalitis. She was confined to a wheelchair with tremors, and had problems with concentration, eye disturbances, and other symptoms. As a result, she qualified for a prescription.

She has now been on medical marijuana for about six weeks. She is walking for the first time in two years, is much happier, has hardly any tremors, but needs to be home schooled because the school will not let her take her marijuana on the school grounds.

Her mother was picking her up from school, driving her off the school grounds to give her the meds, and returning her to class, but it’s been tough on the family. She was recently on TV regarding the above problem.

This has been a real success story. A friend of Dr. Elkins has subsidized the cost at the dispensary, and Dr. Elkins is treating her for free. The parents are having trouble making ends meet; both parents work, but things seem to be looking up.

Dr. Elkins noted that she is the first child he has treated in his clinic, but says, “Cases like this make it all worthwhile.” Unfortunately, they have another child with ADD and some additional neurologic problems.


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Trump Taking 3rd Big Step to Roll Back Fight Against Climate Change


In a victory for energy companies, the administration plans to roll back rules covering methane leaks and the “flaring” or burning, of the potent greenhouse gas.

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Why Voting is your responsiblity this time

Here is what a leading US senator said yesterday:

“Process and personality is what we are talking about — how they do things, how dysfunctional it is and how off the rails he can be,” said Senator Lindsey Graham, Republican of South Carolina, conceding that Mr. Trump was “a handful.” But, he said, “what I am talking about is results.”

Results are exactly what I am worried about as a citizen of Earth. Dismantled environmental protections are my biggest worry with the US government, among many others. As a Canadian, I am concerned that all the work we have done around the world to combat Climate Change and Corporate pollution practices is going by the wayside.

Instead, the big US money grab is proceeding with greedy teeth gnashing, destroying the environment, killing off species and accelerating the planet into a deeply uncertain future. All this for short term financial gain that is sure to cost future generations. All this from the former leader of the free world?

Around the Planet the dire predictions of scientists have proven to be very moderate compared to what is actually happening. Sea temperatures up to 10 degrees above normal, dying species, coral breakdown, rampant fires, floods and disruption of water supplies all point to a bleak picture for my children and theirs, if we get that far. This is really happening on your watch.

Meanwhile the US government forges forward on its greedy path towards what? Dominance of the World through the power of money? I don’t think so. The US is losing ground in the world, trying to make friends with the ugly-minded leader of an all white country, Russia. The real world is colorful.

As a Canadian, I can only ask my fellow citizens of Earth here in the United States of America to VOTE. Register now and vote your conscience. Change the course of America by first slowing it down in 2018 and then in 2020 taking control of the White House, bringing many colors under its roof. White Supremacy is not America. It is your current temporary president and Putin.

Stay together. Resist the temptation to turn on your Brother or Sister because they voted for this divisive president. Vote your conscience instead. Respect them for voting theirs even if you don’t agree. That is civilized, democratic. Don’t fall into this president’s well-set trap of division which pits us against one another with every news cycle. Just go forward and use your right to vote. If we do this, we will win. I am Canadian. I can’t vote-but you can. I urge you vote for young ideas, fresh faces, multi-colored agendas, and truth.

Respect your Brothers and Sisters.

Neil Young


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Trump & Russian Mob


Taj Mahal and the Russian Mob

Telluride Daily Planet Editor Justin Criado reports (edited by NYA)

Bob Baer, former undercover CIA operative and current CNN correspondent, says he knows some of President Donald Trump’s Soviet secrets. The former undercover CIA operative divulged what he’s learned about Trump’s long-running relationship with Russia — specifically the KGB.

The chumminess with Communists dates back to 1986, when Trump, then a real estate developer in New York City, attended a cocktail party that included KGB agents, unbeknownst to Trump. America’s future president unwittingly became an “agent of influence,” which Baer explained is a person who is “susceptible to KGB manipulation, but the word KGB never comes up.”

During that time, he added, a KGB “illegal” (the term for an undercover KGB agent) filled Trump’s head with anti-Ronald Reagan rhetoric and delusions of grandeur, including planting the possibility of a U.S. presidential run, during a 1991 visit to the former Soviet Union, which was close to collapse and “broke.”

“It was a piece of flattery,” Baer said. “The Russians started his political aspirations.”

The “criminalization” of the KGB, the Soviet Union’s formal intelligence agency, began during the collapse, Baer explained.

“What we have to look at it in this way, in 1991, the KGB didn’t give up, they simply retreated and regrouped,” he added.

Russian immigrants, including KGB illegals, began settling in Brighton Beach, New York, which is the start of the Russian mafia in America, Baer explained. The mob bosses worked out of Trump’s Taj Mahal Hotel & Casino. Trump, who needed money to finance his endeavors, started taking “Russian money,” according to Baer.

The scenario may sound like a “Godfather” spinoff, but Baer began digging after becoming privy to the Trump-Russia ties during the 2016 election cycle, when he received a tip from a current Democratic operative who asked him to reach out to an ex-KGB officer.

“I knew from the phone number from the FBI that it was a legit KGB guy,” he said.

He added that the man on the other end of line said, “We have a tape of Donald Trump.”

“What I didn’t know was how did the guy see the tape? Why should I believe him? Was this KGB disinformation?” said Baer, a current CNN intelligence and security analyst who lives in the Telluride Colorado area. “I worked with the KGB for years in the CIA. They’re very good at making stuff up. I knew that Russian President Vladimir Putin (a former KGB foreign intelligence officer) wants to disrupt our democracy at any cost, and, of course, he has. He’s done a great job of it.”

Baer said he “filed away” the information until the Steele dossier was released in January, which alleges misconduct and conspiracy between Trump and the Russian government during the 2016 election. He added that the music video for Russian pop-star’s Emin Agalarov “Got Me Good,” which came out in June, depicts an alleged incident with Trump and two women during the 2013 Miss Universe contest in Moscow, which he hosted with Emin’s father, Aras. Baer proclaimed the Agalarovs are KGB agents. It is unclear if the Trump video the Russians maintain to have is from the 2013 Miss Universe contest. Baer did explain that a popular tactic the KGB like to employ involves planting a camera in a hotel room air conditioning vent in order to capture less-than-flattering encounters, usually with a “lady of the night.”

He explained that he used the contacts he’s collected over the years to conduct his independent investigation.

“As a former CIA officer will do, I went back to my old KGB contacts,” Baer said of his recent research. “I said, ‘What happened? What’s the relationship between Donald Trump and the KGB.’ (His contacts) proceeded to lay it out.”

He explained that the U.S. intelligence agencies (i.e. FBI and CIA) quit monitoring Russian activity after the 1991 collapse, and didn’t resume monitoring until 2016.

“It’s been a black hole,” he said. “We’re not looking at it.”

“The curtain dropped down because we were patting ourselves on the back for winning the Cold War,” Baer said. (He added that he may turn what he’s discovered into a TV series; working title: “How the KGB won the Cold War.”)

The Hillary Clinton email debacle? It was the Russians.

“They hacked Hillary’s email and the Democratic National Convention’s simply to cause problems after she was elected president. That’s all they wanted,” he said. “They hated her for the Ukraine. They hated her for Russian elections. They said, ‘This is great. We’ll get in her email. She’s elected president and we’ll go after her. We’ll make her miserable and the Democratic Party for four years. Then, we’ll get back in and we’ll do it again.’ Disruption. That’s what Putin is after.”

When it became apparent that Trump may become the next President of the United States, the Russians worked to set up backchannels, according to Baer.

The July 16 Russia-United States summit in Helsinki, Finland, didn’t help matters either, Baer said.

“This servile kissing the ring of Putin really makes you wonder what’s going on,” he said. “We’re not going to know what went on in that meeting, because if there’s any tape of it, it’s Putin that has it. We simply don’t know.”

He added, “You have a President of the United States that’s clearly in political trouble for his connections with Russia.”

“The worst thing you can do when you look at this Russian thing is take sides,” he said.

NYA has omitted portions of the original article.

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Buffalo Springfield Lives!


New box set is in stores now

'What's that Sound?' has been released. It is the best Buffalo Springfield record ever made. Remastered from the original analog tapes, both mono and stereo, it is definitely superior to anything 'Buffalo Springfield' that I have heard, even the original records. If you want to hear our band, this is the best way to do it.

After the Mynah Birds on Motown, my first recording in the states was Buffalo Springfield on Atco. It was a great time for me, playing with Stephen Stills, Richie Furay, Bruce Palmer and Dewey Martin in the Springfield. Our band was an influencer, lighting the way for many bands who were more commercially successful. When we first appeared at the Whiskey in Hollywood, and walked Sunset Strip with the flower children, we had no plans past success in the sixties.

We were learning how to make records and play big shows. Stephen and I were in the studios all the time overdubbing and mixing, trying to make the records we heard in our heads and hearts. These were rich times for us all, working in studios alongside the DOORS and other groups of the time, sharing bills with THEM, (Van Morrison’s early band), The Byrds, (where we met David Crosby), The Seeds, Johnny Rivers, and even opening for the Rolling Stones at the Hollywood Bowl. These were big times for some green kids living the dream.

‘What’s That Sound’ is the greatest BUFFALO SPRINGFIELD COLLECTION ever. Remastered from the original analog tapes, it’s guaranteed to sound better than any earlier edition of this great and influential music. NYA was overseeing the remastering process. I have heard it and I think this is the best it can be! It sounds amazing! If you love BUFFALO SPRINGFIELD, this is the ultimate collection to have. Hear it at NYA. Enjoy it. Buy it if you can. NY

Pre-order ‘What’s That Sound?’ The Complete Albums Collection - newly remastered Buffalo Springfield box set now at


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Taking Care of the Music

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thanks from nya!

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welcome to my archive

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a few things before you get started

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Pre-Sale Tickets at NYA

I can’t wait to play in Vancouver again at the Queen Elizabeth Theatre! That’s where I started my first solo tour of Canada in 1971. That tour took me to Massey hall and the recording of Harvest a few weeks later. So I’m looking forward to this. Thanks for coming!
• 5/15 Vancouver Queen Elizabeth NY     SOLO
• 5/17 Portland Keller Auditorium NY     SOLO
• 5/18 Spokane Fox Theatre NY SOLO
• 5/20 Seattle Paramount Theatre NY     + POTR
• 5/21 Seattle Paramount Theatre NY     + POTR
• 5/23 Eugene Matthew Knight Arena     NY + POTR
• 5/25 Napa Valley Ca. BottleRock NY     + POTR

Tickets are on presale to subscribers and Promise of the Real will appear on all but the first three solo shows during this Northwest leg of our Theater tour. Near the end of the tour we leave theaters and move into an arena - the Mathew Knight Arena of Eugene Oregon, preparing for the BottleRock Festival.

Neil Young + Promise of the Real will appear on the BottleRock stage May 25.

Keep looking for added solo shows at the beginning of the North West Theater Tour. We hope they will be announced soon. ‘The Road to BottleRock’!

Tickets Page

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at the hearse

A short film by Jim Jarmusch
A chance to hover at the session that produced the live ‘Dead Man’ score and see the way it was done. Kind of like a silent movie score. Live in the theater, back in the day people played organ or piano along with movie live. Here, playing back the movie on about 30 small and large screens in Mason Sound stage in San Francisco south of Market, the music was played and recorded live as the movie played. One of the Greatest Films ever In the Halucinatory Western vein, if not the absolute best, Deadman features “Old Black” through a fender deluxe tweedy, a Baldwin Exterminator, a Magnatone stereovibrato, an echoplex, a fender reverb, an MXR analog delay, all driving a musitron octave divider.

Some names have been changed to protect the innocent. Check it out at the Hearse Theater.

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while the climate holds

This July, ’Neil Young + Promise of the Real’ will return to Europe, visiting Dresden, Berlin, Mannheim and Munich in Germany, followed by Antwerp, Belgium and Amsterdam, Holland. These shows will be their first return to Europe since 2016 and the band is jacked to be coming back again to jam in Europe!

Check NYA homepage tickets Monday, Feb 25th for actual showdates and presales through NYA only. After a period of time the tickets will go public. Some shows will have reserved seating and some won’t because they are festivals. We hope to see you there, jammin’ with the Real.

UPDATED: NYA pre-sale begins Tuesday 2/26 at 5pm CET

7/2 - Dresden, Germany
7/3 - Berlin, Germany
7/5 - Mannheim, Germany
7/6 - Munich, Germany
7/9 - Antwerp, Belgium
7/10 - Amsterdam, Holland

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HEADING HOME BUS-HEADING-HOME-1408 photo: dhlovelife

This last few weeks has been a thoroughly rewarding Theater Tour. I am thankful we got to play so many memorable classic theaters. from Milwaukee and Madison to Minneapolis and north to Winnipeg. RIVERSIDE, STATE, PANTAGES, ORPHEUM, OVERTURE HALL, BURTON CUMMINGS, CENTENNIAL CONCERT HALL, NORTHROP AUDITORIUM; they were all great and the music was living.

Rolling through the Midwest during a Polar Vortex is a once in a lifetime experience I shared with many of the people I love. My crew, my family, my lovely wife. . . .we are all so happy to have been out on the road with these great crowds of music lovers. . . . . Many Archives crawlers and explorers are in the mix. Thanks so much for taking part!

Heading home, we ran just in front of the cold as it slowly and wildly succumbed to the warmth heading South. Turning West into the sun now, we are thankful for our musical journey, and for our last show’s gift experience with the rumble-dream Crazy Horse of the future.

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High Res everywhere!


Our IOS app is available free!


Try it out and let us know how you like it!

The Android version is on its way. It encountered cobwebs in the tunnel. They have been partially cleared by volunteer Elves.

We will be giving you many hints on how to get full High Res from the archives app. NYA is streaming High Res where you are. Watch for articles at NYA.

Merry Merry!



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'SONGS FOR JUDY' songsforjudy-back1408

Behind the Scenes

Cameron Crowe and Joel Bernstein tell how they did it.

In late 1976 and early 1977 Joel and Cameron got together and built ‘Songs for Judy’ from a pile of cassettes and memories. This is how it happened...

Joel Bernstein and I first met on a crisp morning in March, 1974. It was already an auspicious day. Neil Young had agreed to join The Eagles for a benefit at the Cuesta College Auditorium in San Luis Obispo. We were all together for the bus ride up the coast. Neil was notoriously press-shy at the time. I snuck onto the bus as a guest of the Eagles. There is a picture from the day, taken by Joel.

Behind me, Neil is playing an early version of “For The Turnstiles.” (Later, passing some oil derricks, he would begin writing part of “Vampire Blues” on the same bus ride.) I’m just hunkering down trying to look like I belong. We became fast friends that very day -- Joel the photographer (and guitar maestro-technician), and me the journalist. Our shared aesthetic was rigorous. As fans, we loved the raw and the real. For example -- the demo was usually our favorite version of any given song. Joel the artist worked almost exclusively with available light. We viewed ourselves as documentarians, there to catch the spirit in the air. We even had a nickname for ourselves – Eyes and Ears (from the old movie newsreel "The Eyes And Ears Of The World") . We still do. Joel and I went on many assignments together, and one of our early adventures was for Rolling Stone. I was invited on Neil Young and Crazy Horse’s 1976 North American tour. Joel was already on tour as Neil's guitar tech, and was also documenting the shows by recording them. Full disclosure: I was in heaven.


I'd been the photographer on Neil's Time Fades Away tour in 1973; Neil was tuning his own acoustic and electric guitars himself before each show with the help of a Conn Strobotuner, a curious device featuring a display with a backlit, spinning disc of concentric circles. Based upon the stroboscopic effect (as when a plane's propeller or wagon wheel appears to stand still or be turning backwards), it could show very fine, real-time information, when read correctly, of the pitch of a plucked guitar string and enable acoustic or electric guitars to be precisely tuned.

One night, he remembered that back at the Electric Factory in Philadelphia, I'd tuned his Martin D-45 quickly and well when he had to go onstage. So, a bit like Huck Finn showing Tom Sawyer how to whitewash a fence, he explained to me how to use the "strobe," and I then tuned those guitars for him before each show. I then became a guitar tech first for David Crosby & Graham Nash and then for Bob Dylan's second Rolling Thunder Revue earlier that year.

Before going on Neil's tour, I'd gotten a Uher portable cassette deck so that I could listen to my favorite recordings on cassettes made from LPs and tape recordings while I was traveling. I asked my friend and, my friend Bob Sterne if I could get a feed of the PA mix made by Neil's house engineer Tim Mulligan to my guitar work station by the side of the stage, so that I could record while I was working. These would be of only incidental interest to Neil, because these were mono cassettes of the PA mix, unsuitable for release b) Tim was also recording the shows on cassette from the front of house, which technically should have been superior to mine, and c) because earlier shows on the same tour, in Tokyo and London, had been professionally recorded and were already being fashioned into a live album. Nonetheless, having been on tours with Neil for years, I knew that there would be magic.

The stage was moodily-lit by Chip “The Brown Acid... is not specifically too good” Monck. Neil stood at the center, between two antique-wooden Indians, each holding a legendary guitar. One, a Gibson Flying V, and the other the even-rarer Gibson Explorer. These were not incredible reproductions. These were the real guitars.

The shows were reckless and beautiful. Every night. The evenings began with an hour-long acoustic solo-set from Neil. The acoustic portion of the evening morphed nightly, often fueled by a smoke or two just behind the curtain. After a break, Neil and Crazy Horse would return for a barn-burner of an electric-set designed to level the place. They succeeded nightly. Just two years after the big-arena explosion of CSNY’s 74 summer tour, Neil was back with something even more potent and personal.

The tour began at the Dorothy Chandler Pavilion in downtown Los Angeles on November 1, 1976, the day before Election Day. Neil started with a solo acoustic version of a powerful, unreleased song called "Campaigner." I immediately realized that making these tapes was in fact a great idea. I was soon raiding malls for whatever blank C-90 cassettes I could find along the way. The U.S. leg of this tour was brief (18 shows in 12 cities, in 24 days) but the performances were at their best intense and thrilling. As the tour continued, the cache of cassette-tape grew, all of them filled with gems.

Midday through the tour, on Neil's 31st birthday, he invited Cameron and I onto his tour bus, Pocahontas, parked in the snow in front of the Edgewater Inn, in Madison.

Eight months earlier, Joel had been on nearby Lake Mendota, photographing Joni Mitchell skating for her Hejira album. Otis Redding’s plane had crashed, I think, in the same vicinity years earlier. The whole area felt rich in musical lore...

Neil and I might have smoked a joint. Then Neil said, "Oh, I've got to make a phone call." This no doubt meant that Neil would have to return to the hotel, but he stayed put. "Just wait a second," he said, and opened up a leather attaché case on the table. Inside was a telephone that looked like a prop from the 60's TV show Get Smart. "It's a satellite phone," said Neil. What is that? It's 1976! We're on his bus! He makes a call to Mo Ostin, president of Neil's record label, and to our amazement, cancels the release of his 3-LP compilation Decade; months in the making, already pressed, and scheduled to come out imminently.

(The Rolling Stone piece had been assigned to come-out in tandem with the album. Now we were all suddenly in free-fall.)

The last two shows of the tour were to benefit the restoration of Atlanta's historic Fox Theater, where we were playing. After the first show, an unusually long interval occurred before the second, midnight show. To celebrate the end of their months-long international tour, the band had found an excellent combination, that included at least Tequila and marijuana, with which to commune. One of the results, when the midnight show began after one, was the unparalleled rap in which Neil conjures up the spirit of Judy Garland, a vision which would have vanished but for this recording. By the time the last show was over, and we loaded up the trucks for the last time, Tim Mulligan, Neil's mixer, and I realized there was no point in trying to get any sleep; we had to catch the earliest flight to San Francisco. It was Thanksgiving, but we both had another show later that night with Neil... they said it was going to be called The Last Waltz.

Joel and I made a pact. After the tour, we’d get together at Joel’s San Francisco apartment, and make our own “essential” audio-compilation of the tour. The goal was to create our definitive collection of the acoustic and electric performances. Each would feature one performance of every song that had been performed, and it should fit onto a ninety-minute cassette. We began, of course, with acoustic sets. Joel listened to all the performances and whittled them down to three or four best-versions. In some cases, if Neil only performed the song once, that one version would be included.

The acoustic shows were sparkling, sometimes stoney, often surprising, and always heart-felt. You might get a “Losing End,” or even a “Love is a Rose.” Neil would regularly engage in conversations with the audience, including one epic monologue from a late show in Atlanta that became a darkly comic-centerpiece of our collection. Young had always been a sharply witty stage conversationalist, but this one intro to “Too Far Gone” took a psychedelic journey to Oz and back. For days we listened and compiled. It was deliriously painstaking work. Wake up, eat breakfast, dive back into the recordings. Decide which of the 12 versions of “Old Laughing Lady” was most essential. Repeat.

Cameron, reading your account reminds me of just how much fun it was to do the listening and our notes, and discuss each performance until we agreed "that's the one." After you and I made our selections, I went next door to Graham Nash's home studio, Rudy Records, and transferred each song we'd chosen to reel-to-reel, then cut it together into two reels, one for each side of a cassette. I made three cassette copies of the tape compilation; two went to the two crew members who got me the audio feed of Tim's PA mix each night. (Audio nerds: to accomplish this required these adaptors: XLR > 1/4" > RCA > DIN.) At the time, it seemed the right way to repay them for taking the time to do that.

I cautioned them each not to copy the tape, and to keep it in a safe place. A few years later, one of them called to tell me he couldn't find his copy of the compiled cassette. A little later, a copy of a copy of a copy of that cassette became the master tape for a bootleg LP; just what I'd been trying to avoid. Years later, I was interviewed for Neil's fan club magazine, Broken Arrow, and was asked what I knew about this (to fans) mysterious compilation, and told the story to the journalist, who wrote a piece about it, after which the bootleg was referred to as "The Joel Bernstein" tape.

We never made it to the electric sets. Such was Joel’s attention to detail, and our shared commitment to exploring every crevice of the 1976 acoustic rabbit hole, by the time we finished part one, we were spent. We took a little break. Decades passed, but we always returned to the joys of this compilation. The tour had been so satisfying, and so different from all that rock would become in the ensuing years, something indelible was captured in our humble collection. Listening to it today is a little like discovering postcards from home. It was a precious time in Neil Young’s journey, a breath of oxygen in between some of his biggest adventures. Everybody involved was cresting towards another career peak, Rust Never Sleeps was just around the corner, and you can close your eyes and imagine the thrill in the room. It’s Bicentennial year in America, Neil Young and Crazy Horse are in your town, and out walks Neil with his acoustic. Press play.

Meet you back at my place this fall. Let’s start the electric-set compilation...

Sounds good. I remember a blistering 9-minute “Cortez the Killer” from the Dane County Coliseum, in Madison that was absolutely essential...

Here we go again...

by Cameron Crowe and Joel Bernstein

© Eyes and Ears Productions 2018

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LTTE icon

I know this question has been asked a bajillion times, but what is the status of the NYA app for Android?
Ron from Idaho

We are shooting for just weeks now, doing beta testing. Watch for the announcement coming soon to the Times Contrarian.

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Hello Neil and Archive team,
I have a question about when you were recording 'Cortez the Killer' with the horse. I read where during the song instrumental there was a problem with the recording console and part of the jam and another, "lost' verse, was not recorded, before the problem was repaired...I always wondered about this and as far as i know, you never sang this verse live, would you be able to share it here on the Archives? Would love to read the lyrics. thank you!

There was a power outage during the time we played Cortez. The missing verse was about crashing on the rocks. We just made an edit and pulled up the lost section. I decided it didn’t need the verse anyway. I am not sure I remember it now. I think there was only one take. we can look back and find the verse if I played it again. With the Horse, you generally get one shot and the Horse moves on. We’ll look and I’ll write something in the Times-Contrarian if we find it.

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Dear Neil and Archives Team,
Thank you for your amazing work on this site. It is incredible. I enjoy visiting NYA every day and appreciate all of the content. I really like the new addition of the curated playlist, with the first one being from Kurt Vile. Sweet list, Kurt! I’ll be at Kurt’s show tomorrow night here in Toronto and can’t wait. Quick question for the archives team, will some of those shows that were live streamed on NYA and recorded be available for purchase? I was fortunate enough to be at the last NYCH show in Winnipeg and would really like to see the recording. What a show! Final question. Neil, just wondering if you have any plans on doing a historic theatre tour of Canada?
Mike Farrell

Hi Mike
I would really love to do that tour. What a great thing to travel across the country plying in the grand old theaters. I’ll mention that to Elliot.

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The Kurt Vile playlist was genius, love the concept and the execution. Thank you and your team for NYA, which is so on point.
I was just listening to “Powderfinger” (again) and the poignancy of the lyrics, the symbolism, and the message struck me (again) and got me to thinking about all I have learned from you since I started in on this musical journey some 30 years ago. The story of the dude who fades away so young with so much to live for, that's a tragic tale.
Whenever I'm up early and getting after it -- usually surf-related -- inevitably "trying to catch an hour on the sun" floats through my thoughts and I think about persistence, desire, fortitude, (the fucking thrasher!), man, life. You're an inspiration, you've done it your way (your life's an open book, dude, you heard it on the radio - ha!). "Did what I did, said what I had to say, and I'd do it all again if I had to today." It's all one song and the answers are all there for us if we pay attention; that said, is there one lyric or one song where you hear it or play it and just say every time 'yeah, that's me, that's who I am and that's where I'm at?'
Peace and love,
DJ in Leucadia, CA

Hey DJ,
Not one song. . . . It changes all the time.

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Dear Neil,
the Archives only holds your own official releases, but you have played an important role on many other artist recordings as well. One of them is Prairie Town by Randy Bachman, where you sing second voice (plus D45) and Margo Timmins third voice.
The video clip of Prairie Town on Youtube really touches me (for many years already) and I wonder what the story is behind this song.
Greetings from Germany - Jan

Thanks, Randy came out to the ranch and I played it live with him and the band as I remember. It wasn’t an overdub thing. I know we had a great day. Same studio as ‘Ragged Glory’. Gone but not forgotten.

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Hey Neil -
I love the articles that Tom DeVesto writes for the Archive.
I have one of his ComoAudio units and really enjoy it.
Do you think there’d be a chance for a NYA direct component in a ComoAudio software update, Ala ComoAudio’s Spotify connect? The sound quality is much better than Bluetooth-ing into the speaker like we do now.
I’m sure lots of archives members have Tom’s systems.

We love Tom’s players, and NYA is going to be available sounding just like Xstream does. We’re almost there!
thanks NY

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Can any updates be provided in regards to unreleased albums? Love the entire body of work, thank you for everything.

Tuscaloosa is next. Live Stray gators and a great night. Then comes Homegrown. That’s what we are thinking. We’d like to put one out every 3-4 months.

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Hi Neil and NYA team, first of all big thanks for your great work on your Archives and this website. It's everything a fan could wish for.
For me "Weld" is one of the best live documents ever put on album or video. I wonder if there are any plans for rereleasing "Weld" on blu-ray or is there going to be a whole "Weld" chapter in the coming Archives releases? See you on the road and all the best to you and your NYA team! Keep it up! Greetings from Berlin, Germany. Micha

Weld is coming. It will be a while though not too long. The film of Weld is interesting too . It is all about the audience and how they sing and listen.

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Hello, my eight-year-old is doing a school project on Neil Young. It is a heritage project about Great Canadian Musicians. When we looked into some of his songs, he absolutely loved the music and listened to him all evening. I was wondering if there is anything about him that we might not find online, that would be cool to put in his project? Maybe something he thinks is important about him? Thank you so much,
Best Regards,
Natalie Spence

That’s a tough one. The music is hard to chase and catch. He spends a lot of time doing that.

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So maybe I'm just clueless, but I never knew where the name Storytone came from when that album came out (fantastic album by the way), and now I see that the letters to the Archivist have been renamed as Movietones on the Contrarian. Any insight to help me get some inside dope?

I played a storytone piano on that album. It’s an old kind of acoustic electric instrument. . . . looks like a small piano, all wood and ivory. That’s where I got the name. You can hear it on some of the solo tracks.

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Good evening all,
Sat musing on the spring and wonderin' on what the chances of...
Give Me Strength in Portland or Spokane (my favourite acoustic Neil song, bar none; heartbreaking and exquisite in equal measure and unheard live for over 20 years) and...
Interstate in Seattle or Eugene (still not on the timeline, is it being held for Ragged Glory II? This is a song made-to-measure for NYPOTR)
Either would be make my trip to the Pacific NW. Both would be out of this world...
Cley next the sea, Norfolk, England.

I will try to remember that but no guarantees. Good ideas though Mark. . . . Good ideas.

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Hey There Archivist,
Here's a question:
I just listened to Captain Kennedy, the Song-O-Day, today. I believe I am hearing banjo residing in the mix. Is this so? The credits list Big Kahuna, Neil, on guitar and vocals only, with no other folks partaking.
Most perplexing.
Peace and Love,
-Mudflow Mike

No banjo on that tune Mike. Just sounds like one. its a gibson J45 I think.

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Hello Archives Team,
I'd promised to lower the amount of questions, but I ran into something very special on FB. Someone posted a picture of a 4CH reel to reel tapedeck, with a reel box of Harvest!! It appeared to be an original Reprise release on tape and I have never seen anything like that before. That same person also shared a picture of the Everybody Knows This Is Nowhere reel box.
Are you aware of the existence of this format? It would be nice to have all the different formats (including LaserDisc, 8Track, MiniDisc, etc) available and listed somewhere on NYA.
Note: It was Wayne Kettlety who posted on the Rust Facebook page, you can find pictures there very easy.
Greetings from Germany, Jan
Thanks jan

*Back in those times tapes were made available to consumers.

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Any hopes to include an unreleased song called either "Johnny," "Color by Numbers" or "Ride On?"
I think it was used to play on the PA as fans left shows in 1983 or so.

‘Johnny’ is a good one. We will be doing something with it soon I hope. There sure are a lot of songs. The team is working hard on getting them all to you just the way they should be heard. I really like ‘Johnny’. Good suggestion.

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When you were up here in the great white north, how did you care for your guitars? Did you used any humidifiers in your guitar cases while on this northern tour? In Winnipeg the winter can very very harsh on our instruments.
I have a Martin D35 and use an Oasis humidifier all winter. If not being played, she stays in the case. Curious if you or your guitar tech have any advice?
Thanks so much!

Kurt, my guitar tech, took great care of them. We were not in the Polar Vortex for too long. Everything was fine.

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Question for Shakey
Can you please share the first time you heard the Beatles Sergeant Peppers album? Where were you—Topanga? What did you feel? How did it change you moving forward with your musical compositions or feeling overall? It was an important time and I know it influenced you.

David Crosby had an advance copy of “A Day in the Life”. That was a great day of listening. The Beatles were really ahead of their time. Amazing band! had a huge impact on me!

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Dear Neil,
Thank you for sharing your archives with us. I am really enjoying the opportunity to explore aspects of your career I wasn't that familiar with.
Your Greendale videos have been terrific and I have been looking forward to each one which brings me to my question. I noticed you have not put up the amazing Live at Vicar Street performance. My old DVD doesn't work too well anymore and I am too technologically challenged to figure out how to burn it for the music so I was hoping someday for either the video and/or music alone to makes its way onto the archives website. Any chance of that happening?
I am sorry about everything you went through the past year. My thoughts have been with you, Looking forward to seeing you again soon.

Hey Pete,
Thanks! Vicar street is coming to the Hearse Theater. Greendale acoustic stories. They filmed it with 4 cameras without me knowing, so I was pretty relaxed. I think its a good Greendale view. Eire Rocks!

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This year "Everybody knows this is nowhere" will be 50 years old. I was wondering if is there any plan to reissue a special edition of this fantastic LP and if we will ever get a complete version of it live with Crazy Horse ...
Running Dry solo version was thrilling, I really loved it! I was looking at the streaming in the middle of the night here in Old Europe and I almost fall from the chair!
See you in Europe (maybe Italy as well) this summer!
Giovanni - Dangerbird 64

We will see you there! Maybe everybody knows will have some sort of celebration. 50 years man!

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When will we have the video of the concert in Switzerland with Like a Hurricane in the NYA?
See you soon
Jose of Paris

Yes! We have it and have already shown it. Soon it will be available on the Hearse theater, which will open up really big soon, with lots of feature presentations, including that 33 minute Hurricane, played live in a massive storm!

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Dear Neil and Archives team,
I’m a young (old soul) fan and am loving the app!
Everything about it is absolutely fantastic. My question is geared towards Apple TV, do you guys plan on making the app work on apple TV? Apple TV has the app store on it but only apps that work with the device. It would be great to have it added to play the music through the surround sound and even to be able to watch the streams and videos on the actual tv and not on a desktop/laptop or phone.
Thanks guys and keep on rocking in the free world!

It would be great. We are looking into it. We have to be sure the sound quality is as good as Xstream by NYA or nope.

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Dear Neil,
Much love and appreciation for the trucks of happy memories you've given us until today ... with the recent shift in Crazy Horse personnel, and we love every version, can we expect more Crazy Horse shows going forward? Would love to know how you decide whether shows will be solo, NYCH, or w/ POTR, and why has NYCH been sparse the past few years? I was fortunate to be in Bakersfield and Winnipeg and it was otherworldly!! Last question - with the upcoming Pacific Northwest shows and particularly in Seattle any chance we might see you bust out some Sleeps w/ Angles material? We all love it so much and its been dormant almost since it was written.
Much love,
Dan Sobol

I love the Horse. I love the Real. We will be back. Time.
love NY

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Hi There,
I was browsing the songs cards for 1987/88 today & have a few questions about the musicians of a couple fo songs:

  1. Sunny Inside (This Note's For You version): listed as recorded at the Omni, Oakland on 10 Nov 87. Presumably this is a live recording as the Bluenotes played the same venue on that day. However the rhythm section is listed as Chad Cromwell & Rick Rosas, whereas the Bluenotes had Ralph & Billy in Nov 87. Did Chad & Rick overdub a live recording? If so should there be a 2nd recording date & studio?
  2. Twilight & One Thing (TNFY versions): Both listed as recorded at SIR Hollywood on 5 Dec 87. Twilight is listed as Chad & Rick on drums & bass whereas One Thing has Ralph & George Whitsell. Is it correct that both rhythm sections were in the same studio on the same day or did Chad & Rick overdub an older recording?

Just wondering...
Kind Regards,

Mark, Thanks!
Sunny Inside should be Ralph and Billy.
Twilight should be Chad Cromwell and Rick ‘the bass player’ Rosas.
One thing is Ralph and George Whitsell.
I’m checking them now. if they are wrong they will be fixed soon.

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Any reason some if the place holders in the timeline are different color browns?
Timeline example:
Crazy Horse Garage vs Live Freedom
Just curious...
Was hoping that maybe that the color gave some indication as to what stage the release was in.


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Archives Guys and Neil,
So today I dusted off a show I have not listened to in years and was completely knocked on my ass.
NYCH at the Catalyst
This show Rocks!
Please consider it for a performance series official release.
A couple of other shows that deserve an official release: March-April 1996
NYCH-Old Princeton Landing shows
NY+Booker T and the MG’s
Rock am Ring
Keep Rockin!!!

Thanks for the ideas. We have all of those.

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Hi NY & team, LOVE the site, LOVE the music.
I know you've got a lot of unreleased album projects lined up, which all sound fantastic, but how will the Archives site work for songs or performances that don't really have a home?
Say, for instance, you (rightfully) decide that the Farm Aid '94 performance of 'Down By The River' needs a wider audience - are you going to put the single performance up? What about alternate takes of songs we love (Jimmy McDonough's book mentioned a Crazy Horse version of 'Ride My Llama' that we need to hear)?
Is everything unreleased and new going to be packaged up with similar songs in album releases, or can we expect single songs or performances to see the light of day by themselves?
Keep up what you're doing, it's a marvel.

Single songs will start to show up very soon. We have a lot to do. We have been focusing on albums- Amazing Freedom, Homegrown, Tuscaloosa. They are all on the way and are different from one another. It’s fun to find them and present them. especially the ones that are unheard.

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Good Morning all at NYA!
Will Harvest Moon be re-mastered?
I like starting my day with the Song-O-Day selection here at NYA. I always like hearing Dreaming Man, and it sounds pretty good even in full 16/44.1, but today I was longing to hear Nicolette come up in the mix a bit.
It's better to dream in 192/24, isn't it?
Peace and Love,
-Mudflow Mike

Yes it is Mudflow!

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I wanted to tell you how Neil’s love of audio quality has shaped my life, and how I’ve done my part to keep the vision of uncompromising audio quality alive.

I began listening to Neil in 1979, and saw my first Grateful Dead concert shortly afterwards. I was amazed at the quality of their live sound. I was raised by a single mother in central Pennsylvania, and had little idea of how I could ever play a role in the audio industry.

In 1983, a year out of high school, I bought a VW Bus with a blown engine for $240 and a friend and I rebuilt the engine. We drove to California the next summer. I arrived with $200 and a dream of going to the UC system and working in audio. I got a job washing dishes in Big Sur. Before the winter rains arrived, I’d moved out of the VW Bus and into a room, and began junior college the next year, as a resident. After three semesters, I applied to the UC system and was accepted at UCLA and Berkeley.

After finishing at Berkeley, I put my passion for graphics and video to work in industry, where I’ve worked for the past thirty years. Over ten years ago, I got a job at a company which invented many of the key technologies used in HDMI, which is the digital audio/video standard used to connect devices to televisions. My job was to manage HDMI semiconductor chips which were used in television sets.

About four years ago, my job grew to the point where I was working on the future standards for HDMI ... and I immediately tacked audio. I invented and patented a system for lip sync between a TV and an audio amplifier. Then, I worked on a way to ensure that extremely high quality audio would always be available in consumer electronics devices.

The problem is that the only way to get more than CD quality uncompressed digital audio, you have to use HDMI ... there is no other consumer technology which is used to deliver high performance audio ... and what I had in mind was 8-channel, uncompressed 24-bit audio at 192 kHz. Neil Young-inspired quality, “whether you want it or not.”

To get this kind of quality, you need to plug a Blu-Ray player into an amplifier and plug the amplifier into the TV. But if you got a better TV, then you’d need to buy a whole new amp! And that, my friend, is bogus. So I proposed a way to send this audio backwards over the HDMI cable, with this full quality. This meant the TV could be upgraded without impacting the amplifier, and the whole setup would be easier to use.

Working with Hollywood studios and many other major consumer electronics and audio technology companies, we developed the full technical specification, and it was officially incorporated into the HDMI standard in November, 2017. It’s called HDMI eARC, and it is being added to TVs and audio amplifiers by many major vendors.

And now you know the story: This four year labor of audio love all began in 1979, when a teenager fell in love with the sound of Live Rust. Thanks, Neil.

yer welcome! WOW!

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Xstream by NYA music sounds better everywhere on any device!

Especially Android cell phones that play full high resolution. They are sounding awesome now! We have heard them!
Android is in testing and will come very soon!

Here’s why. Xstream rocks!

Music on ‘Xstream by NYA’ sounds better right away because Xstream by NYA is able to play a full high res file anywhere! All the other services are limited to MP3, CD or a compressed file.

Imagine this:

  • Spotify is limited to 320 kbps or a lower tier of quality. That’s two levels of quality to choose from with Spotify.
  • Xstream by NYA has 15,000 levels of quality and continuously seeks the highest quality bandwidth allowed at your location, including extremely low bandwidth to super high bandwidth and every step in between. It’s seamless.
  • Because Xstream by NYA has no bandwidth limitations, it easily plays music over 6,000 kbps, more than enough for High Resolution playback.
  • High bandwidth allows all music to be heard in High Res, exceeding an iPhone’s capabilities for playback, still, even with that limitation, anyone can hear the difference between ‘Xstream by NYA’ and ‘Spotify’ on an iPhone. It’s big!
  • Some phones by ‘SAMSUNG’ and ‘LG’ can play full high resolution today, exceeding even an iPhone’s capabilities. The listening experience on those phones is truly amazing! That said, the High Res advantage of Xstream by NYA is still quite obvious on the iPhone. Our APP for Android will be ready in May.

Just try this:

  • listen to one of my songs on your iPhone using ‘Xstream by NYA’.
  • Now listen to the same song through Spotify or one of the other services.
  • Xstream by NYA is better sounding because we are able to play a file with all the quality (air, depth, dynamics, smoothness) of the original. Spotify is not capable of that.
  • It doesn’t matter if you are using Bluetooth speakers or whatever, Xstream by NYA sounds best.
  • Your only limitation is the playback device you have chosen to use, yet even on low quality playback devices the difference is obvious.

Hearing is Believing.
Xstream by NYA.

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simple instructions to subscribe

  • Visit from the browser on your phone.
  • Click the Global Menu (square in top left of of screen)
  • Click the blue "subscribe" button
  • Log in to your NYA account or Sign up if you don't already have one.
  • Click "Get NYA Unlimited" on the next page (or click global menu>account>plans)
  • Select Annual or Monthly Subscription and Check out.

It's that easy!

Enjoy NYA and all NY music on your APP!

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A dream is finally coming true!

You know, I’ve worked on this for years. I’ve always heard it. I’ve tried to explain it. I failed to get across to people what this is. . . . . but now that’s over. . . . .


The NYA APP speaks for itself. Everyone hears it. It doesn’t matter how bad your system is. Just plug your phone into it. NYA music sounds more alive through it. You can hear and feel the difference. You can experience the music in a new deeper way for yourself through any playback device.

I feel great. Reading people’s reactions to this APP is wonderful. Finally, it’s on a level playing field with everything else and can be truly compared.

It’s Music to my Ears!
Check out what these folks are saying:


4.6/5 rating at IOS app store.

Neil Does it again - Boundless50
Continuing his efforts to improve digital audio quality, Neil has hit a home run with a well-designed app that provides great sound (and flexibility when using a cellular connection) to enjoy even more his broad catalog of music. Now, if the technology could also be used with other artists’ music as well…


Great Sound Neil - JoeRay
***** (5-stars)
I just downloaded the Neil Young Archives app and the music sounds alive; right out of the studio…Thanks Neil for 24 bit sound…Merry Christmas to all…

24 bit steaming. Perfection! Love m… - WK-Y
24 bit streaming from the iPhone, so simple! Perfect sound with no breaking up like the lower bit files. No more ssss. Even the 16 bit files sound better than Streaming from Tidal.
Why can’t Apple Music do this?
This is music streaming of the future!

I have Apple Music and Tidal, this is the one app I use the most now. I wish all the music is on your website, Neil, and all remastered in 24 bit. Use this app. Music moves again. I’m dancing and singing with it.


Yeah - Kathy
It works. Sounds great. Yeah you need WiFi for high res, that ain’t Neil and company’s fault, maybe on 5G in a year or two. Been using this site all year and app does it justice.


Neil’s done it again- AWLionelGuy
The difference is in the sound! Awesome app with amazing features. NYC allows you to listen to his discography the way it should be heard. Some navigation features are less than perfect, but I can’t wait to see the app evolve.

Must have for Longtime Neil Fans - BertTR6
The Neil Young Archives is a treasure that music lovers around the world can enjoy with complete access to the life work of Neil Young. The sound quality at full resolution is unquestionably the best I’ve ever streamed on my mobile device. The fact that I can access all the gems, including the rare and obscure ones, and hear like I’m in the room with the music as it was meant to be…..

Better than expected - Hum1021


I’ve been using NYA for a long time I think it’s easier to navigate using the app than it is on the actual site Great job!
If you like Neil, pay for the subscription. ..It’s well worth it.

Greatest music all of all time - Deathcoach
Nothing less than the greatest music app of all time!

Brilliant - Captain Daver
Simply brilliant app !!

If you like Neil’s music, or maybe are looking for proof that music can come in hi-res through your phone, this is your place. I love the music (it’s what got me to pick up a guitar), so this works well for me.
A must for Neil Young fans - tag302

With subscription you get access to EVERYTHING related to Neil’s extensive musical output.

In addition to music, NYA provides a daily newspaper, Te NYA Times-Contrarian, delving into inside the music stories and news of the day reflections. But back to the sound of NYA. . . . . .

Folks, what’s really amazing here is that even though it sounds great everywhere, there is much more to this APP’s sound . . . . it is all there on your phone and you can unlock it and play it loud, all of it, the Startlingly Great Sound of High Res- through your home system.

Realizing the full potential of Xstream by NYA

Now that you’re able to stream high res music anywhere, we want to offer some suggestions on how to use your phone and computer to hear Neil’s NYA music at its best quality. While you’d think advanced tech devices like iPhone could handle whatever audio is thrown at them, unfortunately the hardware manufacturers, including Apple, have never prepared for quality audio streaming. So, even though it makes an iPhone sound better than any phone you have ever heard, you are still not hearing all of what is being streamed to your phone.

Now that High Res Xstream by NYA is here, iPhones are unfortunately unable play all of it. While you can play NYA files and they do sound better than anything else, to hear the full High-Res sound from your iPhone, you’ll need this

The solution

Add a simple external device, some less than the size of your thumb, called a DAC, that upgrades the phone’s lower quality internal DAC. Simply, insert the DAC between the data port of phone (or computer) and headphone, speakers or amplifier, and you’ll hear music at its very best audio quality. Below are some DACs that are well-rated and capable of playing full High Res. They’re available from your local dealers and from Amazon.

Remember, a DAC is not something you need to make ‘Xstream by NYA’ sound better than anything else through your phone; it already is doing that and you can hear it. An added DAC simply will allow you to unlock and hear all of the music, more has ever been heard from any Iphone.

NextDrive Spectra - $149
Meridian - Explorer2 USB DAC - $199
Chord Mojo - $499

Today, some cellphones, particularly LG’s top models, are able to play high res (192/24) right from the phone with no added DAC. That is the way cellphones should be in the 21st Century.


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People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are the Advertisers and they are laughing at you.

You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say whatever they like whereever they like with total impunity.

Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone threw at your head.

You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.


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both photos: dhlovelife

When you are looking at a bouquet, you can see how beautiful it is.


When you see a flower up close, the detail you missed in the bouquet is now front and center in your eyes.

The detail in the sacred geometry of the flower’s petal makes you feel good. Humans like to feel. Sound is the same. High resolution is the petal of the flower. Smell it.


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