Plummeting insect numbers 'threaten collapse of nature'


Guardian

“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
@dpcarrington

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.”

insect-diversity-1408

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

The Guardian is editorially independent, meaning we set our own agenda. Our journalism is free from commercial bias and not influenced by billionaire owners, politicians or shareholders. No one edits our editor. No one steers our opinion. This is important as it enables us to give a voice to those less heard, challenge the powerful and hold them to account. It’s what makes us different to so many others in the media, at a time when factual, honest reporting is critical.

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.

Support The Guardian insects-creditcards-1408

Sign up to the Green Light email to get the planet's most important stories

See more

GAMBLING heyamerica-flag-1408


WITH THE FUTURE

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

NYA

See more

SONGS FOR JUDY


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.

See more

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 www.neilyoungarchives.com.

See more

ELVIS SPEAKS


HOW ELVIS FELT ABOUT POLITICS

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.

NY

See more

TRUMP SUPPORTERS


THANKS TO ALL OF YOU

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

usflag-closeup-1408

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.
NY

See more

EVERYTHING YOU NEED TO KNOW ABOUT NYA PRESALES!


tickets v3

HOW TO GET YOUR TICKETS

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

See more

KEEP ON ROCKIN’ IN THE FREE WORLD


VOTE YOUR CONSCIENCE

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

See more

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.

NeilZekeRufus1408
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.
NY
NYA

See more

VOTE FOR A FUTURE


A CRASH COURSE WITH HISTORY

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.
NYA

See more

WHEELCHAIR TO WALKING


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.

PB
NYA

See more

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


V O T E

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.

See more

L O S I N G G R O U N D


R E S U L T S

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

NYA

See more

Trump & Russian Mob


X-SPY REVEALS EARLY HISTORY

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.

See more

Buffalo Springfield Lives!


WHAT'S THAT SOUND?

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 neilyoungarchives.com.

NYA

See more

OHIO


See more

SXSW PRESS TIME


See more

GARY BURDEN


See more

Scattered


See more

PARADOX PREMIERE SXSW


See more

THE SOUND OF THE NYA FILE CABINET


See more

PARADOX TO PREMIERE at SXSW


See more

FREE THE MUSIC


See more

BEHIND THE SCENES


See more

CRAZY HORSE - ALCHEMY


See more

TIMELINE - 1973


See more

Taking Care of the Music


See more

thanks from nya!


See more

welcome to my archive


See more

a few things before you get started


See more

WHY? XSTREAM-LOGO-1408 WHY DOES THIS SITE SOUND BETTER THAN THE REST OF THE WORLD WIDE WEB?


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

Xstream by NYA music sounds better everywhere on any device!

Here’s why. . . . . .

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 neilyoungarchives.com ‘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.

See more

HEADING HOME BUS-HEADING-HOME-1408 photo: dhlovelife
ESCAPING THE VORTEX


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.
NYA

See more

GREENDALE
Hearse Theater


Every chapter of the Greendale tale will be seen sequentially over the next few weeks, running for a few days each as the story of ‘Sun Green’ unfolds in all of its super eight CRAZY HORSE glory. Larry Johnson and I shot this back in the early part of this century and we had the time of our lives! Shakey Pictures hopes you enjoy the show!
ny

See more

EXPERIMENTATION WITHOUT FEAR
JOURNEY THROUGH THE PAST


When I started Journey Through the Past, I remember wanting to do something other than records and touring. I was sure that spending time away would be good for my music. I think it was.

Actually, making JTTP was a pure joy for me. I was not trying to impress anyone with my film making prowess and I succeeded. Filmed with David Meyers as Director of Photography, it was a joy! I was just trying to paint a picture, a non linear expression with my friends, Larry Johnson, Jeanne Field, Mazzeo, McCracken and others. Carrie Snodgress , my partner, was supportive as ever and we were not trying to do anything other than follow the muse - exactly what I had always tried to do with my music.

Nothing was off limits. My own imagination was the guide, just as with my songwriting. I was not aware that I had opened myself up to criticism any more than I had with my songs. It just didn’t matter. I was new then and nobody really knew me. I had not been analyzed and pontificated upon. I was just doing what came naturally - having a great time with my friends, spending my own money because I had no script and did not want to present my ideas to anyone for approval. I was never at that stage.

Film making for me was just another form of expression, another way to pass the time in the vibrancy of my young and innocent life. I put it all in, everything that mattered to me, with no attempt to judge or manipulate to tell a story.

‘Journey through the Past’ will screen in the Hearse Theater
ny

REVIEWS...

Hoping to Journey Through the Past again!

01-30-03
It's been almost 30 years since I've seen this, so my memories are very foggy. It's comprised of lots of footage of Neil Young and band members (including Crosby, Stills and Nash) in concert and rehearsing (I can clearly remember them rehearsing the song "Alabama" in a barn somewhere in Alabama). But the film is mostly a cornucopia of Neil Young's eye view of the rural South circa 1972. Lots of rainy footage from the band's bus: that sort of thing. There's footage of an American Legion meeting with a rather healthy, corn-fed, white audience singing "God Bless America". That's interspersed with footage of the poverty-ridden conditions of the neighboring black towns (the South was still very segregated, and there were still significant numbers of people living in what was akin to Third World living conditions). There are two other scenes that I can recall. One is a scene with Neil and his wife (girlfriend?) eating strawberries, which is only memorable because it's so lonnnnng! The other scene is a very trippy one, with guys dressed up as Ku Klux Klan members riding on horses on a beach, while the soundtrack from "King of Kings" is playing. Outrageous and fantastic! As memory serves, I don't think it was a great film, but it was a rare opportunity to see glimpses of America not shown by Hollywood or on television. And if you're a fan of Neil Young, it's a chance to see him performing relatively early in his career. I think the film would be more essential to audiences today, because while the new young generation is always putting down on the "hippie" generation of the sixties, they've no idea what it REALLY was like, and how much it has changed - thanks to activists who fought the system and demanded change.

I had the soundtrack record to this back in the seventies. It was quite good! It's a shame it was never released on CD. A CD of that, and a DVD of this film is long overdue!

Any fan of Young's artistic waywardness will find this enjoyable.

07-07-08
Having been a fan of Neil Young for several years, I never thought I'd get the opportunity to see this rare film. However - a bit of online sifting is all it takes nowadays, and Journey Through The Past is out there as a BitTorrent. Not sure if this is something IMDb condone, but I'm sure they'll let me know by deciding whether to post that or not! The copy I've found is clearly from an nth generation videotape (how it found its way on to any videotape I'm sure is a story in itself, as the film never found commercial release outside of the few cinemas that showed it) and the picture is washed-out, occasionally wobbly but essentially watchable. Basically no worse than finding a vintage first-issue Chainsaw Massacre tape, or any video nasty of a similar age.

The film itself has had a reputation over the years for being poorly conceived and poorly received; an incoherent navel-gazing exercise that probably didn't even make much sense to Young once the pot wore off. What must be considered, though, is that much the same was said of Young's '73-'75 album releases in their day, and much of his music from that "Dark Period" is now held to be among his strongest work. Hence my summary headline above; if you appreciate the myriad tangents that Young went off on during his 1970s recorded work, then you'll at least know where this film's coming from.

In more detail then, Journey Through The Past is part-documentary of Young's first five-six years as a recording, touring artist; and smaller parts road movie and surrealist fantasy. If you consider these three aspects together, you might get a sense of why this film reminds me on more than one occasion of Werner Herzog's late 60s-early 70s work, particularly Fata Morgana (there's even some brief desert scenes here among the fantasy sequences). That is, of course, if Herzog suffered a serious whack on the head and lost all of his directorial and editorial talent in a month-long amnesia; Young was no great movie-maker at this early stage in his career (and judging by Human Highway a decade later, probably wouldn't learn much more).

But therein lies a lot of the film's charm; when you hold this up against, say, Led Zeppelin's rather pompous Song Remains The Same, Journey Through The Past does have a lot going for it in its homespun unpretentiousness and intimacy. The countercultural-political sequence of the film, about 45 minutes in, might be clumsily handled, but you kind of get the idea. There's a fair amount of goofy comedic material here too, from a grinning Buffalo Springfield camping it up in a TV spot, to Graham Nash in a dapper gold waistcoat calling for the legalization of marijuana (after identifying a drummer-rolled joint at first sight), to a hard-hatted Young clambering around in a scrapyard then later giving some Jesus Freaks a pricelessly deadpan baiting.

And of course, if you want some electrifying footage of early CSN&Y, it's here providing arguably the highlight of the movie; you'll wish this footage went on for much longer. Much proof is provided that Stephen Stills was possibly the coolest human being in the universe during the early 70s. The 'Harvest' rehearsals do drag on a bit (thankfully not to the sheer tedium that they went to on the soundtrack album) but are still an interesting snapshot of Young's work-in-progress at the time. And if you're left bemused by the bearded wanderer/junkie, black hooded Klansmen, and the bishop, the general and their chauffeur in the fantasy sequences, I wouldn't take it too seriously. Young did pass it off as "No plot. No stars". Enjoy this film primarily as a great rock documentary. Seek it out!

Early Neil Young as Reality TV

10-25-03
This is an odd film to digest. Fans of Neil Young will appreciate it for its historical value, but it's very mundane in parts. It actually has the feel of Reality TV, but of a mostly wordless variety.

The camera follows a very long-haired Neil Young and his band riding an elevator, it shows them walking around in hallways, it shows them talking with sound-engineers. You see him walking around a junk-yard. You get to see Neil park his car and sit on the front-fender with a woman smoking a cigarette and eating berries and not talking for at least 10 minutes, just staring at the countryside. For some reason you also see Richard Nixon speaking at a Billy Graham Crusade.

Then again, you also see him playing some great early live concerts with Crosby, Stills & Nash, which is reason enough to see this film. But then the film becomes sort of a music-video, showing what appear to be black-robed Klansmen riding horses on the beach, and then what looks like a red-robed Catholic Cardinal riding in a limousine, all of which apparently has zero connection with the rest of the film. It's all edited together in a sort of stream-of-consciousness, which is perhaps the whole point, as that style of narrative was common in the early 70's.

If you can find it, view it for the concert-footage plus an example of Neil's fascination with disjointed imagery which sometimes flows together like a visual non sequitur.

For hardcore Neil Young fans only

06-14-12
As much as I've always enjoyed the music of Neil Young (starting with his stint in Buffalo Springfield, thru C.S.N.Y & (most)of his solo out put, I found this curious little film a head scratcher. It seems to start out as a documentary about...well...um, Neil Young in various phases of his career. Starting with some blurry video footage of Buffalo Springfield, in a television appearance, thru some sparse footage of Crosby, Stills, Nash & Young (gee...who would have thought?). If this film had pretty much stuck to this premise, it would have made for a satisfactory documentary. The problem is that Neil opted to let his film go totally out of control, careening into some abstract episodes that even most midnight movie fans would have found utterly confusing (no matter how much Marijuana they're behind). Now, don't get me wrong. If you think I'm some typical old fart that can't deal with anything out of the ordinary (I list films such as Eraserhead & El Topo as personal head movie favourites), guess again. Part of the problem of personal vision films is that sometimes the vision is so personal, the only ones that could grasp the message is the artists themselves. I'm not saying 'Journey Through The Past' is unwatchable, it's just that there is a treasure trove of much better stuff out there. It's still worth at least one look (for those who were not born yet & want to get a better idea what the 1960's & 1970's Hippie counter culture was all about). Originally slapped with an R-rating by the MPAA, this film contains much pot smoking & salty language. Pretty tame by today's standards.

Not made to watch under the influence

07-13-04
Yes, about 30 years since I've seen this film but some images from that night in Knoxville, Tennessee are crystal clear. My crowd and I had driven the 3.5 hours to Knoxville from Nashville (on other business) and had partied all the way. So, when somebody suggested we go check out this flick, the group was rather pliant.

If memory serves, it opens oddly enough with CSNY doing an in-studio, call-in interview at, I believe, WMC in Nashville. Trippy. Other random images, drawn through the years from a night of robust teenage drug experimentation:

Neil and somebody else sitting on the fender of an old, old car deep in the woods on a summer night right in front of an ancient country bridge. I seem to recall they were drinking moonshine from a jug and the headlights of the car were on, providing the only illumination. Looked like a good way to spend some time.

A close-up of a man's feet walking on a sidewalk, which went on interminably. Then, the film reverses and the feet walk backwards for a long time. THEN, the camera inverts and we see the feet walking backwards and upside down. Not good visual stimulation for anyone under the influence of hallucinogens. I remember we almost cried.

All these years I've wondered what it would be like to see the film again and with a clear mind. If you're a CSNY fan like me, it would be worth it. But, at the time, it was rather hard to stay awake, as I really had no business even attempting to watch anything that required something more than infantile concentration. The film turbocharged our stupor.

Deadman in the South

12-05-14
Given how brilliant this film could have been, Neil - as Bernard Shakey - is about as exciting as watching Bob Dylan tune a guitar (which doesn't want to be tuned) between songs and, eventually, Mr Dylan in/with/directing one of his own movies.

"Greendale", the DVD of Neil in Ireland presenting his acoustic interpretation of the work/text, shows just how amazing his talent is. However, brilliance aside, being stoned and self-congratulatory about CSN&Y (which at the time wasn't happening) does not forgive this almost illusive, unintelligible, allusion (for so it is) to the South that he hates - "Alabama" is a paean to this. All must be forgiven when Lynyrd Skynyrd reply most sincerely to his claims.

And yet, one wonders what would have happened had Jimi Hendrix taken Neil and the boys through the same landscape. Even with Stephen Stills as escort, the geography of the "Chitlin' Circuit" would have been alien to say the least. Still, long-haired hippies and weird musicians wasn't the way to go. There is a sense that the whole thing was set up as a battleground that really didn't happen.

Bernard has done much better things than this. Consider, for instance, the soundtrack to "Deadman". Then, perhaps, listen to the soundtrack and watch "Journey Into The Past" at the same time. It's surely better than watching paint dry. Hmmm... almost. 'Course I love Neil and Johnny both. Next!

Saw original print back in 1974

07-06-14
Was discussing the film this afternoon with a friend who hadn't seen it. I told him I was in a slightly altered state of mind when I saw it, and that it was the kind of film that you think afterwards you might have better understood with a clear mind. Not necessarily and probably unlikely. Our college film club was showing it on a Saturday night. It wasn't the sort of movie you'd see at the local theatre. The fact remains that one particular remark Neil made somewhere during the film hit me like a divine revelation. It totally changed my understanding of reality.

Might sound pretty far out, but I've often wondered about that film. Couldn't remember the title. If anyone tracks a copy down, put me on your list of people who are interested in seeing it again.

See more

JOURNEY THROUGH THE PAST AND MUDDY TRACK


PREMIERE IN JAPAN

We are all very happy here at Shakey Pictures to have these two films showing in Japan. I hope all of our Japanese friends enjoy them. Hopefully, we will be sharing many more movies with you all in the future.
PEACE
ny

爆音上映15年記念  ニールヤング監督作 『ジャーニー・スルー・ザ・パスト』 『マディ・トラック』 伝説の二作が日本初爆音上映決定!

1月10日 大阪 梅田クアトロ(http://www.club-quattro.com/en/shibuya/) 1月15日 東京 渋谷クアトロ(http://www.club-quattro.com/en/umeda/

一般販売:12月26日 チケットぴあ、 ローソンチケット、e+, 渋谷・梅田クアトロ店頭にて販売 いまや全国各地で開催され、多くのいまや全国各地で開催され、多くのファンを抱える“爆音映画祭”。その誕生のきっかけとなったのが2003年11月のニール・ヤング来日だった。来日を記念して吉祥寺バウスシアターで行われたニール・ヤングのライヴ・ドキュメンタリー『イヤー・オブ・ザ・ホース』(ジム・ジャームッシュ監督)のライヴ用音響システムを使った上映企画、その発展形として翌2014年5月に生まれたのが“爆音上映”である。その後、“爆音上映”は“爆音映画祭”へと発展し、多くの映画ファン・音楽ファンを魅了してきた。いまや全国各地で開催され、多くのファンを抱える“爆音映画祭”。その誕生のきっかけとなったのが2003年11月のニール・ヤング来日だった。来日を記念して吉祥寺バウスシアターで行われたニール・ヤングのライヴ・ドキュメンタリー『イヤー・オブ・ザ・ホース』(ジム・ジャームッシュ監督)のライヴ用音響システムを使った上映企画、その発展形として翌2014年5月に生まれたのが“爆音上映”である。その後、“爆音上映”は“爆音映画祭”へと発展し、多くの映画ファン・音楽ファンを魅了してきた。

この度、爆音上映の15周年を記念して、ニール・ヤングによる伝説の監督作『ジャーニー・スルー・ザ・パスト』、『マディ・トラック』(いずれもバーナード・シェイキー名義で発表)二作の日本初上映となる爆音上映イベントが開催決定した。 今回はいずれも日本語字幕を付けての上映となり、梅田クラブクアトロ、渋谷クラブクアトロを皮切りに全国を爆音上映で巡回予定だ。 boid主宰 樋口泰人

Commemorating the 15th anniversary of Bakuon (Roar) Film Festival with Japan’s first Bakuon premier of 2 legendary films, “Journey Through The Past” & “Muddy Track” directed by Neil Young

Jan 10 Umeda Quattro, Osaka Jan 15 Shibuya Quattro, Tokyo

GENERAL TICKETS ON SALE: Dec 26
Ticket Pia, Lawson Ticket, e+, Shibuya/Umeda Quattro

http://www.club-quattro.com/en/shibuya/ http://www.club-quattro.com/en/umeda/

Bakuon film festival, held throughout Japan, started back in Nov 2003 when Neil Young came to Japan for Greendale tour. We organized an obscenely loud film screening of “Year of the House“ by Jim Jarmusch with real concert speakers in Kichijyouji Baus movie theatre. The program developed into “Bakuon Film festival” and attracted so many cinema and music fans changing how we experience cinema.

Commemorating 15th years of Bakuon, We are proud to present two of the legendary films directed by Bernard Shakey for the first time in Japan.

Both films will be subtitled in Japanese and expected to tour the whole country in 2019 after Umeda & Shibuya Quattro show.

See more

NYA APP IS HERE!


High Res everywhere!

newsflash

Our IOS app is available free!

neilyoungarchives

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!
NYA


 
 

appscreen-vert-970

See more

DO BOOMERS HAVE BETTER SOUNDING HOME MUSIC SYSTEMS THAN ——MILLENNIALS?——


When I’m 64

There are high fidelity enthusiasts and music lovers today from all generations.

But, it seems to me, there is a dividing line between Millennials and Boomers regarding their inherent understanding of the importance in delivering music the way the artist intended it.

With Boomers our mission as product designers has always been to demonstrate that our equipment delivered the musical art form as accurately as possible.

We grew up listening to high resolution, high-quality vinyl records.

Millennials on the other hand grew up with buds in their ears or at best, some cranky Bluetooth speaker. Both were good enough to listen to their low resolution, highly compressed MP3 files. In many cases as little as 5% of the artist’s original music makes it to their ears.

When I speak to Millennials about sound quality a fair amount of energy goes into explaining the value of the sound quality itself. About the endless hours the designer spends making sure that each part of the musical spectrum delivers everything the artist intended and nothing more.

There is an octave to octave tonal balance that needs to be maintained so that musical instruments are true to their acoustics.

It is important that voices, both male and female, can be heard as if one was standing in front of the performer as opposed to hearing them down at the end of the long hallway or behind a curtain.

If you carefully select the source of your music and the equipment you play on you can still get great sound today. But it is not going to come out of those little plastic boxes.

I was 21 years old and “When I’m 64“ came out by the Beatles, turning 64 seemed like a really long way into the future.

Little did we know that the level of high fidelity resolution of the equipment we were listening to then was going to turn out to be better than most of the stuff available in the future.

When the Beatles sang “will you still need me”, had we been able to see into the future, the answer would’ve been a resounding yes.

Tom DeVesto
http://www.comoaudio.com/

See more

'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...

Cameron:
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.

songsforjudy-bus1408

Joel:
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.

Cameron:
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.


Joel:
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.

Cameron:
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...

Joel:
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.

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

Joel:
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.


Cameron:
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.

Joel:
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.


Cameron:
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.

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

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

Joel:
Here we go again...

by Cameron Crowe and Joel Bernstein

© Eyes and Ears Productions 2018

See more

Bentleys LOS LOBOS


A Band of Brothers (Part 1)

The unending wonder of rock & roll bands begins when two or more like-spirited souls meet and decide to take a wild-eyed run at destiny. No matter that it is long odds anyone will ever hear them, or somehow a life’s pursuit can be won. That's because the music contains a magical potion which overwhelms the bloodstream, making hope a physical phenomenon shared among musicians. No matter the extreme odds against success, or even the chance to actually learn to play music remain a dream, the music itself becomes a lifeblood, something it is completely impossible to live without.

David Hidalgo and Louie Perez met in an East Los Angeles high school in the early '70s. Each of them had wide-open ears about modern music, listening to albums by Fairport Convention, Randy Newman and Ry Cooder, along with all the songs on Top 40 radio. It got mixed up in their Mexican-American blood, creating a synthesis only shared by them. It was like an omen presented itself, one that promised an original conglomeration of styles and sounds. A fortune teller might even have been able to see what lay ahead: Los Lobos.

Once Cesar Rosas, Conrad Lozano and, originally, Frank Gonzales had found their way into the fold of the band, history opened its arms and took the aggregation in. The Mexican-American community in California had a long and proud history of offering diversity in rock & roll. It wasn't really talked about, but the powerful passions involved could not be ignored. Everything that got added to mix, whether it was exotic harmonies, pounding percussion, ultimate syncopations and even an extreme approach to barreling tempos, felt like the youthful excursion that was rock & roll needed the extra spice. History is funny that way: accidents become the glue that holds everything together. No one figured this out in advance. The musicians just did it because that was what was inside them. Their own self-expression held the keys to a new kingdom.

At first, Los Lobos performed many nights of traditional Mexican-American music at weddings, backyard parties and various neighborhood events. The quintet was learning to play, and always sought out the unexpected instruments found at neighborhood pawnshops and music stores. It must have felt like a new world had opened up, and as men in their early twenties life was all about discovery. There were no fences or even norms for them to worry about. In English, Los Lobos meant The Wolves, and they roamed their sonic environs with the freedom of the band name's inspiration.

Los Lobos' first foray out of East Los Angeles was in 1980 when they were chosen to open for John Lydon's post-Sex Pistols band Public Image, Ltd. at the Olympic Auditorium in downtown Los Angeles. The Olympic had been home to boxing, wrestling, music concerts and all kinds of other nefarious enterprises over the years, and was an exciting destination for the young band from East Los Angeles. Unfortunately, the audience was not open to their music, and their set ended in an early closing and an audience unwilling to listen. But when you're a Wolf, you must remain a fighter, and Los Lobos held their heads high and waited for another day. Music is a long game, and the only sure road to failure is to quit. There would be no quitting by Los Lobos. They held their music close to their hearts, and had no exit plan. The band had a mission. Now they just had to throw open the door to new possibilities to see where that path could go.

In 1981 I had started producing shows in the dank, dark basement of a questionable Chinese restaurant in Hollywood called Cathay de Grande. The decor downstairs was as bad as the food upstairs, but none of that mattered. Once again, freedom was the currency of the day, and booking Texas friends like Sir Douglas Sahm, Joe "King" Carrasco and Stevie Ray Vaughan was an express ride to nocturnal bliss. The nights were an upended rush of nocturnal grooves, with the audience of 100 driven to temporary nirvana all in the name of rock & roll. One evening Dave Alvin of the Blasters came by, and passed me a cassette tape he'd been given by a band hoping to play in Hollywood. The musician had waited for Alvin outside the Whisky a Go Go on the Sunset Strip, and had a gleam in his eye. He'd asked Alvin to listen and see if there was a place for them in the exploding wash of roots music exploding in Los Angles. When I got the tape, I noticed it only had the word "David" written on it, with a seven-digit phone number. This was before area codes ruled the world.

I soon listened to it, and was spellbound by what I heard. Obviously recorded live in a living room, the band tore into their first song like famished banshees, and never let up. An accordion collided with a fiery lead guitar, while the rhythm section twisted and turned like downhill skiers flying at the speed of sound. What the group lacked in sophistication they more than made up for in unbridled bravado. This was music that comes along once every decade or so, if luck holds up. I immediately called the number and reached David Hidalgo, explaining I wanted them to open a show at Cathay de Grande. I could pay $100, and they could play an hour set. We came to a quick agreement, and when I asked him the name of the band, he said with about as much pride as I've ever heard over a phone: Los Lobos. I broke out in goosebumps, thinking “now that's a band name I'll never forget."

When the show night came around, Los Lobos arrived early, unpacking their instruments and grinning ear to ear. Soon enough their friends from East Los Angeles showed up, sending out waves of pride you could almost touch, with many dressed to the nines, clearly ecstatic to be at their neighborhood band's very first show in Hollywood. 1981 was still a time that to play Hollywood meant the gates off success would be opening shortly, and their fans would not miss such a momentous event. When the first downbeat opened Los Lobos' set, I couldn't believe my ears. They were playing a classic Flaco Jimenez song, and doing it well enough that Jimenez would probably approve. I had spent the '70s in central Texas following Flaco around, from dirt-floor cantinas on a street nicknamed Blood Alley in San Antonio, to a taping of "Austin City Limits." He was a true Texas hero, and someone who lived in a different world than the rest of us. And now here I was, in the sweltering basement of a Chinese restaurant in Hollywood listening to the music of my youth. Life is rarely better than when there is concrete proof that the circle will actually remain unbroken, and that it's not a phony line on a fortune cookie. I knew instantaneously and with absolute certainty at the end of the song that my life would be powerfully impacted by this band of brothers calling themselves Los Lobos. Very often visions flash in front of us, and if we are fortunate enough at the time to have our eyes open and our memory engaged, a gorgeous glimpse into the future is presented. One that we will always remember as a turning point well-taken.

At the end of the show I went to the club owner to get $100 to give the band. And walked right into a chainsaw. When I told him it was time to pay up, the owner just laughed and said "No, I will not be giving you Los Lobos' dough." Cathay de Grande always had its own dark business ethics, but this was below even that level. "Why pay them?" he told me. “You'll never hear of them again." A flash of light went before my eyes, and all I could think to do was break a beer bottle on the bar and yell, "Pay or die." A pacifist at heart, I gambled that shock value would count for something, and luckily it did. I got the $100 and went back to David Hidalgo to deliver the cash. I also remember telling him it was one the finest nights of music I'd ever seen. Before long, the group was opening for the Blasters at the Whisky, and playing other clubs all over California. An amazing thing was happening, and to see it at its start is like winning a trifecta at Hollywood Park. For me, it was just the start of a friendship--both professional and personal--that has lasted almost 40 years and has no sign of slowing down.

Coming Part 2: Greatness, Slash Records and the Texas Border

Bill Bentley

See more

NYA SUBSCRIPTION FROM IPHONE?


simple instructions to subscribe

  • Visit neilyoungarchives.com 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!
NYA

See more

MUSIC MOVES AGAIN!


THE SOUND OF TOMORROW?

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. . . . .

musicmoves-1

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:

neilyoungarchives

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…

musicmoves-2

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.

musicmoves-3

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.

musicmoves-4

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

musicmoves-5

*****
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.

NYA

See more

BANKSY ON ADVERTISING


THEY ARE LAUGHING AT YOU

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.

Banksy
NYA

See more

A WORD ABOUT SOUND


SMELL IT!

both photos: dhlovelife

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

A-CLOSE-FLOWER970

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.

NYA

See more