SALT WATER FISH : EXTINCTION BY 2048


EXTINCTION BY 2048

Science
Gary Ward

NYA reprint 2019

The apocalypse has a new date: 2048.
That's when the world's oceans will be empty of fish, predicts an international team of ecologists and economists. The cause: the disappearance of species due to overfishing, pollution, habitat loss, and climate change.

The study by Boris Worm, PhD, of Dalhousie University in Halifax, Nova Scotia, -- with colleagues in the U.K., U.S., Sweden, and Panama -- was an effort to understand what this loss of ocean species might mean to the world.

The researchers analyzed several different kinds of data. Even to these ecology-minded scientists, the results were an unpleasant surprise.

"I was shocked and disturbed by how consistent these trends are -- beyond anything we suspected," Worm says in a news release.

"This isn't predicted to happen. This is happening now," study researcher Nicola Beaumont, PhD, of the Plymouth Marine Laboratory, U.K., says in a news release.

"If biodiversity continues to decline, the marine environment will not be able to sustain our way of life. Indeed, it may not be able to sustain our lives at all," Beaumont adds.

Already, 29% of edible fish and seafood species have declined by 90% -- a drop that means the collapse of these fisheries.

But the issue isn't just having seafood on our plates. Ocean species filter toxins from the water. They protect shorelines. And they reduce the risks of algae blooms such as the red tide.

"A large and increasing proportion of our population lives close to the coast; thus the loss of services such as flood control and waste detoxification can have disastrous consequences," Worm and colleagues say.

The researchers analyzed data from 32 experiments on different marine environments.

They then analyzed the 1,000-year history of 12 coastal regions around the world, including San Francisco and Chesapeake bays in the U.S., and the Adriatic, Baltic, and North seas in Europe.

Next, they analyzed fishery data from 64 large marine ecosystems. And finally, they looked at the recovery of 48 protected ocean areas.

Their bottom line: Everything that lives in the ocean is important. The diversity of ocean life is the key to its survival. The areas of the ocean with the most different kinds of life are the healthiest.

But the loss of species isn't gradual. It's happening fast -- and getting faster, the researchers say.

Worm and colleagues call for sustainable fisheries management, pollution control, habitat maintenance, and the creation of more ocean reserves.

This, they say, isn't a cost; it's an investment that will pay off in lower insurance costs, a sustainable fish industry, fewer natural disasters, human health, and more.

"It's not too late. We can turn this around," Worm says. "But less than 1% of the global ocean is effectively protected right now." Worm and colleagues report their findings in the Nov. 3 issue of Science.

NYA thanks SCIENCE


Eight Latest Bird Extinctions : “wave of extinctions washing over the continents.”


“wave of extinctions washing over the continents.”

Jason Bittel
Gary Ward

by Jason Bittel

Scientists estimate that 179 species of bird have gone extinct since the year 1500. Around 90 percent of those losses happened on islands, as in the case of the Mauritius night heron and the Tasmanian emu. And about half of the avian extinctions took place at the hands, or paws, of invasive mammals. Rabbits, for instance, took over the Laysan rail’s Hawaiian home turf, and cats and stoats rid New Zealand of its laughing owl. Biologists attribute yet another 25 percent of the extinctions to hunting and trapping, the fate of many a dodo.

But the extinction record, after half a millennium spent replaying this island invasions groove, now seems to be skipping to another track, the mainland.

“What we’re seeing increasingly is a growing wave of extinctions washing over the continents,” says Stuart Butchart, chief scientist at BirdLife International, an avian conservation group.

A new study, published in Biological Conservation by Butchart and colleagues at BirdLife and the University of Cambridge, now classifies eight more species as extinct or suspected to be extinct—and six of those are native to continents, not islands.

bird-extinctions-2 A Spix’s macaw couple at the Association for the Conservation of Threatened Parrots in Germany
(Patrick Pleul/ picture-alliance/ dpa/AP)

The causes of these avian losses are also not the typical invasive species or overhunting variety, but instead are heavy on deforestation and habitat destruction. Surely, such threats aren’t unique to modern times, but the findings suggest that we may have reached a tipping point.

“The scale of the impacts that we’ve had on the environment is now such that we’re pushing a whole suite of species toward extinction,” says Butchart. In other words, even the world’s larger landmasses can’t buffer all the blows of humanity’s ecological assaults.

bird-extinctions-3 PROTECT THE MIGRATORY BIRD TREATY ACT

Learn More

Take the Pernambuco pygmy-owl of Brazil. Scientists officially described the raptor only in 2002, basing their observations on the skins of two birds found back in 1980 instead of on live specimens. If the pygmy-owl was once widespread, it’s not anymore, thanks to rampant illegal logging and the habitat fragmentation that comes with it. According to the new report, the species has lost “virtually all” of its lowland forest home. And despite several focused attempts to find one, no one has seen a Pernambuco pygmy-owl in 17 years.

Using a new algorithm that accounts for the intensity of a species’ threats, the timing and reliability of sightings of the animal, and how hard we’ve searched for it, Butchart and his colleagues propose that the Pernambuco pygmy-owl’s status be changed from “critically endangered” to “critically endangered (possibly extinct).”

You may be wondering why scientists don’t just pull off the Band-Aid and label the owl extinct with a capital E? Well, this is where things can get tricky. If scientists make the extinction call too soon, Butchart says the label may cement the fate of any animals possibly still out there.

The case of the Cebu flowerpecker is a prime example. During the 1950s, Cebu Island in the Philippines was thought to be in environmental collapse after years of rampant logging. “People had basically assumed that all the island’s forests had been cleared and therefore a bird called the Cebu flowerpecker and a handful of other endemic subspecies there had gone extinct,” says Butchart.

So conservationists started prioritizing islands near Cebu instead. This is how a researcher named Rob Timmins came to be on Negros Island in 1992. By chance, he happened to train his binoculars across the Tañon Strait and saw a surprising amount of Cebu forest remaining. When he went to inspect the woods, he found what appeared to be a living, breathing Cebu flowerpecker. Just one problem: The primary way to distinguish these small songbirds is by the patch of red feathers on their green backs, and Timmins was colorblind.

Long story short, another scientist, Guy Dutson, joined the search, and he and Timmins were able to verify that the flowerpeckers had been eking it out on Cebu all that time. The discovery was excellent news, but for Butchart it raises the question of what could have been. By 2005, scientists had determined that between 85 and 105 of these colorful birds remained, with the population trending downward. “Had we not given up on them, we could have implemented conservation efforts that would have saved much more of the habitat,” Butchart says. “Perhaps the species would not now be in such dire straits.”

This is what scientists refer to as the Romeo error, a nod to Shakespeare’s star-crossed lovers and their tragic, preventable ends. We can’t, of course, leave a light on for every species that’s gone M.I.A. Doing so would lead to wasting finite resources on potential ghosts while the confirmed living languished.

And so it is with little ado that Butchart and his algorithm propose the most severe status for Brazil’s cryptic treehunter and Alagoas foliage-gleaner. Neither has been officially seen since 2007 and 2011, respectively, and this despite intensive efforts to find them. For the scientists, there is no longer any reasonable doubt that their flames have been extinguished—snuffed out by logging, gold mining, road building, ranching, and all the other human activities that carve up rainforests like a Christmas goose. In a word, extinct.

The Spix’s macaw, also of Brazil, has met a similar fate. While the names of other birds on this list of the newly lost—Javan lapwing, Eskimo curlew, New Caledonian lorikeet—probably don’t ring any bells, the Spix’s macaw became famous in 2011 for its starring role in the animated kids’ movie *Rio*. This large, vibrantly blue parrot has also been a darling of the exotic pet trade—which seemed to be its only home.

bird-extinctions-4 A taxidermy Eskimo curlew at Drexel University’s Academy of Natural Sciences in Philadelphia, Pennsylvania
(Jim, the Photographer/ Flickr)

“This species is really enigmatic,” says Butchart. “For over 150 years, it was only known from small numbers of birds in the caged bird trade, and no one knew where these birds were coming from.”

Then, in 1985, scientists discovered a tiny population of three macaws living in the Amazon rainforest. Unfortunately, poachers are suspected of nabbing all three for the pet trade. Another male Spix’s macaw turned up in 1990, which kicked off a flurry of conservation efforts as scientists tried to get the parrot to mate with a captive female. But it wasn’t meant to be, and the male died five years later.

“There have been no records since then despite quite a lot of field work at the location of the last known birds,” says Butchart. Because a handful of the parrots still remain in captive breeding programs run by the Brazilian government, the study recommends the Spix’s macaw be officially relisted as “extinct in the wild”—yet another label qualifying our impact on biodiversity.

The study, however, brings some good news with the bad. In the eight years it took Butchart’s team to complete its analysis, two thought-to-be-gone species popped up in the wild—the Belem curassow of Brazil and the Tachira antpitta of the Venezuelan Andes. And there may be more like them.

“There’s an increasing army of birdwatchers across the world, as well as professional conservationists, who are visiting every last tract of natural habitat on the planet,” says Butchart. “I would expect that quite a few of the species we’ve kept in the category of critically endangered will be rediscovered in the coming years.”

We’d best start keeping their habitats around just in case, for those maybe extinct species and the many others, avian or otherwise, heading in that direction.


BEE EXTINCTION : End of Humanity?


End of Humanity?

Ishan Daftardar
Gary Ward

By Ishan Daftardar, ScienceABC.com

Honey bees are going extinct because of excessive use of pesticides in crops and certain blood-sucking parasites that only reproduce in bee colonies. It’s true that the extinction of bees would mean the end of humanity.

For many of us, honeybees are annoying. We think that their only purpose is to keep buzzing around and dropping their formic acid-laden stings on random people (this impression will certainly change when we stop getting spoonfuls of sweet honey in our morning cereal).

The truth is, honeybees are crucial elements of our environment, and almost never get the credit that they deserve.

If bees didn’t exist, humans wouldn’t either.

BEE EXTINCTION – WHY WOULD IT AFFECT US?

Out of the 100 crop species that provide us with 90% of our food, 35% are pollinated by bees, birds and bats. It’s that simple. Bees are the primary initiators of reproduction among plants, as they transfer pollen from the male stamens to the female pistils.

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Since 2006, the population of bees has declined considerably. Pesticides, disease, parasites, and poor weather due to global warming have played a major role in this worrying decline.

ARE BEES ENDANGERED?

Bee population has been on a decline in recent years. Some species were added to the endangered list in 2017 (seven species of Hawaiian yellow-faced bees) and 2018 (The rusty-patched bumblebee, Bombus affinis) so as to protect and revive their numbers. There have been a number of reasons for this decline. Let’s take a look at few of them.

WHY ARE BEES ENDANGERED?

Bees are going extinct mainly because of two reasons: pesticides and parasites.

Pesticides

Since the end of World War 2, the use of pesticides in agriculture has increased exponentially.

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This intense use of pesticides, known as neonicotinoids (a relatively new class of insecticides that affect the central nervous system of insects, resulting in paralysis and death), has had a major role in the bees’ decline. When bees are exposed to neonicotinoids, they go into a shock and forget their way home (sort of like the insect version of Alzheimer’s).

Parasites

Along with pesticides, parasites known as Varrao mites (also called Varrao destructors) are also responsible for their death. The Varrao can only reproduce in a bee colony. They are blood-sucking parasites that affect adult and young bees equally. The disease inflicted by these mites can result in bees losing legs or wings, essentially killing them.

COLONY COLLAPSE DISORDER

Beekeepers started reporting a sudden reduction in the number of fees. The adult bees disappeared suddenly and mostly together. The hives were left with just the queen and immature bees. Even the food was present in high quantities. In some cases, few adult bees were found attending to the queen. Reasons mentioned above are two of the many factors that play a role in this disorder.

EFFECTS OF BEE EXTINCTION

Extinction of bees will affect plants, animals, availability of fuels, topography, clothing and of course, human life.

Effects on plants

Some plants are pollinated by wind, but that rate is very slow. Insects are the primary pollinators on the planet. Beetles and butterflies also pollinate, but bees are the most efficient insects for this purpose. Without bees, we wouldn’t be able to savor delicious apples, cherries, and many other fruits and veggies (blueberries, avocado, broccoli, most leafy greens, cucumbers, pumpkins, and many more). Almond trees would be among the first casualties.

bee-extinction-4

If bees went extinct, there would be a massive decline in the production of crops. Although crops like rice and wheat don’t require insect pollination, can people survive by eating rice and bread all their life?

Effects on animals

Herbivores, who depend on certain plant species, will be affected first. They would go extinct if plants ceased to exist. For example, many cattle used for milk and meat depend on alfalfa and lupins, both of which depend on insect pollination. If the cow’s food supply declines, then meat and milk production will decrease. This will seriously affect the human diet.

Due to the declining population of herbivores, tertiary carnivores will begin to suffer immediately. The only beneficiaries from this scenario would be scavengers (eagles, vultures, ravens etc.)

Fuel

Canola, which is grown to use as both a fuel and cooking oil, depends highly on pollination. It is also used to produce biofuel. If we were to run out of biofuel, we’d have to rely on fossil fuels completely, thus putting further pressure on the environment.

Clothing

Cotton is very reliant on pollination. The disappearance of bees will lead to a huge setback in cotton production, as it will significantly reduce our choices in clothes (good luck enduring the humidity of the tropical regions while wearing nylon attire).

Topograhy

bee-extinction-5 This will be a common sight if bees disappear
(WichitS/Shutterstock)

Since most plants would be unable to grow, grasslands would become barren and large-scale desertification will take place. Landslides would wipe out villages in one sweep. Ultimately, Earth will become one large plastic-laden desert.

Effects of bee extinction on human life

Less production of food crops will ultimately lead to worldwide famine. Hunger and poverty will be very common. Freshwater will start drying up as well as, as there will be less trees for water retention to occur. With less water and diminishing food, humans will die of thirst and starvation. Fertility would also suffer a setback, followed by a drop in the rate of reproduction. Ultimately, we wouldn’t be able to sustain and would be forced into extinction within a few hundred years.

Unless scientists build robotic bees to do the jobs that honeybees once did, we’re ultimately doomed. And although this isn’t the most serious repercussion, we would never again taste that sweet, savory honey that we forcibly steal from honeybees every day.

The tragic irony of this is that by killing bees, we’re only hurting ourselves. Our survival depends on the health of the planet and its species, and unless we begin to face this fact, we will continue to contribute to our own demise. Unless we take drastic measures to save the bees, the planet’s survival is in doubt.


TO FEEL THE MUSIC : A New Book


NY

My new book, ‘To Feel the Music,’ co-written with Phil Baker, has been announced and is now available for pre-order on numerous book sites.

‘To Feel the Music’ is the story of my efforts to improve the quality of audio that you hear. It takes you through how the sound was and is compromised by the tech and record companies, and instead of improving over time like other technologies, it has become worse.

Our book also tells the business and development story behind Pono, and then, when people wanted the convenience of streaming, how we developed Xstream high resolution streaming, the highest quality streaming in the world, as you hear it at NYA.

The issue of improving audio quality has been one of the most important things we’ve been doing for decades, and something I focus on every day. We spent a year writing this and I think you’ll find it interesting and informative.

The book will be released on September 9 and I hope you enjoy it.

ny


LEFT : The Mueller Report Should Shock Our Conscience


The Mueller Report Should Shock Our Conscience

David French
Carlos Barria/Reuters

by David French

I’ve finished reading the entire Mueller report, and I must confess that even as a longtime, quite open critic of Donald Trump, I was surprised at the sheer scope, scale, and brazenness of the lies, falsehoods, and misdirections detailed by the Special Counsel’s Office. We’ve become accustomed to Trump making up his own facts on matters great and small, but to see the extent to which his virus infected his entire political operation is sobering. And the idea that anyone is treating this report as “win” for Trump, given the sheer extent of deceptions exposed (among other things), demonstrates that the bar for his conduct has sunk so low that anything other than outright criminality is too often brushed aside as relatively meaningless.

If I were to list all the important lies in the report, I’d be reproducing much of the report itself. So let’s focus on the most important elements. We already knew that Michael Flynn lied about his communications with Russia, George Papadopolous lied about his contacts with a person he believed to be connected to Russia, Roger Stone lied about his attempts to obtain information from WikiLeaks, Michael Cohen lied about Trump’s continued efforts to negotiate a deal with Trump Tower Moscow, and that Trump had repeatedly misled the American people about those same dealings.

We had previously known that Paul Manafort, Trump’s former campaign chairman, had lied about his contacts with Konstantin Kilimnik, a person the FBI has assessed as having contacts with Russian intelligence. But now we know the significance of those lies. They included covering up the ongoing transmission of internal Trump polling data to Ukrainians and a Russian oligarch, covering up communications about a proposed Ukrainian “peace plan” that would entail granting Russia a “backdoor” means for Russia to control eastern Ukraine. Moreover, because Manafort deleted messages and sometimes used “encryption applications” when he sent messages, we may never know the full extent of his communications — or his lies.

When asked about the Trump team’s contacts with Russia, key members of his campaign staff and administration responded with blatantly false statements. These statements may not have been deliberate (they could have believed internal lies and repeated them innocently), but they were nevertheless completely and totally wrong. Hope Hicks said, “It never happened. There was no communication between the campaign and any foreign entity during the campaign.” When asked about any “contact or coordination” between the campaign and Russia, Reince Priebus said, “Even this question is insane. Of course we didn’t interface with the Russians.”

The campaign did, indeed, interface with the Russians — including in Trump Tower, when Donald Jr., Paul Manafort, and Jared Kushner met with a Russian lawyer in the explicit hope of gaining dirt on Hillary Clinton.

Moreover, as the Russian investigation continued, the lies multiplied. One of the most banal and petty came from Sarah Sanders, who simply made up claims to help justify Trump’s termination of James Comey:

Trump himself of course got in the act. He famously edited Donald Jr.’s draft statement disclosing his Trump Tower meeting to disguise his real purpose, and — even more significantly — tried to order Don McGahn to lie to the public about McGahn’s claims that Trump had directed him to fire Robert Mueller:

These lies have multiple consequences. First and most obviously, they demonstrate that the president’s word simply can’t be trusted. Yes, I know that there are readers who will immediately respond that “we already knew that” or that his dishonesty is already “priced in.” But don’t forget — as recently as last year, 76 percent of Republicans still believed that Trump told the truth “all or most of the time.” I personally know many people who believe that Trump’s ability to “tell it like it is” is one of his chief appeals.

Second, the extent of the lying across the Trump team shows that Trump’s lies can’t be contained to Trump. Even honest people who believe and repeat Trump’s words or the words of key members of his team can find themselves deceiving the public. Those who resist Trump’s efforts to deceive can find themselves overruled and publicly shamed. It was to Donald Jr.’s credit that his instinct — after news of the Trump Tower meeting started to leak — was to be transparent. It is Trump’s shame that he forced his own son to put out a misleading statement instead.

Third, the lies help demonstrate why the underlying investigation was so very necessary. When our intelligence agencies are aware of Russian efforts to interfere in the election and tilt it toward Trump, they know Trump officials are in contact with Russians, and they know that Trump officials are lying about those contacts, then it makes cries of “witch hunt” sound hollow indeed — especially when the actual results of the investigation demonstrate that the special counsel declined to prosecute multiple individuals who had Russian contacts, including members of Trump’s own family.

I’m old enough to remember the closing days of the 1996 campaign, when the Clinton administration was already beset by an avalanche of scandals. Bob Dole looked into the cameras and asked a pointed question — “Where is the outrage?” The same question applies today, but to a different audience. The lies are simply too much to bear. No Republican should tolerate such dishonesty.

NYA thanks The Corner


LEFT : William Barr just previewed Trump’s spin over the Mueller report


William Barr just previewed Trump’s spin over the Mueller report

Paul Waldman
Taylor Turner/The Washington Post

Barr: 'Within a week, I will be in a position to release the report to the public'

Attorney General William P. Barr said on April 9 that he believes he will be able to release special counsel Robert S. Mueller III’s report “within a week." (Reuters)

By Paul Waldman

Attorney General William P. Barr just testified before Congress for the first time since releasing his controversial four-page summary of the report prepared by special counsel Robert S. Mueller III on the investigation into the Russia scandal.

In so doing, Barr gave us a valuable preview of how the Trump administration will wage the information conflict to come.

While “coverup” might be too strong a word to describe what the administration is planning, what is clear is that they will be carefully managing the information the public gets to see in order to make sure that the narrative of President Trump’s supposed innocence prevails. This is a public relations battle in which the attorney general is a key player.

Here are some of the things we learned in Barr's testimony before a subcommittee of the House Appropriations Committee:

  • Barr said the redacted version of Mueller's report will be given to Congress “within a week."
  • After first dodging a question on whether he consulted with the White House before releasing his now-infamous four-page letter, Barr later said that he had not showed them the letter before releasing it.
  • Barr did not specify whether the White House has seen Mueller’s report.
  • Barr has “no plans” to assert executive privilege on the White House’s behalf to keep parts of the report secret.
  • Barr made clear that he will not be showing Congress the full report, but only the redacted version. “I don’t intend at this stage to send the full un-redacted report to the (Judiciary) committee,” he said. In other words, it will be up to him what Congress and the public see and don’t see.

So here's what's going to happen when the report is released. It will contain plenty of damaging information about the president and those around him, but huge amounts of text will be blacked out. Democrats, distrustful that all of Barr's redactions were truly necessary and were not made in part to protect Trump, will demand to at least have a select group of lawmakers review the un-redacted report. Barr will refuse.

Meanwhile, Trump and his Republican allies will insist that the report only exonerates him further, no matter what it actually contains. They will try to repeat the extraordinary success they achieved when Barr’s letter was released, when newspaper headlines and TV news stories trumpeted that Mueller had essentially found Trump innocent, and it wasn’t until later that some investigators on Mueller’s team leaked word that Barr mischaracterized what they actually found and kept secret summaries they had written specifically for public consumption.

Which brings us to something we need to watch for when Barr gives the redacted report to Congress: Might we hear from Mueller’s investigators again?

Unless Barr has already given the full report to the White House (which is still unclear), there are only two groups of people who have seen it: Mueller’s team, and the group Barr assembled to review and redact the report. If they wind up telling the same story about the redactions — that they were all justified — then we can have some assurance that the redaction process was done appropriately. But if there’s a disagreement between those two groups, then we’ll have cause for serious concern.

We should stress something else, though. Even if Mueller confirms that all of Barr’s redactions were justified, the redacted material could still contain deeply troubling, even scandalous information about what Trump and his associates did. In fact, it almost certainly will.

The redactions will cover things that were revealed to the grand jury, things pertinent to ongoing investigations, things that might reveal intelligence sources and methods, and things related to people who were investigated but won’t be prosecuted. That is a vast area; it might mean most of the report will be redacted. All of those categories could and probably do include information that would deepen our understanding of the scandal and make the full scope of the Trump team’s malfeasance clear. But we may never get to see it.

Which won't stop Trump and his allies from making the plainly false claim that if any piece of information was redacted, that means that it was innocent and there's nothing more to see.

As we move forward, it’s important to keep in mind that the only reason Barr is attorney general right now is that last year he wrote an unsolicited 19-page memo to the Justice Department arguing that “Mueller’s obstruction theory is fatally misconceived.” Trump could not have been more clear that he pushed out his first attorney general, Jeff Sessions, because Sessions recused himself from the Russia investigation and couldn’t shut it down or otherwise use his authority to protect Trump, and he wasn’t going to make that mistake again.

There’s been nothing yet to suggest that he did, or that when the redacted Mueller report comes out Barr will be anything less than a full partner in the Republican effort to convince the public that the Russia investigation was much ado about nothing and Trump is an exemplar of ethical and patriotic behavior. I’m willing to be proven wrong on that score, but I doubt I will be.

NYA thanks Washington Post


Climate Change : panel disbanded by Trump defies president to issue urgent guidance on flooding and wildfire threats


panel disbanded by Trump defies president to issue urgent guidance on flooding and wildfire threats

Josh Gabbatiss

climatechange1-800

"Act now or swim later" - Children worldwide protest climate change

'Integrating climate science into everyday decisions is not just smart planning, it's an urgent necessity'

Josh Gabbatiss Science Correspondent

A group devoted to helping the US tackle climate change has released its first report since being officially disbanded by Donald Trump two years ago.

The Federal Advisory Committee for the Sustained National Climate Assessment was set up as a panel of experts to prepare the nation for a future of rising sea levels and wildfires.

It was first appointed by former president Barack Obama to assist communities who wanted to adapt to the changing climate.

But Mr Trump – who has repeatedly expressed doubts about the existence of climate change – dismissed the panel after taking power in 2017.

Last year, with support from Columbia University, New York State and the American Meteorological Society, the committee reconvened, but swapped the word “federal” in its title to “independent”.

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Announcing the move, the state’s governor Andrew Cuomo said: “In New York, we don’t believe denying climate change is a successful survival strategy and the work of this committee has never been more urgent”.

Now, the group is calling for action to update infrastructure, reduce wildfire risk and manage flooding, in a world in which global temperatures continue to soar. Their newly compiled report also calls for a new network to guide state, local and Native American tribal governments on how to use climate science to change their communities for the better and cut emissions.

Read more

climatechange3-800 Antarctica ‘could go green as a result of climate change’

“We’re trying to produce something that adds value for those on the front lines of preparing their communities for climate change,” said Dr Richard Moss, chairman of the committee.

Their recommendations are largely based on the official National Climate Assessment, a report released by Mr Trump’s own administration last year that the president publicly announced he “doesn’t believe”.

In the past, Mr Trump has dismissed global warming as a “hoax” and more recently described the science underpinning it, which the vast majority of researchers agree with, as “fake”.

Reports in February suggested the administration was planning to set up another panel to reconsider the US government’s official position on climate change, including prominent skeptics who have questioned the scientific consensus.

Watch more

climatechange4-800 Nations using ‘trick’ to restore forests that does not help climate

The move by Dr Moss and his colleagues is the latest effort by local leaders to take action on global warming in defiance of their climate sceptic president.

California governor Jerry Brown has been a vocal critic of the president’s stance, calling him a “liar, criminal and fool” when it came to climate change, and pledging 100 per cent clean energy for his state by 2045.

The proposed Science to Climate Action Network would be independent of the federal government and would comprise experts from civil society and state, local, and tribal settings. “We live in an era of climate change and yet many of our systems, codes and standards have not caught up,” said Daniel Zarrilli, New York City’s chief climate policy advisor.

“Integrating climate science into everyday decisions is not just smart planning, it’s an urgent necessity.”

NYA thanks The Independent


FUEL CHANGE : Green For All


Green For All
Green For All

Green For All, in collaboration with Big Picture Anthems, is thrilled to announce the release of our #FuelChange Anthem - a song and music video seeking to inspire and help mobilize a movement of people and resources for zero-emission cars, trucks, and buses in neighborhoods across America. Transportation is the #1 source of greenhouse gas emissions in the U.S., and communities of color are most impacted by pollution from dirty cars due to their proximity to busy freeways and highways, diesel trucks on their way to the port, and diesel buses. greenforalllogo-400 The #FuelChange Anthem song and video features Black artists, Latino activists, and Filipino youth, who help tell the story of transportation pollution from the perspective of directly impacted communities, and connects the dots between transportation, climate, and health in a way that resonates with people’s daily lives.
https://www.greenforall.org/fuelchange
NYA thanks Green For All


GRETA THUNBERG SPEAKS : please listen


please listen

NY

Some people have written to me about this young person from Sweden. She speaks for me. Please give her a little of your time. I have been told she is a lot like Sun Green from Greendale. But Sun Green is a lot like her. She is speaking to you and she is real.
I love this person.
ny


THE FUTURE SPEAKS! : ZOOM IN on this picture!


NYA
photo: dhlovelife

A young man named Phoenix demonstrating Friday Mar 15, standing up for the future of his generation and generations to come. We have to hear the youth of the world. They are us. All around the planet huge crowds gathered to make their love of Planet Earth known. These young people have the message we need to hear.
There is more to life in the USA than the messages coming from its leader.

The young people of Earth did this world-wide!

Stand with the children!

Lead from within!

NYA

futurespeakpics


How Does Music Affect Your Brain? : Every Imaginable Way


Every Imaginable Way

by Peter Rubin

Peter Rubin

Waking up. Working out. Riding the bus. Music is an ever-present companion for many of us, and its impact is undeniable. You know music makes you move and triggers emotional responses, but how and why? What changes when you play music, rather than simply listen? In the latest episode of Tech Effects, we tried to find out. Our first stop was USC's Brain & Creativity Institute, where I headed into the fMRI to see how my brain responded to musical cues—and how my body did, too. (If you're someone who experiences frisson, that spine-tingling, hair-raising reaction to music, you know what I'm talking about.) We also talked to researchers who have studied how learning to play music can help kids become better problem-solvers, and to author Dan Levitin, who helped break down how the entire brain gets involved when you hear music.

From there, we dove into music's potential as a therapeutic tool—something Gabrielle Giffords can attest to. When the onetime congresswoman was shot in 2011, her brain injuries led to aphasia, a neurological condition that affects speech. Through the use of treatments that include melodic intonation therapy, music helped retrain her brain's pathways to access language again. "I compare it to being in traffic," says music therapist Maegan Morrow, who worked with Giffords. "Music is basically like (taking a) feeder road to the new destination."

But singing or playing something you know is different from composing on the fly. We also wanted to get to the bottom of improvisation and creativity, so we linked up with Xavier Dephrepaulezz—who you might know as two-time Grammy winner Fantastic Negrito. At UCSF, he went into an fMRI machine as well, though he brought a (plastic) keyboard so he could riff along and sing to a backing track. Neuroscientist Charles Limb, who studies musical creativity, helped take us through the results and explain why the prefrontal cortex shuts down during improvisation. "It's not just something that happens in clubs and jazz bars," he says. "It's actually maybe the most fundamental form of what it means to be human to come up with a new idea.”

From WIRED

NYA


BOOK REVIEW : THE THREAT by Andrew G. McCabe


NY

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.
NY


TREES : Today's answer to tomorrow


Today's answer to tomorrow

NYA
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?

NYA


Plummeting insect numbers 'threaten collapse of nature'


The Guardian - Damian Carrington
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.

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GAMBLING : WITH THE FUTURE


WITH THE FUTURE

nya

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


SONGS FOR JUDY : a review that takes you there


a review that takes you there

Tony Paris

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.


The Quiet Innovation


by Phil Baker

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.


Elvis Speaks : How Elvis Felt About Politics


HOW ELVIS FELT ABOUT POLITICS

NY

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


Trump Supporters : Thanks To All Of You


THANKS TO ALL OF YOU

NY

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


Everything You Need To Know About NYA Presales! : How to get your tickets


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


KEEP ON ROCKIN’ IN THE FREE WORLD : VOTE YOUR CONSCIENCE


VOTE YOUR CONSCIENCE

NY

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


Oceanside Countryside : A breath of fresh air


A breath of fresh air

NYA
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


VOTE For A Future : A Crash Course With History


A CRASH COURSE WITH HISTORY

NYA
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


WHEELCHAIR TO WALKING : medical Marijuana treatment


medical marijuana treatment

NYA

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


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


V O T E

NY

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.


LOSING GROUND : Results - Why Voting is your responsibility this time


R E S U L T S

Why Voting is your responsiblity this time

NY

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


Trump & Russian Mob : X-Spy reveals early history - Taj Mahal and the Russian Mob


X-SPY REVEALS EARLY HISTORY

Taj Mahal and the Russian Mob

NYA

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.


Buffalo Springfield Lives! : What's That Sound? - New box set is in stores now


WHAT'S THAT SOUND?

New box set is in stores now

NYA

'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


OHIO


NY

ohio 45 970

OHIO

This day, 48 years ago, National Guardsmen gunned down unarmed students at Kent State University. 67 shots, 13 seconds, 8 wounded, 4 killed, 1 permanently paralyzed. Today the President of the United States spoke to the NRA and suggested arming teachers to make schools safe. The NRA was one of the biggest contributors to the president's campaign.

To the children and young people in school: We stand with you against gun violence. We recognize you and understand why you must march for your lives, why you stand up to the politicians the NRA buys with campaign contributions. Change is coming, and its coming from the youth who have suffered and who have seen enough!

NY


SXSW PRESS TIME


NY

Texas outline970 Passing under the freeway, I rolled down the window for a breath of Austin air. Here I was in Texas’ beautiful Capitol city and cultural centre near Fredericksburg, a classic Texas town where I had spent the previous day. I loved the architecture there and saw many artist’s works everywhere. Outside of town on our way to Austin, D and I stopped to see an unbelievably great piece of architecture and art on hwy 290.

The road was beautiful, a Texas treasure. I love the rolling hills. Passing Luchenbach road, I thought of Waylon and Wille, ‘blue eyes cryin in the rain’, and ‘feelin no pain’. D and I had a nice ride into Austin where we hid outside town on the bus.

In the morning the alarm went off too early. I got some coffee for us and saw Miss D off to her interviews. I left an hour or so later for the interview hotel myself, where festival lovers paid big bucks for an average accommodation. The place was quiet when I arrived and went up to a holding room on the interview floor and waited there for huevos.

My managers Elliot and Frank were there to assist me in preparing for my day of talking to the press. Its something I try to do rarely, but I am looking forward to this today because it will give me a rare chance to review my interviews and cover the story for the Times-Contrarian.

This day at 10 am, brave independent students across the USA walked out of class to observe 17 minutes of daylight fo the dead students killed by a mentally ill person armed with an automatic assault weapon. They are no doubt aware that the president, who students from Florida visited recently, is in the pocket of NRA and assault weapon loving Americans and has vowed to do nothing to stop the carnage. He’s the irresponsible leader who got rid of the law preventing mentally ill patients from buying guns on one of his first days on the job. He’s the liar who was just kidding when he said he wanted to make the age of gun buyers 21, two years older than the mass murderer in Florida. That was good for a news story that day for the fake president who was a loser when people’s actual votes were counted, the half man-half chicken who needs to have three stories about himself going at once on the accommodating national press outlets to satisfy his massive ego. There they were, leaving the unsafe schools for a few minutes to remember their fallen classmates. I love these kids. They are the future. Thank you Young Americans, for knowing who you are and doing what you can do. You are the future. You will be voting soon. Respect.

The London Times is my first interview and it starts in 24 minutes. I think we will be discussing PARADOX, the movie Miss D directed and I am featured in, along with Promise of the Real and Willie Nelson, father of a couple of the band members Lukas and Micah, great musicians on their own. We are family. Our movie was fun to make and we made it to have a good time and tell a little story. No violence or hatred. Beauty and laughter. PARADOX is the ideal palate cleanser between two super hero movies. I love our friendly little movie! That’s what I told the London Times.

I am back in my holding room now. London Times was good. The guy was prepared and asked intelligent questions about the movie PARADOX and our methods for making it. He also asked about the archives and high res music movement. I like this paper, the London Times. They have always been prepared and asked intelligent questions. I hope the rest of the day goes as easily as this interview. We talked about the creative process for songs and movies, albums and books. Thoughtful. Kind. A good half hour.

AND THE LONDON TIMES PUBLISHED:

Nothing at Press Time

Break>>><<<<

The lady just came in to take our orders for lunch.

I liked the Chicago interview. The interviewer Greg Cott, is an old acquaintance and we have some good history together, The interview started on PARADOX and wandered to the archives, how I perceive a success or failure, how I like playing and working at projects now that I’m older than 20, lots of discussion about tech and music and the record companies. I told him what I tell everyone, that I think the record companies should lower the price of high resolution and help music to heal itself. They are the ones to blame for today’s quality vacuum in audio. It's the bean-counters at the record companies. They have priced good sounding audio out of the market. For what? The high prices have failed. No one buys music that costs three times as much as the same music. There is no excuse for it. It has to change. Make songs all the same price no matter what technology is employed. We talked about platforms and how they have forgotten the art. Platforms and the Tech Giants are losers the way they are treating the arts. Art is art. I am not content to be content. Hey Tech giants, make an algorithm that shows you how to respect art. I told Chicago Tribune about my new album PROFANE, an album of beautiful music that has only profanities as lyrics. Just kidding, sort of.

ChicagoT 970

AND THE CHICAGO TRIBUNE PUBLISHED:

Hannah, Nelson and a couple of his bandmates, Anthony LoGerfo and Tato Melgar, share a laugh. They’re gathered in a hotel suite overlooking the Colorado River, discussing what is essentially a modest art movie about a motley gang of outlaws hiding out in the Rocky Mountains, scavenging for a living in a setting saturated with broken tech toys (cellphones, laptops) buried by some unidentified apocalypse. Music and the clan of women who keep them at arm’s length are their sole salvation, their way of escaping their purgatory and their path to transcendence.

The movie’s themes serve as a metaphor of sorts for Young’s deepest beliefs, the principles that have guided him through a 50-year career mostly spent in one-guy-vs.-The-Man mode. And Young, though he has the movie, two albums and a massive digital archive to promote, is happy to embrace the role in a separate interview. Young is indeed the man in the black hat, gray hair spilling past his ears, and he breaks into a grin as a question is posed:

Can one guy make a dent in the way the tech-dominated power players (Spotify, Facebook, Apple, Google, YouTube, various multinational record labels) dominate the music world?

“Sure, because they’re stupid,” he says. “The tech giants are jerks, they’re all losers. They operate to give us ‘content’ that sounds like crap, they want to take away our privacy and they want to monopolize music. For them, art is not art, it’s content. It’s an algorithm.”

Young once could be reticent and vague in interviews, but those days are long gone. He has sold tens of millions of albums as a solo artist and as a member of Buffalo Springfield and Crosby, Stills, Nash & Young, but he still carries a chip on his shoulder the size of a redwood.

“Tech companies miss the essence of life,” he says. “People have a right to change their minds, and they often do. But algorithms can only track your past and give you more of the same. It’s an insult to the human mind and the human soul, because it takes away a universe of possibilities.”

*Greg Kot,

Read more in the Tribune*

Break>>><<<<

My manager Elliot is with me while I type this and says I have my flyin’ fingers going today! I love that guy.

We are on a roll. Yahoo just interviewed me and asked a lot of good questions about PARADOX. I told the lady interviewing me how Daryl bought all the wardrobe herself in thrift stores, how she shot a lot of the movie herself on the phone, how CK Vollick is a great cinematographer, and all about working with Promise of the Real, who are my friends and a great band. I relayed how Daryl wrote the script and how she is so committed and professional and loves movies and movie making. She is a real pleasure to work with and for, a great director.

We went on to the archives and sound quality, where I have a lot to say, most of which centers around lowering the price of High Res and making all music the same price, eliminating the stigma of over priced High resolution audio. Its all just music. Let the people decide. FREE the music from tech constraints brought on by old 20th century technology. Lets get real and dump the tech giants with their loser attitudes about the arts. Art is not content. It is art and should be treated like a special gift from the Gods. Respect. The interview concluded.

Yahoo970

AND YAHOO PUBLISHED:

“[Neil] has such a natural communication with the artistic process that he doesn’t question it, ever,” Hannah adds. “He just was like, ‘Oh, yeah, right. We’re making a movie.’ It was very natural.”

We talked about many things with Yahoo but most of what they wrote about was superficial speculation, petty and ill-informed repetitive gossip. Miss D felt the Yahoo piece was disingenuous, and did not even reflect what she said or what she, Lukas, Anthony and Tato had discussed with the interviewer.

Note to management: There were lots of questions from Yahoo but they just ended up focusing on gossip. We should have left this interview off the schedule. This is the danger of trusting the press. Yahoo. Real yahoos. Real FAKE news.

Break>>><<<<

After lunch which Miss D and I enjoyed with Promise of the Real and my managers Elliot and Frank was over, the interviews continued.

The folks from Reuters, a lovely lady and a man who were both professional journalists, were mostly interested in the Archives, so we talked about why I started it. They wanted to know what made me do it, create NYA. I said metadata was a scourge that the tech giants had perpetrated on the masses, depriving them of all the real information behind the music, the people, the places, the machines, the songs, the writers, the producers and engineers, the studios.That does not fit in 3 lines of meta data. That’s why we created info cards for every song. We want the people behind the art to be recognized.

Then there’s the music quality. Reuters wanted to know how we did what we did (make the best sounding streaming in the world and show how easy quality is to access.) They asked how we financed it. Warner Bros helped a lot, but it was not that expensive. They wanted to know about our subscription rates. I told them it would be about 20% of a normal streaming service but our free tier would still allow my 10 most popular albums to be accessed in High Resolution for free. The money part is something everyone was curious about and most people were curious about how we made the quality happen. I said its easy. Anyone could do it. Certainly is is easy from aa tech standpoint. It's really the high prices being charged by the labels that has killed high res, except at NYA. Warners is helping us.

AND REUTERS PUBLISHED:

Nothing by Press time.

Break>>><<<<

The Daily Beast was very interesting. Questions about the film, an understanding of the film I had not considered before - a metaphor for women in society. The soundtrack album was interesting to discuss with Marlow, the man from ‘The Daily Beast’. The interview touched on my output- why so long and so much? I tried to answer but couldn’t really say except that I love art and creation. He asked if I was going to write a novel since I hadn’t done one yet and I told him about my new novel CANARY, which I am doing final edits on with my agent in New York. I told him a bit about the book and almost got carried away talking too much and the interview was over. We were out of time. I had another coffee. I hope the two coffees don’t make me too agro. I tend to get jacked and argue with too much java. Not yet today. Good thing.

Dailybeast 970

AND DAILY BEAST PUBLISHED:

AUSTIN, Texas — For Dana Loesch, there are three certainties in life: death, guns, and hating Neil Young with the fire of a thousand suns.

The National Rifle Association spokesperson, who recently got her ass handed to her by a bunch of pissed-off teens on national television, has harbored a decades-long vendetta against the legendary singer-songwriter—one that rivals President Trump’s aversion to wind turbines in sheer vitriol. Loesch has tweeted negative things about Young at least 15 times over the course of a decade.

When I tell Young this, he cracks up. “The spokesperson? That woman? She doesn’t like me?” he says. “Well, she’s one of the gang over there. Although Trump likes my music. He’d come to all my shows.”

Young is at SXSW to promote Paradox, a trippy new film by his partner of four years, the actress and activist Daryl Hannah. In the film, hitting Netflix on March 23, Young plays “The Man in the Black Hat,” a mythical cowboy who embarks on a soul-searching quest. Young not only starred in the film, but also created an entire album’s worth of new songs for its soundtrack.

After reading one of her infamous “dying cow fart” tweets aloud to Young, he replies through laughter, “Why doesn’t she just shoot me?” before quickly correcting himself: “You know, I hate to say that because I have kids and I really don’t want anybody to shoot me. I’ve still got to bring up my kids, so don’t take that seriously!”

According to Loesch, her “first exposure” to the deadly virus that is Young’s music came while a student at Fox High School in Arnold, Missouri.

I had forgotten this exchange when I returned to the holding room and wrote what I remember of the interview. The exchange took maybe 30 seconds of the half hour interview, but it seems this is what the Daily Beast considered most important, It’s a risk you take when you trust the press.

Break>>><<<<

Back in the holding pen (room) to write this and now on to another interview. Stick with me….

BILLBOARD was my next interview and it touched on the PARADOX soundtrack, the movie, and politics in general. He like the song SHOW ME and really talked about that as being a high point as for him and I felt good that someone knew the song and felt that i had recently done something that got to him. That was a good feeling. A lot of questions about the president. Will i make another LIVING WITH WAR? I seem to getting a bit burned out by now because the interviews are starting to run together and I can’t recall where they begin or end. But that could be temporary.

Billboard970

AND BILLBOARD PUBLISHED:

Neil Young and Daryl Hannah are not looking for Academy Award buzz or even critical kudos as they prepare their new, Netflix-bound film Paradox for its premiere Thursday at South by Southwest.

“It’s just fun,” Young told Billboard on Wednesday (March 14) at Austin’s Four Seasons Hotel. “We had talked about making a movie for awhile, just how fun it would be, and Daryl had some ideas. She’d always wanted to do a kind of Western-style thing. We shot the whole thing in three or four days with a bunch of our friends, and I knew the movie would be fun and something I could believe in.”

Hannah, who directed and wrote Paradox, called the movie “an accident. Everything was spontaneous and organic. It was going to be a short; I wrote about a 10-page script, and then everyone got into their character and it just kind of ballooned as it shot. We didn’t want to make it just a music video, so we decided to just kind of cobble it together, and it all fit. Obviously we just made it for fun and we kind of hope people will take it in that spirit. It’s a lighthearted kind of thing even though it does have some themes and messages we care about.”

The low-budget, single-camera “Paradox” is an impressionistic, fable-like tale that stars Young as the enigmatic Man In Black, accompanied by members of his current backing band Promise of the Real -- including Willie Nelson’s sons Lukas (Jail Time) and Micah (The Particle Kid) -- on a quest for physical treasure during the days and creative discoveries by night. Nelson also appears in the film, which begins streaming March 23 on Netflix alongside a limited theatrical release, with a soundtrack album by Young and Promise of the Real out the same day. Thursday’s premiere at the Paramount Theatre in Austin will be followed by a Q&A with Young, Hannah and other cast members.

It marks the first time Young has been directed in an acting role by anyone other than Bernard Shakey (aka Young himself, who’s listed as the film’s co-producer), but he said the adjustment was not difficult. “I have a lot of respect for Daryl; she knew what she wanted to do and she had good direction,” Young said, acknowledging that it was easy to relate to the muse-driven character he plays. “Y’know, she wrote it, she put it together, and I just followed the directions. I followed the dots and we had a great time.” Hannah, meanwhile, said Young made contributions in helping to run the set in the Colorado mountains, where the band was preparing for a short tour during the fall of 2016 before the Desert Trip festival.

“We did not have a crew and there was no [assistant director] or anything, so Neil was very helpful,” she noted. “He loves making movies, so it was really helpful to have him, but he totally refrained from backseat direction. I don’t believe Bernard ever made it onto the set. Everything had to be approved through Bernard, but he was very hands-off. He let everything happen.” Micah Nelson added that, “They’re a good team, and Neil trusts [Hannah] a lot. I think he enjoyed taking a back seat and just being an actor.”)

The soundtrack by all telling, was created much the same way, using unrehearsed, first takes of songs such as “Peace Trail” and “Show Me,” the orchestrated and acoustic versions of “Tumbleweed” that came from sessions for Young’s 2014 album Storytone and covers of The Turtles’ “Happy Together” and Leadbelly’s “How Long?” “We really didn’t set out to do anything,” Nelson said. “Even the campfire scene, we were making up verses on the spot. The script said ‘Campfire jam, sing-along song,’ so we set it up and whatever happened.” Hannah recalled that, “We hadn’t even finished setting up the microphones when they started to play some of the songs that were in the film. If we could capture it, we were lucky. Nothing was planned in terms of what songs there were going to be. It just sort of happened.”

Young says some of the material came from music he was working on with Promise of the Real after finishing 2017’s Peace Trail, including “a couple jams for instructional passages for different things, then I recorded a bunch of electric guitar and stuff to go with the scenes.” He likened the material to his score for Jim Jarmusch’s 1995 film Dead Man. “There’s a lot of ‘Dead Man’ in this film,” he said. “All of us like ‘Dead Man’.”

The Netflix alliance, meanwhile, is “outside the box for me,” Young acknowledges. “It’s something I’ve never done before and Daryl’s never done before. Usually we try to go out and present our stuff and go to the people who we know are going to love it and present it. It’s made for them, so we find ways to locate them and let 'em know it’s happening. This is not like that; this is like we’re on the world stage. Anything can happen. People who have no idea what to expect, they’ll probably shoot it down ‘cause it’s not made by Cecil D. Eastwood or something; it’s not the Best Western they were looking for. So the jury’s out. We’re still kind of coming to grips with what it is and working on this platform.

“But we just wanted to have fun. We just made this movie for fun. It’s already a hit, as far as we’re concerned.”

Break>>><<<<

I am back in the holding area now, waiting for my next interview. It feels good. We have avoided posed pictures. Basically, I hate posing.

Next, I left the holding area and went into the interview with Rolling Stone, a magazine that started the same time I did with Buffalo Springfield. The interviewer was bright and knew his stuff…He loved the film PARADOX and had some beautiful things to say about it. I told him how much fun it was to make the film and how D and I enjoyed the whole thing. We talked about Willie and how he loved a scene we did outside a bank we had just robbed. It was refreshing to feel his energy and I think Rolling Stone is lucky to have him on board. We discussed Peace Trail, the album and the song. He talked about the flying spirits and the love shown in our film. He asked me about albums I had rediscovered on the archives and I told him ‘Broken Arrow, with the song, ‘This Town’, was one of my recent rediscoveries. I also love ‘BigTime’ and ‘Scattered’ from that record. I wrote it about David Briggs after he had just passed away. Briggs made many of my best records with me. He was my producer. The interview ended, seemingly passing quicker than the others, Not sure why. Good guy, the interviewer.

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AND ROLLING STONE PUBLISHED:

When you plan to write an article about Neil Young, you don’t expect Neil Young to also write an article about you. "I'm writing a story of today for the Times Contrarian right now," he tells Rolling Stone, referring to the online newspaper he’s been updating on Neil Young Archives featuring unheard material going back to 1963.

Young is doing interviews all day, and has been darting to another room after each one to jot down his thoughts. "I write down my experience of the interview," he says. "The whole day, all the interviews, who we talked about, as much as I can remember. Of course it's getting to the end of the day, so I remember less and less. You can tell the flow of the day. It’s a journalistic exercise."

But if Young’s career has taught us anything, it’s to expect the unexpected. That goes for Paradox, the new film written and directed by his partner Daryl Hannah, which premieres Thursday night at South by Southwest and hits Netflix on March 23rd. Young stars as the "Man in the Black Hat," the leader of a band of outlaws that include his band, Promise of the Real, living off the land in a world where seeds have become the currency (Willie Nelson makes a cameo).

The story may be as out-there as Young's bizarre 1982 album Trans, with excellent musical sequences that include Young fingerpicking "Pocahontas" and a wild Promise of the Real version of Young’s overlooked 2016 cut "Peace Trail." Hannah says the film came together fast: before playing some shows in the Rockies in 2016, Young and Promise of the Real needed to spend a few days getting acclimated to the climate. "I knew they were gonna end up sitting around the campfire together playing songs and joking, but we didn't wanna make a documentary," she says. "They're an incredibly playful group of guys so we just decided it would be fun to make a little movie and use the road crew and the guys in the band. We didn't have any professional actors, no crew, no budget, and three days. Everything was unplanned it sort of just happened.”)

Read more in Rolling Stone

Break>>><<<<

Noisey Vice….. Sensitive, intelligent, caring. Those are the words that come to mind after talking with the people from Noisey. They are tech youth, wondering what is happening. Can they feel what previous generations felt when listening to music? Can they trust the platforms? Can they grow with the tech or will they be stifled by it? How is art and music going to survive. I wanted them to know that a window for art and music can open on the platform but there is a long way to go in a short time. I liked these two people, alive and probing, thinking, intellectual, yet seemingly looking for more depth from their existence. These two were different from all the rest. I wish them and Noisey the best and hope that they find their way. I know they will. I wish I knew where they were going so I could tell them what I know. A lot of depth at Noisey.

noisey logo970

AND NOISEY VICE PUBLISHED:

Nothing at Press time.

In light of the other internet News organizations, it will be interesting to read what Noisey Vice publishes and/or if it reflects the conversation we had.

Break>>><<<<

Back in the holding area, I wanted a beer but waited until one more interview was done.

The "Austin American Statesman’ is the local paper here in Austin and the journalist had a list of questions which I answered the best I could. He seemed to have liked PARADOX, was curious about the music we had put into the film. We spoke about Willie, Lukas and Micah. We talked for a while.

It was a friendly interview.

Austin American Statesman logo970

AND THE ‘AUSTIN AMERICAN STATESMAN‘ PUBLISHED:

“Paradox,” premiering at 7 p.m. Thursday at the Paramount Theater as part of the South by Southwest Film Festival, is described in the fest’s program guide as a “far-fetched, whimsical western tale of music and love.” Directed by Daryl Hannah, the film features Neil Young as well as Lukas and Micah Nelson, sons of Willie and fixtures in Promise of the Real, Young’s backing band of the past few years. Their music — a mix of newly-written songs, instrumental film-score material and excerpts of classics from Young’s past — is central to the tone and theme of the film.

Young isn’t performing at SXSW, but he’s here to help promote the film, and he granted a few interviews yesterday. We sat down with him for about 20 minutes Wednesday afternoon to discuss ‘Paradox,’ his impressive new Neil Young Archives website, his relationship with Lukas and Micah, and more.

American-Statesman/Austin360: How did you assemble the material for the film?

Neil Young: The instrumental passages we did were all written for this film. Three songs — “Peace Trail” and “Pocahontas” and the long instrumental of “Cowgirl” (1969’s “Cowgirl in the Sand”), those are old songs obviously, although “Peace Trail” is only a year old. “Diggin’ in the Dirt” we wrote that for this, Lukas and Micah and I. And of course Willie’s song “Angel Flying Too Close to the Ground,” sung by Lukas, is maybe the highlight, a classic. It’s like these two guys (Lukas and Micah) are American treasures, both of them. They’re continuing on the work their dad has done so well for so many years. It’s a beautiful thing.

You must have known them since they were little kids. At one point did you realize, hey, these guys might be good for my band?

The first time I remember thinking that is, Willie and I were standing onstage at Farm Aid in Milwaukee, maybe eight years ago, something like that. Lukas was playing, and it was just the (Promise of the Real) trio, and it was amazing. It was just stunningly great. And I was just standing there with Willie and saying, “You must feel great about this, to see those guys out there.” It’s just always felt good to see them. Now I’m playing with them, and they’re fantastic. It’s like they know: They’re in the river, they know the flow. They inherently know, and they have no fear. All those guys in that band, nobody has any fear. They’re not concerned with anything more than music. They know nothing to be scared of; they’re not trying to prove anything.

Lukas has said that his priority is playing with you, but he’s getting really good on his own and had a big record last year. How do you balance the needs of your band with your desire to encourage his own work?

I want him to do everything that he wants to do. And as soon as I’m ready to go out and play a tour, I’m hopeful that they’ll be ready to go, too. Right now I haven’t got the new music that I need to go out and play a tour, a Neil Young tour. I need to have a bunch of new songs, because it gives me something to get my teeth into. And then the (older) songs will hang off of them. And they hang on for dear life, those songs. But I can’t do it without the new songsm so I have to wait for the new songs to come.

You’ve done music-and-film projects before. Was “Paradox” different?

It’s just a continuation of music. We made the music that we felt like making. We knew we had a couple of scenes that we should create some themes for, and so we did them. In one case, we borrowed heavily from one of my existing songs to make a new musical track, and make an instrumental out of one of my old melodies. Another couple of songs are jam songs where we just went with the flow; we didn’t think about it much. Everything was so much fun. I mean, the drumming on one of those —is insane. Tato (Melgar) and Anthony (LoGerfo) had all these drums, the’re all banging away in the studio, and we’re just going nuts. On another one, I took my harp and I said (to the band), “You play the melody to ‘Love and Only Love,’ and I’ll play my harp and feed back through my amp.” And everybody just keep playing, and we’ll just keep playing that for a long time. We had a great time; it was fun.

Your new streaming archives site comes with a 10-minute video that explains how it all works.. How many years have you been working on this?

Well, it started off with an old friend of mine named Larry Johnson who passed maybe five years ago. We started in 1990, building it, and we put out “Archives Volume 1” on Blu-Ray, because I wanted it to have high-res. I wanted the music to be everything it could be, and I didn’t wan’t to put out my history unless the music sounded good. I hate what the music sounds like today on the internet, and I don’t like what people have to listen to. It’s been dummied down for no reason. So I wanted to prove to the world that you could have great-sounding music on the computer, and you could connect it up to speakers and it’d be like God. And we’ve done that. It’s the best-sounding streaming site in the world. There’s no one else doing what we’re doing. So our technology is really earth-shattering in that respect. I’m very proud of that.

The archives has been an incredible journey for me. It’s nice to have an organized place to put everything I’ve done, so that people can find it and refer to it or whatever. … It’s like my whole life: If I like something and I do a good job on it, there’s always enough people who are going to like it so that I can keep on going and do something else. And that’s the way I look at the archives; it’s just a culmination of all of that. We worked on it for a long time to make it as great as it is. I’m particularly happy with the sound quality. There’s no magic to it, it’s just technology. It’s just using technology from this century instead of the last one.

How many people did it take to build it? Like a couple dozen?

Not that many. We’ve moved from place to place. We have a house in San Francisco, a tech house, that had done a lot of the development. But we’ve been on this for many years, developing the look and feel of it. It’s a big time machine for music, and for anything.

In the instructional video, you show some images of an old album cover and you remark about “when we had room for art” on album covers. But now you have infinite room online.

Yeah. And you can listen and move around, and look at different things while you’re listening. And the site is only improving. We’re still doing things to the site that make it more immersive. We also are missing about 75 percent of the content on the info cards that’s available. We have many more things to put in, and loading it takes time. That’s the hard part. So we’re a little slow on that right now, and I’m trying to get all that together. We’re getting some interns, and we’re getting a little office space, so we’ll be loading up all those info cards and stuff. It’s like every credit for every song. Everybody who worked on it: the engineers, the studio, the maintenance people, the musicians who were there, the people who dropped in to do things, the producer, the engineers. Everything’s there, plus the lyrics, the credits for the publishing — everything associated with the music is there.

The credits are really important; it’s good to have that because they’re disappearing on the web.

Yeah metadata is a joke. I mean, I don’t know who they thought they were fooling. You know, Silicon Valley is a bunch of crap.

Other artists reach a point int their lives when they donate their archives to libraries or historical collections. But you want to keep it in house. Why is that?

I want the people to keep it. I want everybody to have it. And when we start our subscription thing, we’re still going to have a lot of free music you can listen to. My top albums of the day, top ten streaming albums, will be available for free. Everything that you can do now, they’ll be able to do. It’s just that there’s another 40 or 50 albums, and all the information associated with them, all the videos associated with everything — the movies, the books, everything is there. And then for whatever it amounts to be — which, we figured out it’s going to be 20 percent of a normal subscription streaming — that’s what you’ll pay for this. Because it’s just me, it’s not all the artists in the world, so we don’t expect everybody to pay that. But if we can do that and get enough people — we want more people and less money. The smaller the amount that people pay, the more people are going to pay it. But we want something that’s really worth it, where they really feel like they’re getting a great deal. And people who can’t afford to do anything or just don’t know, we can still show them the difference between what great sound is and what they’ve got today, so they have a window into the possibilities to look at. That’s the mission.

If I’m listening through my laptop, it can only get so much better because of these crappy speakers. Is it still noticeably better?

Actually, much better. Oh yeah. And I realize computers are compromises. They can only play back CD quality at the best. They interpolate everything down and play back shit. They’re not playback devices. But it’s still, coming out of the little speakers in a Mac, the high-res noticeably sounds better. And we have a switch; you can listen to what you’ve got now, and you can, you spend a little time listening to a song that you like, and then listen to it the other way. Switch back and forth a few times; it’s like night and day. And as soon as you realize it, you go, “How the hell is Neil — how are they doing that? How come they can do it, and Spotify can’t do it?”

You were at SXSW in 2014 talking about your Pono high-quality music player. How has that gone?

Well, it ended up dying because streaming came in, and downloads are out. Ant that’s cool. I’m just talking about quality. And now I’m streaming quality, because I found the technology. We didn’t know where it was at that point. If I could have, I would have used streaming at that point and opened up a streaming service. But I knew my archives was really the way. The more I looked at it, I said, “You know, if I just do this for myself and make an example of it, it may be better than trying to sell people stuff.” Just let them have it; they can see it. The mission is for people to understand that music could be a lot better sounding, everywhere in the world, than it is right now. There’s no reason why it can’t be. Well, there is one reason: record companies. They charge too much for the high-res. They don’t make anything off of it because they’ve priced it out of existence, so nobody buys it. So if they made it all the same price, and the people had the choice of whether to have high-res or low-res, go ahead, make your choice. That’s all I’m asking for: Give people a choice.

Anything else on the horizon for you?

I’m writing a little bit. I’m writing a book; I’ve got a book coming out. It’s a novel. So I’ve written it, and it’s my first novel. I’m kind of excited about it.

JAY JANNER / AMERICAN-STATESMAN

Break>>><<<<

The next morning D and I did a couple of phoners. They are harder to gauge because on the phone its hard to get a feel for some things. None the less, sometimes phoners are good and the stories that come out of them are valuable.

AP (Associated Press)
The man from AP had questions about the music in PARADOX. When he started he mentioned that he had seen the film twice. That’s all he said. There was no confirmation from him whether he liked it or ‘got’ it, or really anything. I answered his further questions about the music, how we decided what songs to include and some mention of the Archives, which he seemed to be asking me about without being overly prepared, relying on me to explain what it was. This kind of journalism is not my favorite. I like to have a discussion with some one knowledgeable about the subject, not be relegated to explaining ‘in my words’ what it was he had seen. I like a two way conversation. Later in the talk, he did ask about the floating people and why we did that? I explained that our music is meant to elevate the spirit and this was a visual take of that experience. He talked to D after me and I don’t yet know what happened there.

WP AP 970

AND THE WASHINGTON POST PUBLISHED THE AP STORY:

By Scott Bauer | AP March 15 at 3:43 PM

At 72, Neil Young feels a sense of urgency.

The Rock and Roll Hall of Fame member has a new, and joyfully perplexing, pseudo-Western film “Paradox” written and directed by actress and girlfriend Daryl Hannah coming out on Netflix next week. He’s releasing a movie soundtrack on the same day. And next month, he’s digging into his vast archives to put out “Roxy - Tonight’s the Night Live,” a collection of songs played live from the opening week of the famed Los Angeles club in 1973.

And if that’s not enough, Young continues to move ahead with his vision to make his online musical archives the definitive repository of everything — previously released or otherwise — that he’s ever recorded.

“I like to get it out there so I’m alive to see how people like it,” Young said in a telephone interview Thursday from Austin, Texas, where he is attending the South by Southwest music festival. “What the (expletive)? Why not?”

Young unveiled his new archival website in December, making all of his officially released recordings available to stream in the highest audio quality possible — a passion of his — for free.

In what has been a tantalizing tease for devoted Young fans, there were also inaccessible links to unreleased albums like “Homegrown” from 1974, “Chrome Dreams” from 1976 and “Toast” from 2001 along with various live recordings from throughout his 55-year career.

Young said he has 12 to 14 unreleased records he made between the late 1960s and 2012 that he wants to get out soon. The 1973 Roxy concert highlights is next in April and he said two more vault releases are planned for later this year.

“When I made these records, I made them so fast that I couldn’t put them all out,” he said. “I finished one and I’d go on to the next one. That’s just the way it was at that time. I was very productive and going through a lot. I put out what I was most interested in at the time.”

Young remains productive, with “Paradox” and its soundtrack coming out next week.

“Paradox” features Young as “The Man in the Black Hat,” Willie Nelson as “Red” and his sons Lukas and Micah Nelson — members of the band Promise of the Real — as “Jailtime” and the “Particle Kid.” It was premiering Thursday night at the South by Southwest Festival and will have a limited theatrical release in addition to being available on Netflix on March 23.

Billed as a “fantasy, a loud poem and a free-spirited tale of music and love,” the film begins sometime in the “future-past” with Willie Nelson proclaiming that “time is fluid.” It follows Young and a band of outlaws in the mountains as they scavenge for treasure that includes computer keyboards, cameras and cellphones.

It was filmed in Colorado while Young and his band were getting used to the 10,000-foot altitude before performing at the Desert Trip festival in 2016.

In the film, Young’s band plays his song “Peace Trail” as listeners float in the air. In another scene, Young strums a ukulele as Hannah floats behind him, tied to Young’s waist by a rope.

“When you’re in the music, sometimes you float away in your mind,” Young said. “It’s just another representation of the effect of art and music on people.”

Hannah, who wrote the film and is making her directorial debut, said it was all very spontaneous and not meant to be taken too seriously. Hannah described it as a “homespun project” and said she was surprised when Netflix expressed interest.

“It’s not really their sort of thing,” she said, adding that Netflix typically goes for more polished productions and not “spitball movies people make for themselves.”

“That’s my biggest concern that people will be expecting a normal movie or a rock and roll documentary and they’ll be like, ‘What the heck?’” Hannah said. “I hope that they take it in the lighthearted spirit it was intended and turn it up so they can hear the music.”

Young said he didn’t know what people would think of “Paradox,” but he stands by it.

“It’s a little surreal but it’s playful and loving, no violence, no hatred,” Young said. “It’s a great palate cleanser (between Super Hero Movies).”

Break>>><<<<

D came out to the bus from her Huffington Post interview. It was my turn to do the Huffington Post next.

The lady from Huffington Post was very nice and she loved the movie. By what she said I could tell she ‘got’ it; she enjoyed it and it made her feel good. I told her we had a lot of fun making our little movie, explaining how D had gone out an bought all the wardrobe in thrift stores, how we were our own crew. She had a lot of good questions about the film, which I did my best to answer. She said her dad was a guitar player and had been a music lover for a long time, enjoying my records. I love families who have lived with music as I have in my own life. This was a very positive and enjoyable phone call.

Huffington Post970

AND THE HUFFINGTON POST PUBLISHED:

Neil Young Fires Back At No. 1 Hater: NRA Spokeswoman Dana Loesch Young joked, "Why doesn’t she just shoot me?”

By David Moye

Apparently there’s one thing that National Rifle Association spokeswoman Dana Loesch hates almost as much as sensible gun laws: Neil Young’s singing voice.

Loesch has tweeted at least 15 negative comments about the rock legend over the past decade, according to the Daily Beast, including referring to his voice as “a dying cow fart” at least three times.

Young was apparently unaware that he’s been targeted by Loesch until the Daily Beast called it to his attention. He was amused. Very amused.

“The spokesperson? That woman? She doesn’t like me?” he asked. “Well, she’s one of the gang over there. Although Trump likes my music. He’d come to all my shows.”

After a pause, he said, “Well, I’m glad I got under her skin.”

As for the comparison that Young’s singing voice sounds like bovine flatulence, he wondered, “Why doesn’t she just shoot me?”

He then thought better of his glib response.

“You know, I hate to say that, because I have kids and I really don’t want anybody to shoot me. I’ve still got to bring up my kids, so don’t take that seriously!”

Although Loesch has gone as far to suggest that if she ever won the Powerball, she would pay Young, Nickelback and Bush to stop playing, the Canadian-born Young says she’s entitled to her opinion.

“That’s the way it goes! That’s what happens,” he said. “You’re out there in the world and people can say whatever they want. It’s freedom. I appreciate that, and I think she should exercise it as much as she can.”

It appears here that the Huffington Post decided to go ahead with something they felt was more clickable, so they re-ran the Daily Beast story. ‘Neil Young Fires Back At No.1 Hater’. Even the title is misleading. I did not even know about that person or her tastes, until the Daily Beast reporter baited me with something I had never heard of. It was the last thing on my mind to ‘fire back’.

You may notice, reading the above, that sometimes the articles that journalists write, or what gets published after the interview, has nothing at all to do with the subject of the interview that we did. Instead the publishers tend to print what is click-bait worthy. It does seem to serve their purpose, as Daily Beast’s article quickly spread around the web. That is not the reason I sat with them though, and I have a good memory.

It is always a let down when you feel like you have been taken advantage of. Luckily for us it only happened a few times in a couple of days. After this experience, it does seem obvious to me that internet based outlets indulge more in FAKE news, and the old established press outlets invest in journalists who do their homework, research and tend to be much more truthful and focused on delivering the real story of an interview.

Wrapping up, I want to say that the false, irresponsible, hurtful, untruthful, incompletely researched lies coming out of the internet news outlets will mark my last time speaking with any of those organizations. The articles put forth by Yahoo in particular are not based in fact. I don’t know how that interviewer can sleep at night. It is out of respect for the parties involved that I don’t respond with the truth, based on facts. Doing so would only be hurtful to people involved.

Break>>><<<<

NYATC 970

We are very thankful to those publications truly reporting on the interviews we shared with them.

NY


GARY BURDEN


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OTB 970 Gary Burden, always the most handsome man in the room, with sparkling blue eyes, has passed away at 84 years.

My friend for life, Gary was my art director, creating album covers with me for almost 50 years, beginning with ‘After the Gold Rush’ and ending with ‘Paradox’ and ‘ROXY’, my next two albums. I still have some covers for unreleased albums that we made together. They are coming. We probably made 40 covers. I lost count. In the last twenty, thirty or so years, Gary has worked alongside his talented and beautiful wife, Jenice, at R. Twerk & Co, as we have continued on a life-time of making album covers, laughing, loving acoustic music and so many other things. My heart is heavy.

“That’s funny man!” was something I must have heard him say a million times. I hope that feeling stays with me forever!

A passage about Gary from ‘Waging Heavy Peace’ follows:

One of my favorite Album covers is “On the Beach”. Of course, that was the name of a movie and I stole that for my record, but that doesn’t matter. The idea for that cover came like a bolt from the blue. Gary Burden and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Anna to get the tailfin and rear fender from a 1959 Cadillac, complete with tail lights. We watched them extract it from the car with a blowtorch for us, and we threw it in a truck. After that, we went to a patio supply place to get the umbrella and table. We picked up the bad polyester yellow jacket and white pants at a sleazy men’s shop, where we watched a shoplifter getting caught red handed and busted. Gary and I were stoned on some dynamite weed and stood dumbfounded watching the bust unfold. This girl was screaming and kicking!

Next, we grabbed a local LA paper to use as a prop. It had this amazing headline. “SENATOR BUCKLEY CALLS ON NIXON TO RESIGN”. Finally, we took the palm tree I had taken around the world on the ‘Tonight’s the Night’ tour and placed all of these pieces carefully in the sand at Santa Monica Beach.

I stood there in the yellow jacket and white pants; Then we shot it.

Bob Seidemann was the photographer; the same one who took the famous Blind Faith cover shot of the naked young girl holding an airplane.

We used the crazy pattern from the umbrella insides for the inside of the album sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do. When I called Gary to get the photographer’s name he said, “I’m really glad you like that cover because it was such a fucking winner man!” We laughed about the crazy, wild and screaming shoplifter girl in the Men’s store, remembering that moment. That’s what life is all about.

Gary Mem

I have so many memories of Gary and I doing these album covers. He was a great man and a true artist. Rest in Peace my old friend.

NY


Scattered


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BrokenArrow970

Here's a song that says how I feel. Missing you today Gary.

D and I love you.

NY


PARADOX PREMIERE SXSW


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paradoxguitar970

Thursday, March 15 at 7 PM, the Paramount Theater will screen Paradox at SXSW. We will be there. Hope you will be there too! We are very happy with our little film and hope that you enjoy it as much as we do. Promise of the Real, Daryl and I all invite you to attend. We will have more news about the film, including more play dates very soon!

NYA


THE SOUND OF THE NYA FILE CABINET


NYA

(nerd alert)

soundcabinetdrawer970

Browsing your way through the NYA file cabinet you might hear the semi metallic clunking sound of your file tray rolling on its bearings as you zoom through the years!

The sound is actually a sample derived from one of the greatest and most musical technologies ever invented; the Ayre Acoustics volume control knob.

There is some very interesting thinking and technology behind Ayre’s unique volume control, which never seems to lose the depth of the music, even as you turn the volume way down.

The reason Ayre Acoustics uses these switches is this: With the mechanical switch, there’s an extremely short signal path that routes through a very high-quality resistor that determines what the volume should be. As the contacts are silver and the “wipers” are all metal, it’s as close to having a solid trace as possible and avoids the quality drawbacks found with other solutions.

While there are a number of these other solutions to control the volume in a preamplifier, almost every one of them makes some kind of compromise that severely impacts the audio quality. Some use relays to route the signal through different resistors, but the nature of relays compromises the audio sound. Some others use potentiometers, but they’re generally found to degrade the audio quality as the signal has to travel through a graphite or carbon polymer layer in that application.

The clunking sound itself originates from the motor that is attached to each channel. When the knob is turned, a signal is sent to the logic that then tells these motors to turn. The motors are connected by belts to big open frame switches.

The Ayre volume knob is the brainchild of Charlie Hansen, Ayre’s founding audio genius who passed away in 2017. We love you Charlie. You live on at NYA!

Neil Young, NYA Times.

The editor thanks Ryan P. Berry of Ayre Acoustics for his contributions.


PARADOX TO PREMIERE at SXSW


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Paradox Poster “Perhaps the most SXSW-sounding project in history: An experimental western directed by Daryl Hannah, with a cast that includes Neil Young and Willie Nelson. Titled “PARADOX,” the movie is described as “a loud Poem” and “a whimsical western tale of music and love.” Expect something off the beaten path.” - INDIE WIRE

A new Shakey Pictures film - PARADOX. A corresponding film soundtrack album will be released. More specific news on this as release information becomes available to us….. NYA


FREE THE MUSIC


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Xstream by NYA “stunning”- Rolling Stone

Technology milestone - Xstream by NYA, the first hi-res music streaming in the US proves that hi-res music streaming can be done with today’s technology. People can hear the difference at NYA and are writing about it.

We are very grateful to Rolling Stone for pointing out the “stunning sound quality” of Xstream by NYA in their recent coverage. When was the last time you heard anyone, much less a leading music journal for 50 years, describe the sound of a streaming service as “stunning”? Never. Streaming services today have the worst audio quality ever offered by the music industry.

It is possible for everyone in the world to hear the difference in Xstream by NYA and it is possible to change the face of the music industry. It is possible for all streaming services to have an Xstream like tier. We have proved that.

Today’s lack of depth in audio is slowly starving and smothering the enjoyment of all the music ever made.

I was there when all music was distributed at the same great audio quality, when vinyl was King. We all heard that sound together. Everyone. It was the norm and it was amazing!

Today, the sound is gone. It has been killed by the labels and Tech giant monopoly that distributes our music. They have sweet deals with one another that enhance their profits while cutting the artist royalty to shreds, and the deals allow the tech giant to lower the bar and sell our music with less than 5% of the quality that was originally it.

Young Artists - The greed of tech giants and record labels has stifled the ability of young artists to create the next generation of great music. Historically, young artists regenerate the music, turning it over every generation as it evolves. That’s how music grows. Standing on the shoulders of the greats that have come before them, now the young artists have only meager income from music and their tools to bring great sounding audio to the people have been taken away. They no longer have the ability to distribute their new music the way it is made in the studio like their heroes did. In a world like that, how can great music regenerate?

High-Res is what we all heard and felt when I started my career in music. I live and die for High-Res. I don’t like to listen any other way. That’s why we made Xstream by NYA. I can’t imagine how a young artist must feel; knowing listeners will never hear what was recorded in the studio.

NY in the studio, 1969 650 wide

NY in the studio, 1969

Hardware - Today the great audio companies who make whole systems for high resolution audio have no music available at a consumer price level to demonstrate the quality. As a result, there are fewer and fewer companies manufacturing equipment that can handle excellent audio and music.

At the same time, the high-resolution audio systems available easily reveal the inadequacies of iTunes’ mp3 compromised files. Played loudly, the iTunes files hurt one’s ears, where a top-quality file can fill the room with the depth and warmth of beautiful sounding music, not pain.

High Resolution music at an equal price would re-invigorate the audio hardware industry to create technology that would allow all the people a fair chance to hear and feel all the music, streaming it into their phones, homes and cars.

Pricing - The record company’s deals with the Tech Giants are directly responsible for the death of quality listening in the mainstream. They offer no alternative. Today’s artificially inflated high-res music prices have killed high resolution as a possible mainstream music experience.

It would be easy for cell phones to play great sounding high res. Some already do, the HTC 10 and the new LG V30, but the high price charged by record companies kills high res streaming as a viable business. The tech giants and record labels continue to only offer their shabby substitute to the mainstream.

Free the Music - It is my position that all songs should cost the same, regardless of the technology. The files don’t cost more to duplicate. The artificial high price is a blatant money grab. Let the people decide what quality they want to hear. Some will say high. Some will say low. Free the Music.

I do know some people cannot hear the difference in sound quality. Some people are color blind too, but that’s no reason to compromise color. If only cellphones had done for audio as they did for cameras, the world would be enjoying the true beauty of great music today. It still can and if I have anything to say about it, it will happen.

Again, thank you Rolling Stone for describing Xstream by NYA as having “stunning sound quality.” We are grateful for your helping hand. For us, it is a labor of love. It’s for all music, for all time.

NY/ NYA


BEHIND THE SCENES


NY

Last week was a big one at NYA. You probably couldn’t tell what was going on, unless you are watching very closely, so let me fill you in. The NYA project is fascinating in many ways, but mostly for me, it’s about getting ready for our year. We are preparing the NYA Times-Contrarian, a newspaper to keep you up to date on what’s been happening at NYA and the world of music. Articles like this one will be published regularly by the paper. It’s a big job and we have been busy designing and building the Times-Contrarian. There are four of us actively involved. We will have guest columnists and I will be contributing regularly.

Our archivist works around the clock sorting out the offerings we will be bringing you in the coming weeks months and years. We do have that much unheard music and unseen films and videos in our vaults. Ben Johnson and John Hausmann are digging through the Shakey Pictures Archive as I write this. NYA will be featuring entire concerts that have never been seen.

Our music producer, John Hanlon has been on the case with me as we prepare our premiere releases of previously unheard music. The album we are working on now, recorded in 1973, should be ready in time for a March release. There are some hint on the site now. You will be hearing a track from that one soon, presented for you on Xstream by NYA, the world’s best sounding streaming service, the only one in the world that is capable of delivering full high resolution music directly to you. At NYA, we are serious about the sound. Just pick your favorite song and listen to it.

Check out these comments, a very small sampling from the hundreds we are collecting:

Thanks again for this, Neil. High quality headphones through an audio interface really kick the sounds directly into my brain.

Archives is so very cool and I very much appreciate all the work that went into putting this awesome gem together. Thank you!!

Thank you Neil. Love the site and the sound.

I'm discovering neil young. What a musician

Yes!!! This is a win! Love it😍

NYA is stunning...A magnificent gift, I'm spellbound. Thank you.

Movie Night is coming to NYA! Once every week we will be streaming a film or long form video from the Shakey Pictures Archive. We will be announcing that soon! Watch for the announcement. It should be fun for everyone who wants to see all of the wacky movies we have made over the years, including HomeTown, the solo show I did in Omemee Ontario very recently.

On the business front, we have had to spend a lot of time in the office. Yes, we have an office. We are building our subscription service and deciding what it will be. We plan on a couple of levels of subscription with many exclusive features for the top level. We don’t want to lose our listeners so we are making it very low priced and attractive, with all kinds of perks, from premiere listens to first shot at buying tickets to shows before they are commercially announced.

Tour plans are forming now for the latter part of 2018.

I have been writing and waking up with new music in my head and I plan to continue that for as long as it keeps happening. I know I have been blessed with being part of so much music in my life.

Thanks for being here at NYA. I really appreciate it very much. We are growing and feeling good about what we have accomplished so far. Our plans for the future are extremely exciting. Music is a great healer. In times of trouble and concern, we have our music. NY


CRAZY HORSE - ALCHEMY


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photo by dan harper

ALCHEMY is Crazy Horse Live through Europe, Australia and Canada. The third in the Crazy Horse Rust Trilogy, ALCHEMY is the last recorded album by Crazy Horse: Ralph Molina, Billy Talbot, Poncho Sampedro and myself, to this date. Truly spoken, there are four live Crazy Horse recordings, one done in rehearsal for the other three Rust Live shows. ‘A Rusted out Garage,’ where one of the rehearsals happened, is confusing in a trilogy. If you count ODEON-BUDOKAN as a Crazy Horse live album, the earliest, pre-dating LIVE RUST, then that is further confusing. But the Crazy Horse Rust Trilogy does sound cool.

ALCHEMY is a new Crazy Horse album. Recorded in high resolution audio and video during 2012-13, Crazy Horse performs Walk Like a Giant, Dangerbird, Mr. Soul and Fuckin’Up among others like Surfer Joe, Ramada Inn and Red Sun. Unreleased and rare songs from the period are included as well. All the songs were picked right after and during the tour. These are the ones we like. All that we are doing now is post production and mastering. We made this record and did not put it out until now. No one heard it back then but us.

Music and natural phenomenon come together in a big way for Like a Hurricane, recorded during a raging thunderstorm at the Paleo Festival in Nyon, Switzerland. The full length live video of that performance is a gem for Crazy Horse lovers. Some may have seen parts of this performance, captured by the crowd during the torrential wind-blown downpour and featured on You Tube. NYA has the whole multi camera capture of this unreal experience and will preview it at the premiere of NYA’s Movie Night.

Crazy Horse is looking forward to this release. The wait is almost over. For me, ALCHEMY harkens back to the best of LIVE RUST and WELD, beginning to look like a circle... but not totally joined. Time shows us what we can do and when we can do it. Crazy Horse moves with the wind. Of course, ALCHEMY is a little like Spinal Tap as well... Crazy Horse’s big amps are still there, now tattered and worn, but listen to them now...

This is going to be a great experience for Crazy Horse fans everywhere! Watch for the cover to start taking shape on the timeline at NYA. When the cover is done, the release is imminent.

I hope you love it!

NY


TIMELINE - 1973


NY

Visit the Timeline. Keep an eye on this.

Roxy Live Stage 2- For News


Taking Care of the Music


NY

Thanks for following NYA. I am very happy to be doing this; taking care of the music I have made with my friends over the last 5 or 6 decades. I really hope you enjoy this archive as much as I do. I still wake up with new songs running through my head and wonder at the world we live in. It is such a beautiful place to help take care of. I am so thankful for the friends I have! Lots of love to you all and my Best Wishes for a Happy Healthy New Year! NY


thanks from nya!


by Neil Young

NYA is up and running and it feels wonderful getting your positive response! Thanks for all of the comments, and while we may not be able to get back to each and every one of you, we are reading all your letters with great interest. This has been a labor of love for all of us. In the meantime, it's free! Enjoy NY


welcome to my archive


NY

Welcome to my archive. We hope you enjoy your stay here, browsing through more than 50 years of music and movies. It has been my pleasure to write and perform these songs and make these films for you. They are all here. Many of them are found in versions you probably have never heard or seen.

This archive is assembled chronologically. It has a timeline with all of the records in order and a corresponding file cabinet full of the relevant information for every recording found on the timeline. This includes production and engineering credits, musician credits, publishing credits, press reviews, film and video, historic live performances, photos, and memorabilia.

There are about ten unreleased albums and a few unreleased films in this archive. These are projects I did not release at the time for one reason or another, and many of the songs subsequently appeared on other albums as the years flew past. Sometimes unreleased albums are just ‘sketched’ in on the timeline, with rough pencil drawings of the art. These drawings will evolve into full color covers as time goes by and the albums are released. That way you can see things coming. This archive is designed to be a living document, constantly evolving and including every new recording and film as it is made. It is not yet complete as we are still adding a lot of detail to the older recordings. The timeline also illustrates all of our tours and recording sessions.

In the music creation process, I have sometimes assembled an album and not released it for a variety of reasons. At Reprise Records, I have had a great working relationship with the company since 1969 and we play back every new album together, talking about how to release it and how it should be introduced. My manager, Elliot Roberts, always supported my art and made sure we got to do what we needed. We really wanted everyone to be behind what I was about to release, so these album playback meetings were very important. There we would decide some of the singles to be released and how the marketing of a work should be approached. Each project has been a labor of love.

Of course, listening to the music is the most important aspect of this experience, and we wanted it to be the best experience possible. ‘Play’ buttons on each file card allow you to listen to the selected recording.

Xstream by NYA is the chosen playback method at NYA because streaming music is immediate and gives you the most connected experience as you browse. Most importantly, Xstream by NYA allows you to hear all the music your bandwidth will allow, all the way up to a Full Resolution experience. All of the music here is in its highest audio quality; original pre-digital analog albums were transferred to the highest digital resolution. More recent recordings are found here in their native resolution, so your listening experience is the best it can be.

It would be impossible for you to get better quality sound anywhere else. If you have the bandwidth, Full Resolution is attained with no compression, unlike any other streaming service to date. Full resolution is attained when your bandwidth is high enough to play back all the quality of each individual recording. That is as good as it gets.

The rest is up to you-what you are listening on, and what you plug into. The music audio quality is always potentially great, depending on your own location and equipment. That said, the sound found here will always be the best it can be, reaching the true potential of any playback equipment you listen through.

Check out the living playback chart to see how Xstream by NYA playback works. Compare it to other streaming services. Xstream by NYA is unique. Listen and watch. Enjoy!

NY


a few things before you get started


NY

The NYA Experience

Please watch my Welcome Message located on the outside of the file cabinet for a personal tour of the site.

There are three distinct ways to explore my music on this site. Each... has its advantages.

  1. You can view all songs organized chronologically in the file cabinet, giving you a list view of everything I have released—you will find some unreleased things in here, too...
  2. To go a little deeper, you can view all recordings as an info card, sliding chronologically in either direction left to right, to listen and view detailed information about the recording of every song.
  3. Lastly, the most comprehensive view is the timeline. Here you can view all of my albums on a chronological timeline, with touring information; relevant events in our lives, and my books, videos and films. The NYA timeline will also include galleries and videos-any content that might lie outside the scope of an album, film, video or particular recording.

My best advice is to simply explore the NYA on your own and find your own way through, much as you would in a physical archival library. But if you need some help, please watch my Welcome Message located on the outside of the file cabinet including a personal tour by me, or refer to the FAQ where you should find answers to many of your questions.

Also, continually check in at the NYA Times-Contrarian. This is where I will keep in touch with you.

Now, please go and explore the world’s first musician’s online archives ever!. I love listening to music this way. I can really hear it! There is no other way to hear and explore music in this audio quality anywhere in the world.

We developed the Neil Young Archives site to provide fans and music historians with unprecedented access to all of my music and to my entire archives in one convenient location. My team and I have spent years developing this site to make it both enjoyable and easy to use. The site allows me to share with the world the material I’ve spent a lifetime creating and collecting. I hope you enjoy it.

When you find a mistake, and if you look you probably will, please tell the archivist by sending a note on the contact page. NYA is a living document.

I would like to thank the many people who worked to bring NYA to fruition. (Credits are linked on the front of the file cabinet.)

Audio

Listening to music has been one of the great joys of my life.

That said, today all music suffers from low quality audio throughout the distribution chain. It starts with big tech companies like Apple. Apple Music controls the audio quality that is served to the masses and chooses to not make high quality available, reducing audio quality to between 5% and 20% of the master I made in the studio in all cases. So, the people hear 5% to 20% of what I created.

Not just new music— All music.

Apple not offering a top-quality tier has led labels to stop making quality products available to the masses. Stimulating a top-quality tier would restore and bring the great classic recordings of all music history to Full Resolution digital like you find at NYA.

Apple was built on music. There is a great opportunity to rescue the art form that helped Apple become great.

Top quality digital music sounds amazing. Today there is no convenient way for people to purchase and to enjoy the history of recorded sound and the magical recordings of the last century at their finest. As a result, top quality is now only available to elite, high-paying customers and there is a very limited amount of music titles to buy and equipment to use.

Given this opportunity music could support itself.

This is ironic because Apple’s new connector allows a recording’s raw data to be accessed directly from the iphone into a music playback device. This is a real breakthrough, finally allowing listeners the possibility of amazing digital audio. __Now the cellphone can deliver. __

This exciting new Apple iPhone capability can be utilized with top quality audio downloads. The ability for a consumer to get the most out of the pure music data and not be limited by a legacy cellphone’s compressed audio quality is truly a breakthrough for digital music. The only problem is: top-quality audio recordings are not offered on Apple iTunes.

Why not allow the world to hear exactly what the artists have created? Artists created this music for the people.

The technology exists for everyone to have the choice of top-quality audio. Let the people decide. It would be easy for music lovers to make a choice if top quality was offered by iTunes, rendering it obvious how good it sounds.

With control of an art form’s commerce comes some responsibility. Apple, while controlling the flow of music to the masses, has failed to be responsible.

That’s why it’s so important to me that my music be enjoyed here on this site at the highest possible digital quality, as close as possible to the way I recorded it. To accomplish this, all of my musical audio content at NYA is provided using Xstream by NYA adaptive audio technology streaming in Full Resolution.

In good conditions: Powerful computer, high bandwidth.

You can enjoy the absolute highest digital audio quality music listening. There is no better sounding digital than through Xstream by NYA. Your player window will be filled with green and a FULL RESOLUTION message will appear. This is a good opportunity to switch to 320 and listen for a bit, then go back to Master. That will show the difference.

In medium conditions: Powerful to mid-range computer, unsteady bandwidth.

Even if your music cannot be Full Resolution all the time because of your location conditions, you always get the best quality audio available at your location. You get everything that is in the air. All the time. That is what Xstream by NYA adaptive audio is all about. Xstream by NYA adaptive audio adjusts the music resolution in real time based on the conditions where you are listening. Your player window will be partially filled with green, rising and falling with the quality of your playback, and a FULL RESOLUTION message will possibly appear occasionally. That is the real world of bandwidth when you are on the edge.

In poor conditions: mid-range computer, low or erratic bandwidth

Sometimes, because the bandwidth is so low and/or your computer may not have the computing power to give you Full Resolution, your Xstream by NYA music may skip and buffer. Your player window will show very little green and be erratic.

In those conditions, to provide a reliable listening experience, we offer a toggle at the top of the window to switch between Xstream by NYA Full Resolution Master down to 320 kbps low resolution. res switch

320 kbps is a recognized standard today, providing the same or better audio than most commercial streaming services. It is almost always consistent. Your player window will show very little green at the bottom if the original master is high resolution, and the green will fill half the window if the original master is CD quality.

Player Example 2

Green represents the percentage of the Master you are currently hearing.

To get the best performance and learn more about this technology, including commercially available equipment to add Xstream by NYA to your home stereo or headphones, we encourage you to read through the Audio Setup page, located in the global menu in the upper left corner.

Please remember that currently NYA sounds best from a computer. We will let you know when that advances. Our Audio section will be a BIG HELP there. NYA is also available on tablets. To accommodate the streaming abilities of the hardware, audio is set at a standard streaming 320. You can experiment and switch to Master from 320 on the toggle switch.