Thoughts. . .

. . . about our environment. . .

(from http://www.nbcnews.com/science/fracking-practices-blame-ohio-earthquakes-8C11073601)
". . .Research now reveals wastewater from fracking is linked to all the earthquakes in a town in Ohio with no history of earthquakes.

Fracking involves high pressure injection of water, sand and other materials into a well to fracture rock which opens up fissures from which oil and natural gas can flow freely. This process generates wastewater which is disposed of by pumping it underground.

Advocates claim fracking is a safe, economical source of clean energy, while critics argue that it taints drinking water supplies and causes other problems.

Before January 2011, Youngstown, Ohio had never experienced an earthquake since researchers began observations in 1776. In December 2010, the Northstar 1 injection well came online to pump wastewater from fracking projects in Pennsylvania into storage deep underground. In the year that followed, Youngstown recorded 109 earthquakes. The well was soon shut down. . ."


(from http://www.monbiot.com/2013/08/30/backwards-reasoning/)
". . .Many of those who deny that climate change is taking place reached that position as a result of their opposition to wind farms. This, for example, was the route taken by David Bellamy, who stumbled disastrously into the debate a decade ago.

During one of our discussions, he set me the following challenge:
“Why are the so-called greens backing a cartel of multinational companies which are hell bent on covering some of the best of our countryside with so-called wind farms, which can neither provide us with a sustainable source of future energy nor have any measurable effect reducing the amount of carbon dioxide pouring into the atmosphere? If he [George Monbiot] can disprove the latter – which is the mathematical truth – I will fall into line over global warming”.

In other words, if I could disprove his contention that windfarms are useless, he would accept climate change science. I don’t mean to disinter an ancient and long-settled debate, but to use this as an example of a common phenomenon, to which all of us succumb from time to time. When we don’t like an outcome, we reject the premise. . ."

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Sticktoitiveness. . .

. . . or something. . .

(thanks to Wikipedia.com)
Cecil Taylor began playing piano at age six and studied at the New York College of Music and New England Conservator. After first steps in R&B and swing-styled small groups in the early 1950s, he formed his own band with soprano saxophonist Steve Lacy in 1956 and with whom he made his first recording that same year. Some critics said it already pointed to the freedoms in which he later became immersed.

Through the 50s and 60s, Cecil's music grew more complex and moved away from existing jazz styles. Gigs were often hard to come by, and club owners thought his lengthy pieces were not easily accessible to the general jazz-going audience. Landmark recordings, like UNIT STRUCTURES followed later, in 1966. Alto saxophonist Jimmy Lyons later joined Cecil and became one of his most important and consistent collaborators. Taylor, Lyons and drummer Sunny Murray (and later Andrew Cyrille) formed the core personnel of The Unit, Taylor's primary group effort until Lyons's premature death in 1986. With 'the Unit', musicians developed often volcanic new forms of conversational interplay.

Cecil began to perform solo concerts in the early 1970s. Many of these were released on album and include INDENT (1973), side one of Spring of Two Blue-J's (1973), SILENT TONGUES (1974), GARDEN (1982), and was awarded a Guggenheim Fellowship in 1973 and then a MacArthur Fellowship in 1991.


Cecil recorded sparingly in the 2000s, but continued to perform with his own ensembles (the Cecil Taylor Ensemble and the Cecil Taylor Big Band) as well as with other musicians such as Joe Locke, Max Roach and Amiri Baraka.  In 2004, the Cecil Taylor Big Band at the Iridium 2005 was nominated a best performance of 2004 by All About Jazz, and the same in 2009 for the Cecil Taylor Trio at the Highline Ballroom in 2009. The trio consisted of Taylor, Albey Balgochian, and Jackson Krall. An autobiography, more concerts, and other projects are in the works. In 2010, Triple Point Records released a deluxe limited edition double LP titled Ailanthus/Altissima: Bilateral Dimensions of Two Root Songs, a set of duos with long-time collaborator Tony Oxley that was recorded live at the Village Vanguard in New York City.

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