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Black Lives Matter, Obama, and Race

first_imgBlack Lives Matter, Obama, and RaceBy Richard Moss MDThe nation has been convulsed by riots and violent protests in a string of cities, a pattern of lawlessness and breakdown that does not bode well for the nation, the rule of law, or race relations. In every case, President Barack Obama has exploited these events for political purposes, pouring fuel, in effect, on the fire. The incidents involved encounters between police and inner city blacks, beginning with Ferguson. They have since spread across the land to include Baltimore, New York, Minneapolis, Dallas, Baton Rouge, and most recently Milwaukee. In so doing, our first black President took up a narrative that he continues to promote.This narrative defines modern liberalism, the Democrat Party, the media, the Academy, and the left in general. It holds that America is institutionally and irredeemably racist, and no amount of progress will ever wipe the slate clean. It maintains that there are no other explanations that account for disparities between blacks and whites. Specifically, it points to alleged racism in our law enforcement and criminal justice systems, but it fans out to indict the whole of American society.In almost every encounter, Obama and many other prominent Democrats and the media, have engaged in race baiting, stoking the flames of racial hatred in ways that have been destructive of the civil society and deadly to our police and communities. While decrying violence on the one hand Obama has given a wink and nod to its most violent proponents, chief of which is Black Lives Matter, the racist, black supremacist group that promotes cop-killing and, for good measure, anti-Semitism, an organization he refuses to condemn. Instead, in his rhetoric, he has implied systemic racism in our law enforcement and criminal justice systems, smearing as racist our 18,000 police departments and 750,000 police officers many of whom work in inner cities and are black.Yet despite efforts by liberals to demonstrate racial bias, they have always come up short. Instead, they have shown that policing, prosecution, and incarceration accurately reflect crime rates not bias. Nationally, blacks were charged with 67% of all robberies, 57% of all murders, and 45% of all assaults in the 75 largest US counties in 2009, although making up only 15% of the populations of those counties. In NYC, blacks commit over 75% of all shootings, 70% of all robberies while constituting 23% of the city’s population. Blacks commit over 50% of all murders nationally, more than committed by whites and Hispanics combined even though blacks comprise only 13% of the population. (From Heather MacDonald) The problem is criminality not racism.But there is an explanation for the high crime and incarceration rates of blacks in America’s inner cities that the left chooses to ignore. It is the failed social welfare policies of the Democrat Party and the left. It is broken families and dysfunctional cultures. It is fatherlessness and a soaring illegitimacy rate. It is welfare dependency, educational failure, unemployment, poverty, the erosion of personal responsibility and morality, and bad life decisions. It is the fifty-year inculcation since “Great Society” of a permanent underclass with underclass values, and the fragmented, crime ridden, impoverished communities it has spawned.Race defines liberalism today and all that flows from it, an ideology of victimhood and grievance – and how to exploit it for money, votes, and political power.  The race baiting left has plundered this narrative, farmed white guilt, harvested the social pathologies of the black community, most of which have nothing to do with racism, and grown and prospered.  It has twisted the race legend into new shapes and forms to include other victim groups.  It has invested its energies in the victim fable, the slave and the oppressor myth, in all its varied manifestations, and won.  The victim-race narrative equals liberalism today.  The black community has largely followed its message; it has been led into a house of poverty and despair.It is critical to challenge the Democrat Party and its miserable record of collapse and disintegration in our cities, which they have controlled for decades. Specifically, they should be condemned for the fate of so many in the black community under its rule. Their ideology holds that there is no hope for blacks in racist America. That the cards are stacked against them. And that blacks require government assistance to survive. It is a destructive message that conservatives must counter with the ennobling philosophy of liberty, private property, family and faith, free market capitalism, and self-reliance. Twenty two trillion dollars since the Great Society has not made a dent in poverty. Instead, it has created a permanent underclass with all its attendant dysfunction, which includes high rates of criminality and incarceration. The leftist message of failure and dependency must be rejected for the sake of blacks, whites, and the entire country.FOOTNOTE:  Brief Bio: Richard Moss MD is a practicing Ear Nose and Throat Surgeon, author, and columnist who resides in Jasper IN. He recently lost his bid for the Republican nomination for Congress in Indiana’s 8th district. Find more of his essays and blog posts at exodusmd.com. Also find him on Facebook, Twitter, YouTube, and Instagram.FacebookTwitterCopy LinkEmailSharelast_img

In-Depth With Town Mountain On Their New Album, ‘Southern Crescent’

first_imgThere’s no denying North Carolina bluegrass group Town Mountain is on a roll.  Their new album, Southern Crescent, is the first release on the new LoHi Records, based out of Asheville, North Carolina, and has taken the Billboard Bluegrass charts by storm. With the new album sitting high on the charts, a new leg of the roll out tour starting this week with big gigs in Colorado and more, we were excited for a chance to catch up with mandolin player Phil Barker about his playing style, the band’s success and more.Read on for our exclusive interview with Mr. Barker below:Live For Live Music: First of all, congratulations on the strong debut on the Billboards Bluegrass chart.  Were you expecting a reaction from the community like that?Phil Barker: Definitely not.  We hadn’t had any of our previous releases do anything like this, and we’re really pleased with the reception Southern Crescent is receiving. We just wanted to put our best material together and make the best package we could for our fans and the world. Seeing it do so well is not only humbling but pretty gratifying. L4LM: The songs on Southern Crescent are very open, sonically, and natural sounding. Was this a conscious decision to keep the music so free of studio trickery?PB: I’m not sure it was a conscious decision, it was more just the way things came out.  Dirk (Powell) did such a great job of recording it for us.  We recorded most of the material all together in a room where we could really connect and play off each other.  Outside of some overdubs and the usual post stuff, we did the whole album that way, and I think the results are terrific.L4LM: Southern Crescent was released on the new LoHi record label.  How did you find your experience working with Tim Carbone and company?PB: It’s been really enjoyable.  Working with Tim Carbone [of Railroad Earth] and the guys at LoHi was rewarding. It was very nice to have someone there who has been through it from the artist side of the process.  He really made it more comfortable for us, and we’ve been very fortunate to have Tim as a fan of our music. The whole process, working with them, it was focused and rewarding.  I think the proof is in the music.L4LM: The band shares the song writing duties.  Do you bring each other finished songs, or is it a more collaborative process?PB: It varies from song to song really.  In the end everybody pitches in to make the music the best it can be. Everybody is respectful of where each other is coming from, and eager to pitch in to make everything better.L4LM: There’s differing schools of thought on how to handle new material for bands that play as many shows as Town Mountain does.  Some acts like to keep the songs a secret, though most like to road test and workshop the material in front of an appreciative audience.  Which camp do you fall into?PB: We’re definitely among the latter category. We like to road test the songs and get them as close to right as we can before recording them.  Songs can change and evolve live, and you can find them becoming something beyond what you originally planned.  Our fans have been a real help in the process.  We’re making the music for ourselves, but hearing what goes over best and working through the physical complexity of playing the music live really helps us know what we need to try and capture in the studio.Download a free track, Wildbird, from Southern Crescent, HEREL4LM: Your instrument, the mandolin, originally served most bluegrass bands as a percussive force, though it has been pulled to the forefront of mixes.  How do you see your role in the song structure?Phil Barker: I’m definitely more interested in the rhythmic aspects of the instrument.  That’s what originally drew me to it.  I’m not the strongest picker, but I enjoy being the driving force in our songs. I do feel like I can make a strong contribution doing what I do. And I can pick a little…L4LM: I understand you are also something of an artist, and that you’ve even done some of the band’s artwork.  Is that right?PB: Yeah, I’ve been known to do some graphic design work occasionally.  Honestly though, it’s not something I have as much time for as I wish, but the band stuff is more important to me by far. I did just do a promo poster for us recently.L4LM: Do you at least get a little something extra in your check for that?PB: (Laughs) Sometimes.  When I do stuff for Town Mountain, that’s just really me doing stuff for my own best interests, for my band y’know.  But when I occasionally do stuff for other bands then yeah, totally!L4LM: Off topic…You’re based in North Carolina…how disappointed were you folks with the NCAA title game?PB: Yeah, that was rough.  It’s hard to get too disappointed, because the game was so entertaining. I mean, you can’t get too mad about losing on a buzzer beater in one of the greatest finishes in NCAA history.L4LM: Trust me, I know your pain.  Anyway, thanks for taking a few minutes to chat with us.  Have fun out there on the road.PB:  No problem!  Happy to do it.You can catch Town Mountain out on the road with the following tour dates, and check them out online by heading to their official website.Town Mountain Tour Schedule5/13 Fri – KSUT Concert Series @ Henry Strater Theatre – Durango, CO5/14 Sat – Denver Beer Co.’s Sundrenched Music Festival – Denver, CO5/21 Sat – The Pour House – Charleston, SC (with Peter Rowan)5/22 Sun – Lincoln Theatre – Raleigh, NC (supporting Hard Working Americans)5/25 Wed – Minglewood Hall – Memphis, TN (supporting Hard Working Americans)5/27 Fri – White Squirrel Festival – Brevard, NC5/28 Sat – Rooster Walk – Martinsville, VA6/1 Wed – Music City Roots – Nashville, TN6/5 Sun – Nelsonville Music Festival6/11 Sat – Festival of the Bluegrass – Lexington, KY6/16 Thu – Back Porch Music Series – Durham, NC6/23 Thu – Rudyfest 16 – Grayson, KY           6/24 Fri – ROMP Fest – Owensboro, KY7/23 Sat – Homegrown Music Festival – Ozark, ARlast_img

Turkuaz Brings Special Guests For Funk-Filled Baker’s Dozen Late-Night [Photos]

first_imgLoad remaining images Turkuaz | Baker’s Dozen Late Night | Irving Plaza | New York, NY | 7/25/17 | Photos by Bahram Foroughi You can also enjoy a gallery of photos from Turkuaz’s Baker’s Dozen Late-Night with Steveland Swatkins and Nate Werth below, courtesy of photographer Bahram Foroughi.Next up for Turkuaz is a pair of performances at Floyd, VA’s Floyd Fest this Friday and Saturday. For a full list of upcoming Turkuaz dates, head to the band’s website.If you had fun at Turkuaz at Irving Plaza last night, check out the rest of Live For Live Music’s Baker’s Dozen Late-Night series, being hosted throughout the city during Phish’s ongoing 13-night Baker’s Dozen run at Madison Square Garden. Check out Our Official Guide To Baker’s Dozen Late-Nights for all the info.Live For Live Music Phish Baker’s Dozen Run Late-Night ShowsJuly 28 – Dopapod @ Gramercy Theater (tix) *July 28 – James Brown Dance Party – 2 Shows @ Highline Ballroom (early tix/late tix) *July 29 – Dopapod @ Gramercy (tix) *July 29 – Perpetual Groove @ BB King Blues Club (tix)Aug 2 – Matisyahu @ The Cutting Room (tix) *Aug 3 – Greensky Bluegrass w/ Marco Benevento @ Ford Amphitheatre At Coney Island Boardwalk (tix) **Aug 4 – “Kraz & Taz” – Eric Krasno Band w/ Brandon “Taz” Niederauer Band @ The Cutting Room (tix)Aug 5 – Spafford @ BB King Blues Club (SOLD OUT)* (L4LM & CEG Presents)**(L4LM & Live Nation Presents)center_img Last Tuesday night, nine-piece Brooklyn “power-funk” outfit Turkuaz brought their traveling dance party to New York City’s Irving Plaza for a late-night performance following Phish‘s “Jam-Filled” Baker’s Dozen performance at Madison Square Garden.The band was joined by Allen Stone keyboardist and talk-box master Steveland Swatkins and Snarky Puppy percussionist Nate Werth (in addition to a guest sit-in from Snarky Puppy’s Mike ‘Maz’ Maher), combining to make up the funkiest late-night party anywhere in the City on Tuesday night. You can watch a pair of live videos from the performance below, courtesy of the band’s Facebook page:last_img

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