Tag Archives: band

Why on Earth Are Argentine Bonds So Hot Right Now?

Mother Jones

What’s the hottest ticket in the global bond market right now? That’s right: Argentine bonds. They’re on a tear. But why? Didn’t Argentina just lose—once and for all—its court case against vulture funds who own old Argentine bonds and are refusing to accept partial payment of the kind that everyone else accepted after Argentina’s default a decade ago?

Why yes, they did lose. Argentina now has to pay the vulture funds—which is politically unthinkable for any Argentine politician who wants to avoid being tarred and feathered—or else it has to default on all its bonds, including the restructured “exchange” bonds that it issued in 2005. So why are these exchange bonds becoming more valuable? Argentina has always been willing to pay those bonds, so it’s not as if the court ruling has made default less likely. The risk of default was already close to nil. So what’s up?

Felix Salmon, having gotten tired of financial journalists offering up bizarre theories to explain this, tells us today that it’s probably all simpler than it seems. In fact, the odds of default have gotten higher, just as logic dictates, but this might actually be a good thing for bondholders. Normally, he points out, there’s no upside to bonds: you get the coupon payment, but you never get anything more. In Argentina’s case, however, that might not be true.

First off, there’s something called a RUFO clause. This means that if Argentina does eventually settle with the vulture funds, it has to offer the same deal to all the other bondholders.

Obviously, Argentina doesn’t have the money to pay out the exchange bondholders in full according to that clause. But if Argentina is paying out billions of dollars to vultures who deserve much less than they’re getting, and if those payments create a massive parallel legal obligation to the bondholders who cooperated with the country and did everything they asked, then it’s not unreasonable to expect that Argentina might end up paying something to the exchange bondholders, if doing so would wipe out any RUFO obligations.

Then there are interest payments:

The second way that exchange bondholders could get more than 100 cents on the dollar is, paradoxically, if there is a default. The minute that Argentina goes into arrears on its coupon payments, the clock starts ticking. From that day onwards — and actually, that day has been and gone already — bondholders are owed not only those coupon payments but interest on those coupon payments. And the interest accrues at the standard statutory rate of 8% — a massive number, these days.

So there you have it: a paradoxical case in which bonds might be viewed as more valuable if the odds of default are higher. Salmon admits that he’s just speculating here, since no one knows for sure why the market is so hot for Argentine bonds in the wake of Argentina losing its court case. But this is at least a reasonable guess. And a fascinating one.

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Why on Earth Are Argentine Bonds So Hot Right Now?

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Congress Might Actually Pass a Bill to Address VA Problems

Mother Jones

Since I’ve been griping for a long time about Congress being unable to pass so much as a Mother’s Day resolution these days, it’s only fair to highlight the possibility of actual progress on something:

House and Senate negotiators have reached a tentative agreement to deal with the long-term needs of the struggling Department of Veterans Affairs and plan to unveil their proposal Monday.

Sen. Bernie Sanders (I-Vt.) and Rep. Jeff Miller (R-Fla.), who lead the Senate and House Veterans’ Affairs committees, continued negotiating over the weekend. Aides said they “made significant progress” on legislation to overhaul the VA and provide funding to hire more doctors, nurses and other health-care professionals. Sanders and Miller are scheduled to discuss their plan Monday afternoon.

We don’t have all the details yet, and the bill hasn’t actually passed or anything. There’s still plenty of time for tea partiers to throw their usual tantrum. And there’s also plenty of time for the House GOP leadership to respond to the tantrum by crawling back into its cave and killing the whole thing. It’ll be President Obama’s fault, of course, probably for attending a fundraiser, or maybe for sneezing at the wrong time.

But maybe not! Maybe they really will pass this thing. It would provide vets with more flexibility to see doctors outside the VA system, which is a bit of a Band-Aid—but probably a necessary one—and it provides additional funding for regions that have seen a big influx of veterans. On the flip side, I don’t get the sense that the bill will really do much to fix the culture of the VA, which becomes a political cause célèbre every few years as we discover that all the same things we yelled about the time before are still true. But I guess that’s inevitable in a political culture with the attention span of a newt.

All things considered, it would be a good sign if this bill passed. The VA, after all, isn’t an inherently partisan issue. Just the opposite, since both parties support vets about equally and both should, in theory, be more interested in helping vets than in prolonging chaos for political reasons.

In other words, if there’s anything that’s amenable to a basically technocratic solution and bipartisan support, this is it. In a way, it’s a test of whether our political system is completely broken or just mostly broken. “Mostly” would be something of a relief.

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Congress Might Actually Pass a Bill to Address VA Problems

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Friday Cat Blogging – 25 July 2014

Mother Jones

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Say hello to Mozart, the latest addition to the Drum family menagerie. One of my mother’s neighbors found him wandering around, so naturally he ended up at my mother’s house. He’s a very sociable cat and appears to be very pleased with his choice of home. To celebrate his appearance, today you get two catblogging photos: one that shows his whole body and one that’s a close-up of his face. Enjoy.

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Friday Cat Blogging – 25 July 2014

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Quote of the Day: John Boehner Invites Obama to Ignore Congress on Immigration

Mother Jones

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From House Speaker John Boehner, who is currently beavering away on a plan to sue President Obama for dealing with too many problems on his own:

We’ve got a humanitarian crisis on the border, and that has to be dealt with. But the president clearly isn’t going to deal with it on his own, even though he has the authority to deal with it on his own.

Man, this begs for a follow-up, doesn’t it? What exactly does Obama have the authority to do on his own, Mr. Speaker? What unilateral actions would you like him to take without congressional authorization? Which particular law would you like him to reinterpret? Inquiring minds want to know.

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Quote of the Day: John Boehner Invites Obama to Ignore Congress on Immigration

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Nobody Knows What Makes a Good CEO

Mother Jones

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Bloomberg has done a bit of charting of CEO pay vs. performance, and their results are on the right. Bottom line: there’s essentially no link whatsoever between how well CEOs perform and how well they’re paid:

An analysis of compensation data publicly released by Equilar shows little correlation between CEO pay and company performance. Equilar ranked the salaries of 200 highly paid CEOs. When compared to metrics such as revenue, profitability, and stock return, the scattering of data looks pretty random, as though performance doesn’t matter. The comparison makes it look as if there is zero relationship between pay and performance.

There are plenty of conclusions you can draw from this, but one of the key ones is that it demonstrates that corporate boards are almost completely unable to predict how well CEO candidates will do on the job. They insist endlessly that they’re looking for only the very top candidates—with pay packages to match—and I don’t doubt that they sincerely think this is what they’re doing. In fact, though, they don’t have a clue who will do better. They could be hiring much cheaper leaders and would probably get about the same performance.

One reason that CEO pay has skyrocketed is that boards compete with each other for candidates who seem to be the best, but don’t realize that it’s all a chimera. They have no idea.

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Nobody Knows What Makes a Good CEO

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Contact: Jolie Holland’s Sound Goes "Huge"

Mother Jones

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Jolie Holland in Brooklyn. Jacob Blickenstaff

Since the release of her 2003 album, Catalpa, Jolie Holland‘s music has evolved from close adaptations of pre-war blues and ballads into deeper, more complex works. Holland grew up in Houston, boxed up inside a strictly religious family. She left home after high school and was essentially homeless for more than years, squatting and bouncing between Houston, Austin, and New Orleans. In this environment, her musical education was direct and unmediatedthe music of Blind Willie McTell as influential and intoxicating as that of John Cage.

Holland has often been pigeonholed as a folk-blues-soul singer, but even from the beginning there has been something experimental and immediate about her approach. With Wine Dark Sea, her just-released sixth album, Holland exerts more control as a bandleader, setting her voice, as serpentine and wily as a rattlesnake at a Pentecostal meeting, against a more improvisational ensemble consisting of two drummers, three additional guitarists, bass and reeds. Photographer Jacob Blickenstaff spoke with Holland recently in New York City. The following is in her words.

I have a really tight relationship with the I Ching. You can see the lyrical influence all over the record. One of the basic statements of the I Ching is there’s a time when the most effective thing is to just do nothing. It’s really enormous. It’s about the flow of circumstance and of seasons. Songs like “Waiting for the Sun,” “All the Love,” and even the Joe Tex cover, “The Love You Save,” say that:

I want you to stop! Find out what’s wrong
Get it right or leave love alone
Because the love you save today
May very well be your own

Observation and engagement with ideas without explicit teachers is the global norm of how to learn things. So many people aren’t ready to go to art or music school, because it destroys their own agency in the work. I remember that feeling when I was a young teenager and was learning how to play. When you’re an undeveloped musician or artist, learning too much about theory can put the cart in front of the horse.

The voice is at the center of the compositions. You have to make sure that the band is augmenting that while expressing themselves, but at the same time not flattening out that complexity. Indigo Street takes the first solo on the record on “On and On.” When I gave her direction for that solo, I said I just wanted her to sound like she didn’t know what a guitar was, like something started a fire in her hand. I’ve been playing with her for a long time and I was trying to get her to play more noise. But with the absence of drums, it was harder for her to feel like she could go there. She said that me having a “pretty” voice held her back.

The approach on this album is more about bandleading than anything else. On past albums, I couldn’t get people to do what I wanted them to do. More volume helped; getting more people on stage and not being polite. A track like “Wine Dark Sea” is totally huge. There are no overdubs on that song, we’re playing live. To make this album we had to find the right room to get two full drum sets in with enough separation to record but still together. There are three electric guitar players in that same room. I was in the isolation booth with piano or guitar. Recording it was a real challenge. Douglas Jenkins, my co-producer, had never engineered something like that before.

We developed the sound during a weekly residency at a small place called the Jalopy Theater in Brooklyn. We’d have two drum sets on the stage and we’d go through the songs, and then we’d also have an improvisation set. I would tell stories from the book that I’m working on—true ghost stories and strange occurrences told to me by friends—and the band would play behind me so they could get used to moving together. I think some of my nerdier fans didn’t like it but fuck it. I warned them, “This is not a normal show.”

My friend Stefan Jecusco has a great saying: “It’s impossible to be sexy and nostalgic at the same time.” Most people listen to old music and they experience it as nostalgic; they can’t get inside it and don’t have a nonlinear sense of history. When I first heard Blind Willie McTell, I just had a crush on him, it just felt real even though he was speaking and playing in a different way than people do now. I hear melody in a more complicated way than other people do—so much of it comes from Blind Willie McTell. He is the guy who taught me how to sing. It’s all about microtones and internal phrases.

One thing about old songs, if we are listening to them now, then we know they’re good. They went through the filter, they stood the test of time: McTell, Stevie Wonder, Prince, Beyoncé—a good song is a good song.

With singing covers, it’s not nostalgia; it’s happening right now. Being on stage is a responsibility, an opportunity. All of these people are paying attention to you. Your present psychological experience will be affecting everyone. The more you can release your resistance to being in the present moment, the more you are providing people an opportunity to do the same. If you are playing a song that you wrote, then you are still covering that song.

I love what Tom Waits said: “We all love music, but what we all really want is music to love us.” That kind of unity in your being on stage is what has that power. ­­

“Contact” is series of portraits and conversations with musicians by Jacob Blickenstaff.

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Contact: Jolie Holland’s Sound Goes "Huge"

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Exclusive Video: Kithkin’s Soundtrack for the Apocalypse:

Mother Jones

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Civilization as we know it is going to collapse—someday at least. Judging by what climate scientists are saying—or what some are gleaning from the buffalo running around Yellowstone—it could be a lot sooner than we’d like.

The band Kithkin, hailing from the frigid (and fictitious), tree-worshiping Northwestern nation of Cascadia (consisting of Oregon, Washington, and British Columbia), plans to make the most of it by offering audiences the chance to go down dancing.

With their aptly named debut album, Rituals, Trances & Ecstasies for Humans in the Face of Collapse coming May 20, the (actually) Seattle band is hoping to highlight the role of humans in our own demise—and help us think about how we can prevent it.

Kithkin was inspired by Ishmael, a philosophical novel by Daniel Quinn that reframes civilization and its end by means of a Socratic dialogue between the narrator and a telepathic gorilla. “It talks about climate change, sustainability, resource distribution, food, and all these big, kind of hard-to-digest topics in a really engaging and streamlined way,” explains Kelton Sears, one of the band’s lead singers.

by Hayley Young

Though Kithkin was founded on a mutual affinity for drums and rhythmic music shared by Sears (who also plays bass) and his fellow frontman Ian McCutcheon, Quinn’s ideas shaped the band’s identity and moved its members to make positive music about negative things. “It is a very apocalyptic book that’s kind about how the way that humans live isn’t working anymore, and that things are going to crumble,” Sears says. “You don’t pay attention to because it is sort of hard to comprehend and think about.”

At Seattle University, the two met up with Alex Barr (guitar) and Bob Martin (keys and theremin), and Kithkin was born. Every member plays the drums as well as their other instruments, which explains the complex layers of rhythms that give their charged lyrics an upbeat quality.

But the bandmates aren’t all serious and earnest. They are self-proclaimed “fantasy nerds,” and Sears says a lot of the tree-centric Cascadia imagery is just for fun. Still, Kithkin hopes to get listeners thinking. “Singing about that stuff just makes us as honest with ourselves as possible,” Sears says. “You are naturally more passionate about it if it has that deeper meaning to you.”

The exclusive video at the top of this post, titled “W (Upturned Moon),” is set to Kithkin’s single “Altered Beast” and depicts a coven of women in a forest attacking a pile of trashed consumer goods—one metric ton of it, if you want to get specific.

“Thinking about the video, we were also interested in this idea of the witch,” Sears explains. “This archetype is interesting to us, and this idea of women as agents of change, breaking all this stuff that is symbolic of all the stuff humans are doing that is contributing to the demise of civilization. And in a way, making it a celebratory thing instead of a scary thing.”

Check out the video and catch the band on its first official tour this spring. Who knows when civilization will collapse? In the meantime Kithkin has created an album of great songs, laced with ideas all need to ponder. If the Apocalypse is coming, at least it won’t sound that bad.

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Exclusive Video: Kithkin’s Soundtrack for the Apocalypse:

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This Map Does Not Show What Your State’s Favorite Band Is

Mother Jones

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Hello. Good day.

This map has been going around the internet. You’ve probably seen it posted with a headline likeHere Is Your State’s Favorite Band.

But this map does not show what your state’s favorite band is. It does not purport to show what your state’s favorite band is. This map shows what band or musical artist people in your state like to listen to more than people in other states. The man behind the map, Paul Lamere, gathered streaming data by zip code and then built an app that let’s you compare the most distinct tastes by region. Pretty cool!

For example, according to the map, people in Idaho are way more likely to listen to Tegan and Sara than people in the rest of the United States. This does not mean, however, that Tegan and Sara is the most popular band in Idaho. What is the most popular band/musical artist in Idaho? I have no idea. Tom Petty was pretty popular when I was growing up there, but that was years ago. Who knows?

These misleading headlines are not the map’s fault. The map is good. The map is cool. The map shows where in the country you are most likely to run into someone with the same somewhat peculiar music taste as you.

Let’s say the mob is after you. You’ve stolen some money and they are going to kill you. You’ve been tipped off by a friend, who saw one of the enforcers asking for you at the local watering hole. You’ve got to get out of town, and I mean fast. You head to the airport and everything is looking aces, but then the mob sees you and a car chase ensues. You’re just trying to get to the airport but bang bang bang—wow, this is cinematic—right turn, left turn, over the bridge, and through the tunnel. By the time you pull up to the airport, half the city in ruin. The streets flow with the blood of fallen mob soldiers. You’re going to be okay—or are you? The mafia boss’ psychotic son is down but not out. You see him making his way toward the ticket counter. You tell the ticket agent that you need a flight. “A flight to where?” she asks. That’s when it hits you: You don’t even know where you’re going. “Jesus Christ, I don’t know! I don’t have time for this! You see that guy drenched in blood? He’s going to KILL ME! GIVE ME A TICKET!” “Let me ask you this,” she goes on. “How important is it that wherever you go, you’re able to have a conversation about the band Tegan and Sara?” “Oh, very important, obviously.” “Well, you’re far more likely to be able to have that conversation in Idaho than anywhere else.” “How could you possibly know that?” “Let me show you this map.” “Boise it is!” Then she gives you the ticket, winks, and floats off into the clouds.

Anyway, that’s what this map shows you. What this map does not show you is what your state’s favorite band is. Headline writers, please stop saying it does. It’s really driving me crazy.

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This Map Does Not Show What Your State’s Favorite Band Is

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Can Balkan Beat Box Bring Us Together?

Mother Jones

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Ori Kaplan/DJ Shotnez

It’s 3 p.m. on a foggy August day at San Francisco’s Outside Lands music festival, but inside the Heineken Dome it feels like an after-hours party. Ori Kaplan, a founding member of the contagiously high-energy ensemble Balkan Beat Box, and formerly of the popular gypsy-punk band Gogol Bordello, had just performed as his solo alter ego, DJ Shotnez. Festival goers writhed and cheered to his mix of cumbia and Balkan horns, an amalgamation of sounds he calls Global Crunk Base.

In his trailer after the set, Kaplan sparks a cigarette and kicks his feet up on a table. His appearance at the fest was one stop on a short West Coast tour to test out his new material on a non-European audience. A local promoter stops by the trailer to offer praise. “Today was really excellent,” Kaplan says, grinning. “It was a super crowd, really open and excited. I love San Francisco.”

The Israel-born, Vienna-based DJ and multi-instrument has had a love affair with the City by the Bay since his early days with Gogol, and before that with the New York band Firewater, a pioneer of the immigrant punk sound. This week, Balkan Beat Box launches a new mini-West Coast tour before heading into the studio to work on a new EP. With its members spread to the winds—Kaplan in Austria, other members in New York and Tel Aviv—the band keeps its sound fresh by “meeting on airplanes” and bringing the sounds and influences they’ve collected from their side projects back into the studio. At Outside lands, we chatted about the virtues of DJing and the origins of melting-pot music at Mehanata, a little black hole of a bar on Manhattan’s Lower East Side.

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Can Balkan Beat Box Bring Us Together?

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San Francisco plans expensive ‘managed retreat’ from rising seas

San Francisco plans expensive ‘managed retreat’ from rising seas

When you live on a coastline, looking down the barrel of imminent and unstoppable rising sea levels, sometimes “managed retreat” is your only option. What if we rerouted the highways before they ever flooded?

Apricot Cafe

That’s the thinking behind San Francisco’s Master Plan for the city’s western shoreline. This retreat is not just managed, but proactive. KQED reports on the “test case” that other coastal cities will be watching: a more than $350 million plan to move the Great Highway and allow the surf to reclaim its turf.

“A lot of the things we’re recommending at Ocean Beach are very expensive,” says Benjamin Grant, who manages the Ocean Beach Master Plan for the San Francisco Planning and Urban Research Association (SPUR). “But you have to set them against the costs of the band-aid measures already taking place.”

SPUR is acting as a facilitator for the project, bringing together the myriad city, state, and federal organizations involved.

“We can’t close our eyes to what’s coming and it’s definitely going to get worse and not better,” Grant says. “If we can find a way to work with those processes to achieve the kinds of outcomes and build the kinds of places we want to have in our city, then we’ll be ahead of the game.”

Planning students noodling with designs for this retreat say the reroute “makes it possible to re-imagine the southern end of Ocean Beach as a more socially and ecologically beneficial landscape.” San Francisco is rare in its comprehensive climate change planning, maybe because it’s also rare in being a city surrounded by water on three sides.

But will the city really be able to pave the way for preemptive urban planning for rising seas nationwide, or will we have to suffer a few more Super Sandys before we start really retreating?

Susie Cagle writes and draws news for Grist. She also writes and draws tweets for

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