Tag Archives: records

If Trump’s White House Has Secret Recordings, Destroying Them May Be a Crime

Mother Jones

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On Friday morning, Donald Trump tweeted, “James Comey better hope that there are no ‘tapes’ of our conversations before he starts leaking to the press.” Not only was this a loosely veiled threat directed at the former FBI director, whom Trump unceremoniously fired on Tuesday, but it also suggested that Trump possessed recordings of their conversations—perhaps even a tape of their January 27 dinner, where the president claims Comey told him he was not under investigation as part of the bureau’s probe of the Trump campaign’s Russia ties.

During a press briefing on Friday afternoon, White House press secretary Sean Spicer declined to answer questions about whether Trump had a secret White House recording system. The good news for historians is that if such tapes do exist, the Trump administration is required by law to preserve these presidential records and turn them over to the National Archives and Records Administration.

A spokesman for NARA forwarded requests for comment on the preservation of Trump’s tapes, if they exist, to the White House, which did not respond to a request for comment from Mother Jones. But Lisa Rosenberg, executive director of Open the Government, a coalition of good-government and watchdog groups, says the the rules are clear: Under the Presidential Records Act, recordings between the president and a senior government official that occur in the White House are not private recordings; they are presidential records that will eventually be released to the public. (An administration can delay the public release of materials for up to 12 years after the president leaves office.)

“We’re not just talking about who he’s having dinner with, we’re talking about information that impacts decision-making that impacts public policy, and in this case it might impact national security and integrity of the elections,” she says. “Even though we might not know what will be said for 12 years, we can still learn from that. We’re still learning from past administrations about any number of issues that continue to resonate to this day. We need to be able to learn from our mistakes, and our successes, so it’s in the public interest. That’s why the Presidential Records Act exists.”

Unfortunately, Rosenberg says, there is no real mechanism to ensure the White House is preserving the tapes as records for future release. She notes that the Presidential Records Act doesn’t have an enforcement mechanism, but there are other legal reasons the records might have to be preserved.

For example, they could be subpoenaed by congressional or FBI investigators probing the Russia scandal or other matters. (President Richard Nixon, who famously recorded his Oval Office meetings and calls, refused to respond to a subpoena for secret recordings of his Oval Office meetings—a refusal that eventually led to one of the articles of impeachment that were drawn up against him.) On Friday, Reps. John Conyers and Elijah Cummings, the ranking Democrats on the House Judiciary and Oversight committees, respectively, sent the White House a letter demanding it turn over any tapes relating to Comey.

Norm Eisen, a former ethics lawyer for the Barack Obama administration, says the existence of recordings means they can be targeted by Congress and that White House officials should be aware of the need to save any that have been made.

“Given the current circumstances, the destruction of such tapes would raise serious obstruction of justice issues,” Eisen says.

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If Trump’s White House Has Secret Recordings, Destroying Them May Be a Crime

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In "Before the Dawn," Kate Bush Casts Her Spell Again

Mother Jones

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Kate Bush
Before the Dawn
Concord Records

Courtesy of Concord Music Group

Recorded during her run of 22 sold-out London shows in 2014, Before the Dawn captures the always-engaging, occasionally perplexing Kate Bush in fine form. The grandiose live production wasn’t a mere concert, but an ambitious multi-media presentation centered on two suites: “The Ninth Wave,” the story of a woman lost at sea, and “A Sky of Honey,” evoking a summer’s day. If that all sounds a bit precious, worry not—the music on the three-CD, 29-track epic is gorgeous orchestral pop that beautifully showcases Bush’s richly dramatic vocals, regardless of its literal meaning. This uniquely idiosyncratic singer has making serious magic for nearly four decades, inspiring Bjork, Tori Amos, and a host of others along the way, and it’s a true pleasure to fall under her spell once again.

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In "Before the Dawn," Kate Bush Casts Her Spell Again

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More Great Stories of the Underdog from Drive-By Truckers

Mother Jones

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Drive-By Truckers
American Band
ATO

Courtesy of ATO Records

Yes, yet another great Drive-By Truckers album. With uncommon consistency, this Georgia-spawned band has been telling stories of the underdog with genuine empathy and keen wit for a good two decades, rocking like a cross between Neil Young and Lynyrd Skynyrd, topped off by a bracing splash of electric Dylan for good measure. One big reason for their continuing vitality has been Patterson Hood’s willingness in recent years to share singing and songwriting duties on a more equal basis with fellow DBT founder Mike Cooley. The two complement each other nicely: With a woeful twang in his voice that lends itself to rueful lamentation, Hood could be a wayward honky-tonk singer, while the more stoic Cooley suggests an earnest folkie seduced by the big beat. But the real attraction, as always, is the material. Check out Cooley’s boogie-fied “Kinky Hypocrite,” a scornful look at “the greatest separators of fools from their money,” or Hood’s mournful “What It Means,” a post-Ferguson report from “the precipice of prejudice and fear.” Or any other track on the uniformly excellent American Band.

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More Great Stories of the Underdog from Drive-By Truckers

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Rachael Yamagata’s Dramatic "Tightrope Walker"

Mother Jones

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Rachael Yamagata
Tightrope Walker
Frankenfish Records/Thirty Tigers

Courtesy of Frankenfish Records/Thirsty Tigers

With her husky, commanding voice, Rachael Yamagata could have been a torchy lounge chanteuse in the pre-rock’n’roll ’50s or a bluesy soul shouter in the late ’60s. On this fine fourth album, she throws subtlety to the winds and sounds like she’s having the time of her life, romping through a set of dramatic pop tunes designed for maximum entertainment. Highlights include “Nobody,” a scorching floor-shaker soaked in obsessive desire, the seductive earthy folk of “Easy Target,” and the rousing anthem “Money Fame Thunder,” which closes the album on an uplifting note. Yamagata’s savvy, efficiently constructed songs are commercial in the best possible sense, catchy and engaging, but consistently smart to boot. Enjoy!

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Rachael Yamagata’s Dramatic "Tightrope Walker"

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John Doe’s "Psychadelic Soul Record" From the Desert

Mother Jones

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John Doe
The Westerner
Cool Rock Records/Thirty Tigers

Shepard Fairey & Aaron Huey

First heard almost 40 years (!) ago as a member of the great LA punk group X, John Doe never fit the clichés of the genre, intertwining his voice with bandmate Exene Cervenka’s in wailing harmonies that sounded more like hillbilly laments than nihilist diatribes. As a solo artist, he’s compiled a striking body of work that spans the 57 varieties of roots music. Dedicated to his late friend Michael Blake (author of Dances with Wolves), The Westerner is billed by Doe as his “psychedelic, soul record from the Arizona desert,” which is another way of saying he’s delivered a dusty, sure-handed set of vibrant down-home rock’n’folk full of longing, sympathy, and hope. Joined by guest vocalists Debbie Harry of Blondie and Chan Marshall (aka Cat Power), Doe remains a stirring singer who embodies weary determination and impassioned grace on the heart-tugging ballad “Sunlight” and the greasy foot-stomper “Go Baby Go.” Tough and tender and once, The Westerner is a genuine old-school treasure.

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John Doe’s "Psychadelic Soul Record" From the Desert

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Music Review: "Speed Trap Town" by Jason Isbell

Mother Jones

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TRACK 8

“Speed Trap Town”

From Jason Isbell’s Something More Than Free

Southeastern Records

Liner notes: Isbell embodies bedraggled resilience on an aching acoustic ballad about a toxic home, singing, “It never did occur to me to leave before tonight.”

Behind the music: The Alabama-born singer was only the third songwriting option in Drive-By Truckers, after Patterson Hood and Mike Cooley, but has blossomed as a solo artist.

Check it out if you like: Underdog champions (Steve Earle, John Mellencamp).

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Music Review: "Speed Trap Town" by Jason Isbell

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Video: Two Sisters Fight Off Attackers on a Public Bus in India

Mother Jones

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Two sisters were filmed fighting a group of men who allegedly sexually harassed them while traveling on a public bus in northern India. The video was filmed by a fellow passenger and shows the sisters, identified as Arati and Pooja, beating and kicking the men.

“One of the boys started touching my sister and making kissing gestures,” Arati told the media. “I told him to go away or I would teach him a lesson. Then he called another boy saying that we have to beat up two girls. And then the other boy got on the bus.”

At several points the girls can be seen using their belts to hit them while onlookers do nothing to help the sisters. Several people can even be heard telling the girls not to file a formal complaint against the men.

The shocking recording, which has since gone viral and lead to the arrest of the three men, prompted a huge response on social media. But the incident highlights the continued lack of public awareness surrounding sexual harassment faced by young girls throughout India, where according to the National Crime Records Bureau, 93 women are raped everyday.

The video also recalls the 2012 Delhi gang-rape, in which a 23-year-old woman died after being brutally raped by a group of men on a city bus. The assault lead to massive protests calling for the government to legislate harsher punishment against sexual assaulters.

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Video: Two Sisters Fight Off Attackers on a Public Bus in India

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Portraits of 11 of the Americana Music Festival’s Most Intriguing Acts

Mother Jones

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The Americana Music Association, which just wrapped up its 15th Americana Music Festival, is not so much about defining a genre as it is about circling the wagons around a wide variety of roots-influenced styles and staging a big-tent meeting for the faithful. The music spans roughly three generations of artists, from the likes of Loretta Lynn and Billy Joe Shaver, who helped define classic country music; to musicians like Ry Cooder and Taj Mahal, who during the ’70s combined reverence for the past with rock and roll; to young artists like Robert Ellis, The Milk Carton Kids, and others who are innovating and expanding the older traditions with fresh energy. No matter their age, Americana artists are finding a growing audience to start and sustain careers; it’s as much about moving forward as it is preserving the past. With 160-plus acts in Nashville for this year’s festival, there was no shortage of great music and fascinating individuals. Here are portraits of 11 artists who are definitely worth a closer look.

Jim Lauderdale

Nashville’s guardian angel of songwriting, Jim Lauderdale, is truly the face, and voice, of Americana—a humorous, kind, and gracious ambassador to the association, and host of the Americana Awards for the last 12 years. Lauderdale’s songs have been recorded by George Strait (more than a dozen of them), Vince Gill, Blake Shelton, and the Dixie Chicks, to name just a few. His most recent album (number 26), I’m a Song, features songwriting collaborations with Elvis Costello, Robert Hunter, and Bobby Bare. Near the end of his set at the venue 3rd and Lindsley, he was joined onstage by Lucinda Williams, who asked the crowd, in her trademark drawl, “Why is Brad Paisley up on all these billboards and not Jim?”

The Milk Carton Kids: Kenneth Pattengale and Joey Ryan

Winners of the 2014 Americana Award for Best Group/Duo, The Milk Carton Kids are the Los Angeles-based guitar and vocal duo of Kenneth Pattengale and Joey Ryan. With an uncanny chemistry, they blend their voices and guitars through one microphone into gossamer folk songs with the precision and depth of Simon & Garfunkel or the Everly Brothers.

Robert Ellis

Robert Ellis was nominated for Americana’s Artist of the Year, Album of the Year for The Lights from the Chemical Plant, and song of the year for “Only Lies.” While heavily steeped in country and western music, his current album goes into more experimental territory, blending elements of prog/psychedelic rock and jazz within a sparse soundscape. The Houston, Texas native recently relocated to Greenpoint, Brooklyn.

The Howlin’ Brothers: Jared Green, Ian Craft, and Ben Plasse

Nashville’s own The Howlin’ Brothers— Ian Craft on banjo and fiddle, Jared Green on guitar and harmonica, and Ben Plasse on bass—play dirt-under-the-fingernails bluegrass, blues, Cajun, social-dance music, and anything else “old-timey” they can scratch up, mixing originals that sit nicely along side timeless songs. Their third album,Trouble, was released this year on Brendan Benson’s Readymade Records.

Leo “Bud” Welch

Leo “Bud” Welch of Bruce, Mississippi, is both one of the oldest and newest artists at the festival. Welch, 82, released his first album, Sabougla Voices, early this year on Big Legal Mess Records, home of Junior Kimbrough and RL Burnside. He had been playing gospel in small local churches, and blues at picnics and parties for decades in a stripped-bare style, but a cold call to the record label finally got the ball rolling.

Doug Seegers

Doug Seegers is finally doing what he was born to do: write and sing soulful, sharp-witted, universally identifiable country songs. For much of his 17 years in Nashville, Seegers was homeless, drunk, and playing for change on the streets. A trained cabinet maker from New York, Seegers had tried to make it as a musician and songwriter in the ’70s and had played in a band with a then unknown Buddy Miller in Austin, Texas. Through luck or divine intervention, Swedish country singer Jill Johnson (country music is big in Scandinavia!) met Doug while producing a documentary on Nashville musicians. Dumbfounded by the quality of his songwriting, she recorded a single with him that hit No. 1 on iTunes in Sweden. Through the path of recovery, and support from artists such as Emmylou Harris, Buddy Miller, steel guitarist Al Perkins, and producer Will Kimbrough, Seegers released his first album, Going Down to the River, on Rounder.

Carlene Carter

The granddaughter of “Mother” Maybelle Carter, daughter Carl Smith and June Carter, and stepdaughter of Johnny Cash, Carlene Carter is music royalty’s wild child. She recorded her first three albums in England. Her 1978 self-titled album with Graham Parker and the Rumor and 1980’s Musical Shapes, with her then husband Nick Lowe and his band Rockpile, blended country music with high-energy New Wave. Last year, she returned to her family’s legacy with Carter Girl, produced by Don Was. The album brings her youthful energy to songs from the Carter Family repertoire. Beginning in early 2015, she will join John Mellencamp on an 80-date tour.

The Haden Triplets: Petra, Rachel, and Tanya

The Haden Triplets use their sibling chemistry to beautifully reanimate classic country and gospel music. They are the daughters of jazz bassist and composer Charlie Haden, who also grew up in a country music family, performing on the radio in Iowa as part of the Haden Family Band. Five years after Charlie’s country music tribute album Ramblin’ Boy, which featured the triplets, they now have their own self-titled album, produced by Ry Cooder and released on Jack White’s Third Man Records.

The Mastersons: Eleanore Whitmore and Chris Masterson

The Mastersons, a husband and wife duo, play straightforward country-inflected rock with big-hearted lyrics, tight song structures, and sweetly intertwined harmonies. They released their second album, Good Luck Charm, this past July on New West Records, but are already touring veterans as the core of Steve Earle’s band, the Dukes.

Ethan Johns

England’s Ethan Johns recently released his second album, The Reckoning, a suite of stark, mythology-steeped songs that draw from British folk and early American blues. Johns also has a substantial career as a producer, having worked with Ryan Adams (who returned the favor to produce this album), Tom Jones, Paul McCartney, and Ray LaMontagne. He no doubt learned a few things from his father, Glyn Johns, the legendary producer of The Rolling Stones, Led Zeppelin, and The Eagles.

Sons of Bill: From left, Sam Wilson, Todd Wellons, James Wilson, Seth Green, and Abe Wilson

Sons of Bill are brothers James, Sam, and Abe (father: William Wilson), plus Seth Green on bass and Todd Wellons on drums. The band’s sound ranges from “No Depression” alt-country of Uncle Tupelo and Son Volt to Byrds-like folk-rock to the Chapel Hill alt-rock of early R.E.M, and many points in between. Their new album, Love and Logic, is produced by Ken Coomer of Uncle Tupelo and Wilco.

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Portraits of 11 of the Americana Music Festival’s Most Intriguing Acts

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About Those New DOJ Guideline on Reporters’ Records: There’s Less Here Than Meets the Eye

Mother Jones

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On Friday, Attorney General Eric Holder issued a new set of guidelines designed to make it harder for law enforcement officials to seize the records of journalists:

Among other things, the rules create a presumption that prosecutors generally will provide advance notice to the news media when seeking to obtain their communications records….The rules also address a law forbidding search warrants for journalists’ work materials, except when the reporter is a criminal suspect. It says that the exception cannot be invoked for conduct based on “ordinary news-gathering activities.”

….The rules cover grand jury subpoenas used in criminal investigations. They exempt wiretap and search warrants obtained under the Foreign Intelligence Surveillance Act and “national security letters,” a kind of administrative subpoena used to obtain records about communications in terrorism and counterespionage investigations.

But Marcy Wheeler points out that most of the DOJ leak investigations that prompted media outrage last year and led to these new rules are, in fact, related to national security. And NSLs have the least oversight of any form of subpoena: they can be issued by just about anyone, and require no approval from a court.

Does this mean, as Wheeler pungently puts it, that these new guidelines are “worth approximately shit” in any leak investigation that’s actually likely to take place? I’m not sure about that. You can’t get a wiretap with an NSL, for example. Still, it certainly seems to be a Mack-truck-sized loophole in these new rules. There’s less here than meets the eye.

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About Those New DOJ Guideline on Reporters’ Records: There’s Less Here Than Meets the Eye

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