via
(Thanx HerrB!)
Basement Jaxx - Classic Essential Mix (1999)
2 hours ago
Friday, 8 June 2012
52% of [fill in the nationality] agree that African migrants are “a cancer in the body” of the nation: http://www.timesofisrael.com/most-israeli-jews-agree-africans-are-a-cancer/
Andrei Tarkovsky’s Very First Films: Three Student Films (1956-1960)
Ubiytsy/The Killers (A. Tarkovsky 1956)
The great Russian filmmaker Andrei Tarkovsky made only seven feature films in his short life. (Find most of them online here.) But before making those, he directed and co-directed three films as a student at the All-Union State Cinema Institute, or VGIK. Those three films, when viewed as a progression, offer insights into Tarkovsky’s early development as an artist and his struggle to overcome the constraints of collectivism and assert his own personal vision.
The Killers, 1956:
Tarkovsky was fortunate to enter the VGIK when he did. As he arrived at the school in 1954 (after first spending a year at the Institute of Eastern Studies and another year on a geological expedition in Siberia) the Soviet Union was entering a period of liberalization known as the “Krushchev Thaw.” Joseph Stalin had died in 1953, and the new Communist Party First Secretary, Nikita Khrushchev, denounced the dead dictator and instituted a series of reforms. As a result the Soviet film industry was entering a boom period, and there was a huge influx of previously banned foreign movies, books and other cultural works to draw inspiration from. One of those newly accessible works was the 1927 Ernest Hemingway short story, “The Killers.”
Tarkovsky’s adaptation of Hemingway’s story (see above) was a project for Mikhail Romm’s directing class. Romm was a famous figure in Soviet cinema. There were some 500 applicants for his directing program at the VGIK in 1954, but only 15 were admitted, including Tarkovsky. In The Films of Andrei Tarkovsky: A Visual Fugue, Vida T. Johnson and Graham Petrie describe the environment in Romm’s class:
MORE
The great Russian filmmaker Andrei Tarkovsky made only seven feature films in his short life. (Find most of them online here.) But before making those, he directed and co-directed three films as a student at the All-Union State Cinema Institute, or VGIK. Those three films, when viewed as a progression, offer insights into Tarkovsky’s early development as an artist and his struggle to overcome the constraints of collectivism and assert his own personal vision.
The Killers, 1956:
Tarkovsky was fortunate to enter the VGIK when he did. As he arrived at the school in 1954 (after first spending a year at the Institute of Eastern Studies and another year on a geological expedition in Siberia) the Soviet Union was entering a period of liberalization known as the “Krushchev Thaw.” Joseph Stalin had died in 1953, and the new Communist Party First Secretary, Nikita Khrushchev, denounced the dead dictator and instituted a series of reforms. As a result the Soviet film industry was entering a boom period, and there was a huge influx of previously banned foreign movies, books and other cultural works to draw inspiration from. One of those newly accessible works was the 1927 Ernest Hemingway short story, “The Killers.”
Tarkovsky’s adaptation of Hemingway’s story (see above) was a project for Mikhail Romm’s directing class. Romm was a famous figure in Soviet cinema. There were some 500 applicants for his directing program at the VGIK in 1954, but only 15 were admitted, including Tarkovsky. In The Films of Andrei Tarkovsky: A Visual Fugue, Vida T. Johnson and Graham Petrie describe the environment in Romm’s class:
Romm’s most important lesson was that
it is, in fact, impossible to teach someone to become a director.
Tarkovsky’s fellow students–his first wife [Irma Rausch] and
his friend, Alexander Gordon–remember that Romm, unlike most other VGIK
master teachers, encouraged his students to think for themselves, to
develop their individual talents, and even to criticize his work.
Tarkovsky flourished in this unconstrained environment, so unusual for
the normally stodgy and conservative VGIK.
Tarkovsky worked with a pair of co-directors on The Killers,
but by all accounts he was the dominant creative force. There are three
scenes in the movie. Scenes one and three, which take place in a diner,
were directed by Tarkovsky. Scene two, set in a boarding house, was
directed by Gordon. Ostensibly there was another co-director, Marika
Beiku, working with Tarkovsky on the diner scenes, but according to
Gordon “Andrei was definitely in charge.” In a 1990 essay, Gordon writes:
The story of how we shot Hemingway’s The Killers
is a simple one. In the spring Romm told us what we would have to
do–shoot only indoors, use just a small group of actors and base the
story on some dramatic event. It was Tarkovsky’s idea to produce The Killers.
The parts were to be played by fellow students–Nick Adams by Yuli Fait,
Ole Andreson the former boxer, of course, by Vasily Shukshin. The
murderers were Valentin Vinogradov, a directing student, and Boris
Novikov, an acting student. I played the cafe owner.
The filmmakers scavenged various props from the homes of friends and
family, collecting bottles with foreign labels for the cafe scenes. The
script follows Hemingway’s story very closely. While two short
transitional passages are omitted, the film otherwise matches the text
almost word-for-word. In the story, two wise-cracking gangsters, Al and
Max, show up in a small-town eating house and briefly take several
people (including Hemingway’s recurring protagonist Nick Adams) hostage
as they set up a trap to ambush a regular customer named Ole Andreson.
One notable departure from the source material occurs in a scene were
the owner George, played by Gordon, nervously goes to the kitchen to
make sandwiches for a customer while the gangsters keep their fingers on
the triggers. In the story, Hemingway’s description is matter-of-fact:
Inside the kitchen he saw Al, his
derby cap tipped back, sitting on a stool beside the wicket with the
muzzle of a sawed-off shotgun resting on the ledge. Nick and the cook
were back to back in the corner, a towel tied in each of their mouths.
George had cooked the sandwich, wrapped it up in oiled paper, put it in a
bag, brought it in, and the man had paid for it and gone out.
In Tarkovsky’s hands the scene becomes a cinematic set piece of
heightened suspense, as the customer waiting at the counter (played by
Tarkovsky himself) whistles a popular American tune, “Lullaby of
Birdland,” while the nervous cafe owner makes his sandwiches. Our point
of view shifts from that of George, who glances around the kitchen to
see what is going on, to that of Nick, who lies on the floor unable to
see much of anything. “Tarkovsky was serious about his work,” writes
Gordon, “but jolly at the same time. He gave the camera students,
Alvarez and Rybin, plenty of time to do the lighting well. He created
long pauses, generated lots of tension in those pauses, and demanded
that the actors be natural.”...MORE
Thursday, 7 June 2012
hahahaaa do NOT type in these RT @mikko: Smooth. Compare http://leakedIn.org and http://leakedln.org (you can blame @i0n1c for the latter)
♪♫ 4 Walls - Which Side Are You On
Acoustic Bass – Luc Ex
Drums – Michael Vatcher
Piano, Voice – Veryan Weston
Voice – Phil Minton
Drums – Michael Vatcher
Piano, Voice – Veryan Weston
Voice – Phil Minton
Bert Jansch - L.A. Turnaround (Film)
Filmed at the recording sessions for Bert's album 'L.A. Turnaround' with Red Rhodes & Mike Nesmith
Erykah Badu's open letter to Wayne Coyne
Even with Window Seat there was a method and thought process involved. I have not one need for publicity . I just love artistic dialogue . And just because an image is shocking does not make it art.
You obviously have a misconception of who I am artistically. I don't mind that but...
By the way you are an ass.
Yu did everything wrong from the on set .
First:
You showed me a concept of beautiful tasteful imagery( by way of vid text messages) .
I trusted that. I was mistaken.
Then u release an unedited, unapproved version within the next few days.
That all spells 1 thing ,
Self Serving .
When asked what the concept
meant after u explained it , u replied ,"it doesn't mean anything , I just want to make a great video that everyone is going to watch. "
I understood , because as an artist we all desire that. But we don't all do it at another artist's expense .
I attempted to resolve this respectfully by having conversations with u after the release but that too proved to be a poor excuse for art.
From jump,
You begged me to sit in a tub of that other shit and I said naw. I refused to sit in any liquid that was not water. But Out of RESPECT for you and the artist you 'appear' to be, I Didn't wanna kill your concept , wanted u to at least get it out of your head . After all, u spent your dough on studio , trip to Dallas etc.. Sooo, I invited Nayrok , my lil sis and artist, who is much more liberal ,to be subject of those other disturbing (to me ) scenes . I told u from jump that I believed your concept to be disturbing. But would give your edit a chance.
You then said u would take my shots ( in clear water/ fully covered parts -seemed harmless enough) and Nayrok's part ( which I was not present for but saw the photos and a sample scene of cornstarch dripping ) and edit them together along with cosmic, green screen images ( which no one saw) then would show me the edit. .
Instead, U disrespected me by releasing pics and rough vid on the internet without my approval. (Contract breech )
That is equivalent to putting out a security camera's images of me changing in the fitting room.
I never would have approved that tasteless, meaningless, shock motivated video .
Our art is a reflection of who we are . I have no connection to those images shot in their raw version. I was interested in seeing an amazing edit that would perhaps change or alter my thoughts . Never happened .
You also did the same thing with the song itself which displays crappy "rough "vocals by me . I let it go , perhaps iiiii was missing something, I thought.
I Should have followed my first mind back in studio when recording the vocals "your way".
( Red flag.) It was uncomfortable.
For that I am at fault .
Consequently, brother, As a human I am disgusted with your what appears to be desperation and poor execution. And disregard for others . As a director I am unimpressed . As a sociologist I understand your type. As your fellow artist I am uninspired. As a woman I feel violated and underestimated.
Hope it works out for ya ,Wayne.
Really i could give a shit less.
Still love your live show tho.
And , you're welcomed.
Lesson learned .
By the way I have guested in very few videos. But I have always been given the opportunity to see the edit and contribute to it when my roll is substantial. Not this time .
I guess u feel it better to apologize than ask for permission and be refused . Hey, Love u man, but your ways are not very nice .
O, And on behalf of all the artists u have manipulated or plan to manipulate, find another way .
These things have been said out of necessity.
And if you don't like it
you can KiSS MY Glittery ASS .
O and Nayrok told me to tell u to kiss her ass too .
Almost forgot.
Peace
Ms. Badu
Via
Wayne Coyne's response...
Hey @fatbellybella I kissed it!!!! Thanks!!!!!!
Via
Hmmm!
You can watch the NSFW video in question after the jump...
Black Cab live this Sunday
(Click to enlarge)
Black Cab's first gig of the year will be taking place at Yah-Yah's this Sunday night. With support from Baptism of Uzi and Humans. Following the analogue trio gigs of last year this will be the debut of the new line up of Andrew Coates, James Lee and Steve Law joined by Wes Holland on drums and Lucy Buckeridge on bass.Via
R.I.P. Ray Bradbury, Author of Fahrenheit 451 and The Martian Chronicles
We've got confirmation from the family as well as his biographer, Sam Weller.
His grandson, Danny Karapetian, shared these words with io9 about his grandfather's passing: "If I had to make any statement, it would be how much I love and miss him, and I look forward to hearing everyone's memories about him. He influenced so many artists, writers, teachers, scientists, and it's always really touching and comforting to hear their stories. Your stories. His legacy lives on in his monumental body of books, film, television and theater, but more importantly, in the minds and hearts of anyone who read him, because to read him was to know him. He was the biggest kid I know."
Karapetian added:
If you're looking for any single passage to remember him by, I just picked up my copy of The Illustrated Man, my favorite of his books. The introduction is entitled "Dancing, So As Not to Be Dead," and there are some great lines about death. My favorite:from io9
"My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M.
So as not to be dead."
I'm an actor, something he was always been really proud of, and told me once, after getting cast in a play. "You're living out my life! You're doing everything I wanted to do but couldn't!" He was such a driving force in my life, but what always fascinated me were his impact on others. How his stories lifted people up and saved them from lonely summers. Who among us was never buried deep in a Bradbury story, lost in his meticulously yet effortlessly crafted metaphor?
thanks to link rae for the info
Wednesday, 6 June 2012
Tuesday, 5 June 2012
FUCK THE QUEEN > FUCK THE MONARCHY > FUCK THE ESTABLISHMENT AND ALL THAT IT STANDS FOR!
AUSTRALIA - STOP HOLDING ONTO MUMMY'S APRON STRINGS > YOU ARE A GREAT COUNTRY BUT SURELY IT IS TIME TO LEAVE THE ROOST AND BECOME A REPUBLIC
C'mon, did you really think that this wasn't gonna be posted?
Didn't think that the old bag would still be here after all this time though. For Allan Jones's account of The Pistols Thames boat trip 35 years ago go here.
Funnily enough I was staying at my Nan's house in Liverpool back in 77 at the time of the 'jubbly' and there were two posters in the lounge window. Jamie Reid's (mine) and one of her above (my Nan's). Twice my Nan's window got bricked and both times it was her poster that kopped it!
Jamie ReidDidn't think that the old bag would still be here after all this time though. For Allan Jones's account of The Pistols Thames boat trip 35 years ago go here.
Funnily enough I was staying at my Nan's house in Liverpool back in 77 at the time of the 'jubbly' and there were two posters in the lounge window. Jamie Reid's (mine) and one of her above (my Nan's). Twice my Nan's window got bricked and both times it was her poster that kopped it!
And just to remind you what it was like back then...
Jacob Appelbaum on privacy, government surveillance and the current state of democracy
Jacob Appelbaum shares his views on privacy, government surveillance and
the current state of democracy with YASSSU at the Re:publica conference
2012 in Berlin
Artist turns his dead pet into flying helicopter after it is killed by a car
'...Dutch artist Bart Jansen first stuffed Orville before teaming up with radio control helicopter flyer Arjen Beltman to build a specially-designed flying mechanism to attach to the cat.
Jansen said the Orvillecopter is 'half cat, half machine', and part of a visual art project to pay tribute to his cat Orville.
Jansen, part of the art cooperative Generaal Pardon, said: 'After a period of mourning he received his propellers posthumously.'
He added that Orville will soon be 'flying with the birds' stating: 'Oh how he loved birds. He will receive more powerful engines and larger props for his birthday. So this hopping will soon change into steady flight.''
Jansen said the Orvillecopter is 'half cat, half machine', and part of a visual art project to pay tribute to his cat Orville.
Jansen, part of the art cooperative Generaal Pardon, said: 'After a period of mourning he received his propellers posthumously.'
He added that Orville will soon be 'flying with the birds' stating: 'Oh how he loved birds. He will receive more powerful engines and larger props for his birthday. So this hopping will soon change into steady flight.''
'For anyone fed-up of the Dawkins Delusion that rationality and science are the answer to the human condition...'
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