Madrugada: 2011 - 2022
36 minutes ago
Monday 11 June 2012
Sunday 10 June 2012
Black Cab. Tonight. Smith Street. Melbourne
Doors: 9PM
Black Cab:11:30 - 12:30
Punk Britannia: Part 2 - Punk 1976-78
Three-part series about the history of punk. Daydreaming England was about to be rudely awakened as punk emerged from the London underground scene and a nation dropped its dinner in its lap when the Sex Pistols swore on primetime television. Punk had finally found its enemy - the establishment. It began to extend its three-chord vocabulary through an alliance with reggae, captured by the Clash on White Man in Hammersmith Palais. A disastrous PR stunt by the Pistols on a Thames barge marked a turning point - the darker underbelly of the summer of '77 saw race riots in Lewisham, the backdrop for a rawer, working class sound. By '78 punk was becoming a costume - the pop orthodoxy it had originally sought to destroy. For many punk ended when the Pistols split, beset by internal problems, following an abortive US tour in January '78. Those practitioners who would go on to enjoy sustained success sought to modify their sound to survive, such as Siouxsie Sioux, leading to the post-punk era
Saturday 9 June 2012
UN Observers enter Mazraat al-Qubeir
UN observers today entered the village of Mazraat al-Qubeir to verify
reports of mass killings in the village. After hours of coordination
with local authorities and communities in the area, the observers were
able to access the village at 3:30 local time.
Mazraat al-Qubier was empty of its own residents and thus the observers were not able to talk to anyone who witnessed Wednesday's horrific tragedy.
Upon the arrival of UN observers villagers from a neighbouring town came and spoke of what they heard and the relatives they lost.
Bmp tracks were visible in the vicinity. Some homes were damaged by rockets from bmps, grenades and a range of caliber weapons.
Inside some of the houses, the walls and floors were splatted with blood. Fire was still burning
outside houses and there was a strong stench of burnt flesh in the air.
The circumstances surrounding this crime are still unclear. The number and names of those killed are still not confirmed. The observers are still working to ascertain the facts.
The observers were not able to enter Mazraat al-Qubeir yesterday despite multiple attempts throughout the whole day. Their mission was obstructed by three factors:
• They are being stopped at Syrian Army checkpoints and in some cases turned back.
• Some of our patrols are being stopped by civilians in the area.
• We are receiving information from residents of the area that the safety of our observers is at risk if we enter village of Mazraat al-Qubeir.
SHOTLIST:
1. Various shots, UNSMIS military observers approaching Syria Al-Kubeir village
2. Close up of UNISMIS observer driving next to a shelled house
3. Close up walls of shelled house with holes and bullets marks
4. Wide, burning smoke outside house
5. Wide, wide hole from shelled house with UNSMIS military observers
on the background
6. Wide , various UNSMIS military observers walking inside Al-Kubeir village
7. Med, Inside house , unidentified men showing mattress spattered
with blood and bullet holes next on the walls
8. Close up of blood stained mattress
9. Med, Unidentified man holding sheet with some human flesh remains
10. Med, Blood stained floor
11. Close up pool of blood
13. Med, Unidentified man pointing at picture frame of man inside
house , then breaks down crying.
14. Wide, shelled house
15. Med, UNSMIS civilian staff going through rubble
16. (Soundbite )(Arabic) Man:
"Young children, infants, my brother,his wife and seven children, the eldest only in 6th grade all dead. I will show you the blood. They burnt his house."
17. Wide, of shelled village
18. Med, close up UN personnel gathering evidence on the ground
Mazraat al-Qubier was empty of its own residents and thus the observers were not able to talk to anyone who witnessed Wednesday's horrific tragedy.
Upon the arrival of UN observers villagers from a neighbouring town came and spoke of what they heard and the relatives they lost.
Bmp tracks were visible in the vicinity. Some homes were damaged by rockets from bmps, grenades and a range of caliber weapons.
Inside some of the houses, the walls and floors were splatted with blood. Fire was still burning
outside houses and there was a strong stench of burnt flesh in the air.
The circumstances surrounding this crime are still unclear. The number and names of those killed are still not confirmed. The observers are still working to ascertain the facts.
The observers were not able to enter Mazraat al-Qubeir yesterday despite multiple attempts throughout the whole day. Their mission was obstructed by three factors:
• They are being stopped at Syrian Army checkpoints and in some cases turned back.
• Some of our patrols are being stopped by civilians in the area.
• We are receiving information from residents of the area that the safety of our observers is at risk if we enter village of Mazraat al-Qubeir.
SHOTLIST:
1. Various shots, UNSMIS military observers approaching Syria Al-Kubeir village
2. Close up of UNISMIS observer driving next to a shelled house
3. Close up walls of shelled house with holes and bullets marks
4. Wide, burning smoke outside house
5. Wide, wide hole from shelled house with UNSMIS military observers
on the background
6. Wide , various UNSMIS military observers walking inside Al-Kubeir village
7. Med, Inside house , unidentified men showing mattress spattered
with blood and bullet holes next on the walls
8. Close up of blood stained mattress
9. Med, Unidentified man holding sheet with some human flesh remains
10. Med, Blood stained floor
11. Close up pool of blood
13. Med, Unidentified man pointing at picture frame of man inside
house , then breaks down crying.
14. Wide, shelled house
15. Med, UNSMIS civilian staff going through rubble
16. (Soundbite )(Arabic) Man:
"Young children, infants, my brother,his wife and seven children, the eldest only in 6th grade all dead. I will show you the blood. They burnt his house."
17. Wide, of shelled village
18. Med, close up UN personnel gathering evidence on the ground
Leaves Of The Horn (Trailer)
Qat is a natural amphetamine cultivated in the Horn of Africa. Its leaves are chewed by millions of people around the world, nurturing a business worth billions that connects the Kenyan and Ethiopian highlands to lands as far as the UK, the United States and China.
Labelled as a ‘drug of abuse’ by the World Health Organisation, Qat has been banned in most European countries for charges over funding international terrorism. Nonetheless, the qat trade provides livelihood to millions.
Friday 8 June 2012
Brooklyn Bridge suit will go forward
US District Court Southern District of New York Judge Jed RakoffWhat a huge debt this nation owes to its "troublemakers." From Thomas Paine to Martin Luther King, Jr., they have forced us to focus on problems we would prefer to downplay or ignore. Yet it is often only with hindsight that we can distinguish those troublemakers who brought us to our senses from those who were simply troublemakers. Prudence, and respect for the constitutional rights to free speech and free association, therefore dictate that the legal system cut all non-violent protesters a fair amount of slack.These observations are prompted by the instant lawsuit, in which a putative class of some 700 or so “Occupy Wall Street” protesters contend they were unlawfully arrested while crossing the Brooklyn Bridge on October 1, 2011. More narrowly, the pending motion to dismiss the suit raises the issue of whether a reasonable observer would conclude that the police who arrested the protesters had led the protesters to believe that they could lawfully march on the Brooklyn Bridge’s vehicular roadway.
Via
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
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