Wednesday, March 30, 2011
Tuesday, March 29, 2011
The Seeds of Doom is a serial in the British science fiction television series Doctor Who, which was first broadcast in six weekly parts from 31 January to 6 March 1976. "The Seeds of Doom" was the final serial of the programme’s popular Season 13 of 1975/76, placing the serial squarely within the Gothic Horror-influenced era of producer Philip Hinchcliffe and script editor Robert Holmes. The serial comprised the culmination of Tom Baker’s second series as the Doctor.
In Antarctica, British scientists Charles Winlett and Derek Moberley discover a pod buried in the permafrost, and take it back to their camp. John Stevenson, the base botanist identifies it as vegetable-based and estimates it has been buried in the ice for some twenty thousand years.
Back in London, Richard Dunbar of the World Ecology Bureau shows the Doctor photographs of the pod. Although he feels that the Doctor cannot help them, his superior Sir Colin Thackeray insisted. The Doctor examines the pictures and believes it to be extraterrestrial. He tells Dunbar to contact the expedition by their regular video link, and tell them not to touch it until he arrives.
Back at the base, Stevenson discovers that the pod is growing larger and he believes it is absorbing ultraviolet radiation. In England, Dunbar visits the estate of millionaire Harrison Chase. Chase's estate is filled with thousands of plants, and he considers it his mission to protect the plant life of Mother Earth. Dunbar has come to show him pictures of the pod, its possible extraterrestrial origin and hints that such a valuable specimen could easily disappear.... for a price. Dunbar gives Chase the location of the pod. Chase calls for one of his men, Scorby, telling him to take Keeler along.
At the base, Winlett is half asleep near the pod when it opens up. A frond-like tentacle whips out and stings his arm, causing Winlett to collapse in pain. When Stevenson and Moberley find him, Winlett's face is covered with green hives. The Doctor and Sarah arrive at the base. In the sickbay, Winlett's body temperature and pulse are dropping rapidly. His face and body are now covered with a green fungus, and its growth is accelerating. The Doctor asks for a blood test on Winlett, who is growing increasingly monstrous, and examines the now-empty pod. Stevenson acknowledges that it may be his fault; convinced that the pod was alive, he placed it under a lamp. Outside the base, the Doctor digs at the ice, uncovering another pod. Noting that the pods travel in pairs, the Doctors transfers it to the base freezer. On analysis, Winlett's blood is found to contain no blood platelets, but instead has schizophytes — microscopic organisms akin to plant bacteria.
The sound of engines is heard, and Moberley and Stevenson go meet what they presume is the medical team. The Doctor tells Sarah that Winlett is turning into a Krynoid, a kind of galactic weed that settles on planets and eats the animal life. Stevenson and Moberley escort two men —Scorby and Keeler— into the base. The new arrivals claim that their private plane got lost and wound up at the base. The Doctor leaves to check on Winlett, taking the others and leaving Scorby and Keeler alone.
Moberly is killed by the now mutated Winlett. Transformed into a Krynoid it flees the base and shelters in the outside generator hut. Scorby and Keeler -employees of Chase- hold the Doctor and others at gunpoint as they steal the remaining pod. Scorby and Keeler set up a bomb in the generator and escape in their plane. The Doctor and the others get free, but are attacked by the Krynoid, which kills Stevenson. The Doctor and Sarah flee the base as the bomb creates a chain reaction and destroys the whole area.
Regaining consciousness in the snow, the Doctor and Sarah are picked up by a team from South Bend in their Snow Cat vehicle. Meanwhile, Scorby and Keller return to Chase in England with the second pod. Dunbar is angered at how far Chase had gone to secure the pod, but warns Chase that the Doctor and Sarah are still alive, and are scheduled to meet with him and Sir Colin in two hours.
At the meeting, the Doctor and Sarah describe how well planned the theft of the pod was, but the Doctor believes that the two men were stooges. The discovery of the pod had only been reported to the Ecology Bureau, so the leak must have come from them. He tells Dunbar to arrange for him to go to the Botanic Institute. As they leave the building, a driver meets them claiming to be their ride. However, the limousine stops in the countryside, and the driver orders them out at gunpoint. With a bit of teamwork, the Doctor manages to jump the driver and punch him out. The Doctor and Sarah search the car, and find a painting by Amelia Ducat, one of the world's leading flower artists. When they visit her, Ducat tells them that the owner of the painting is Harrison Chase, and that he never paid her for the painting.
Keeler, who is a botanist himself, unsuccessfully tries to convince Chase to stop the experiments on the pod. Chase orders him to inject the pod with fixed nitrogen. Dunbar calls Chase and tells him that his driver is in the hospital, so when the Doctor and Sarah try to sneak into the mansion, they are spotted by some guards and Scorby, who capture them.
The Doctor and Sarah are brought before Chase, and despite having Scorby's gun at his head, the Doctor asks Chase grimly to hand over the pod. Chase politely refuses: He has the greatest collection of plants in the world, and when the pod flowers, it will be his crowning achievement. Before he executes them, Chase decides to show the Doctor and Sarah around the mansion, and his plant laboratory.
Keeler notes that the pod is growing, and tells Hargreaves, the butler, to summon Chase to the annex. There, Chase tells Keeler to inject more nitrogen into the pod. Scorby escorts the Doctor and Sarah into the gardens to kill them, but the two manage to overpower Scorby. The Doctor uses rope to lower Sarah down the wall so she can go and warn Sir Colin while he returns to the house to examine the pod. However, Sarah gets captured again.
The Doctor makes his way back into the mansion while Sarah is escorted by Scorby back to Chase. The Doctor watches through the skylight, horrified as Chase orders Sarah forced down to a chair, grabbing her arm and pinning it next to the pod. He wants to know what happens when the Krynoid touches human flesh. The Doctor rescues Sarah and in the confusion, a frond from the pod stings Keeler's arm. Keeler begs Chase to get him to a hospital, but Chase is more fascinated with the transformative process than saving Keeler's life. Chase and Hargreaves take Keller to the nearby cottage.
When the Doctor returns to the empty laboratory, he is captured by Scorby and a guard, who take him to the compost room. Scorby activates the crusher, remarking that Chase recycles everything. The main gate calls the house: Amelia Ducat is here demanding her money. To avoid a fuss, Chase agrees to see her. Meanwhile, Sarah has entered the cottage, and sees Keeler, who is still lucid, although covered with the Krynoid growth. She escapes back to the house and while in hiding, attracts Ducat's attention and asks her to take a message to Sir Colin. Outside, Ducat enters a car with Sir Colin and Dunbar inside, and tells them what Sarah said. Dunbar, realising he has made a terrible mistake, says he will go in and get the Doctor. He tells Sir Colin that, if he does not return in half an hour, to return to London and call UNIT.
Sarah finds her way into the compost room and turns off the crusher just in time to save the Doctor. Hargreaves finds that Keeler has now almost completed his transformation, and runs in a panic as the creature frees itself. In the mansion, Dunbar pleads with Chase to abandon the experiment as Hargreaves reports Keeler's transformation to Chase. Dunbar says that this has gone far enough, and he is going to get help. Chase tells Scorby to stop him.
Scorby pursues Dunbar through the grounds as the Doctor and Sarah find Keeler missing from the cottage. The Doctor takes a sword from over the fireplace and they leave to search for the Krynoid. Dunbar runs into the monster, which is far larger than the Winlett creature was, and no longer even humanoid. He shoots at it uselessly, and is held fast by the surrounding plant life as the Krynoid kills him. Dunbar's screams attract the attention of Scorby and the guards as well as the Doctor and Sarah. The latter get there first, the Doctor drawing the sword above Dunbar's body as the Krynoid lurches towards them. They manage to escape to a cottage and barricade themselves in. The Krynoid speaks using Keeler’s voice, demanding that the Doctor come out and join it and it will spare the others. Scorby is more than willing to give up the Doctor until Sarah Jane points out that without the Doctor they have no chance. The Doctor suggest Scorby rig up a bomb so they can all escape while the Krynoid is distracted.
Sir Colin gets through to Major Beresford for assistance and sends Amelia home.
Scorby throws his improvised bomb out an upstairs window and the Doctor makes a run for it. The Krynoid goes in pursuit, but the Doctor escapes in the limousine, leaving the Krynoid behind. Scorby tries to find Chase at the greenhouse and discovers where he is from Hargreaves. They begin barricading the windows in preparation for the Krynoid’s attack. Chase makes his way through the grounds and confronts the Krynoid. It notices him and he approaches, taking photographs. It moves toward him as Chase claims he doesn’t mean it harm.
The Doctor arrives at the Bureau as Major Beresford warns he can’t do anything without evidence. The Doctor warns the Krynoid can channel its power through other plants, turning vegetation against humans. He shows them a series of reports of deaths of people near Chase’s estates being killed by plants. He then calls Sarah Jane and tells them Beresford is preparing to attack the Krynoid with a laser gun, but the Krynoid cuts the phone wires. Chase arrives and tells them that it’s the plants’ world, and humans are only parasites. He goes to the manor to develop his photographs, then begins speaking to the plants in his greenhouse.
Scorby, Sarah Jane, and Hargreaves go in to confront Chase and he speaks of how the world will be made perfect. They can’t get through to him as he talks about how he is one with the plants and animals are the enemy. Sarah Jane notices that the plants are closing in on them. The Doctor and a UNIT soldier drive onto the grounds while the plants overwhelm Sarah Jane and the others and start to strangle them.
The Doctor and the UNIT soldier, Sgt. Henderson, arrive and brought chemical plant-killer. They dispose of the plants, saving Scorby and Sarah Jane while the older Hargreaves is dead. Chase runs away and the Doctor and the others make their way into the lab and start removing the plants. But once they're outside Chase locks the door behind them and they can only gaze in horror as the now enormous Krynoid towers over them. UNIT soldiers arrive and open fire with their laser gun, distracting the Krynoid so that the Doctor and his group can get to another door. The Doctor believes that Chase is possessed by the Krynoid and determines to find him and eliminate the threat he poses to them from within.
After they leave, Chase slips back into the laboratory and destroys the loudspeaker system. Unable to find the millionaire, the others return to the laboratory and the Krynoid tries to break its way in. Scorby starts to panic and wants to run, but the Doctor warns him that every plant on the grounds is under the Krynoid’s control. Meanwhile, Chase puts Henderson in the compost machine and activates it, killing the unconscious soldier.
The Doctor works to repair the loudspeaker system as the Krynoid renews its attack, and Scorby panics and runs for it. He tries to make his way across the grounds through fields of hostile plants and makes his way across a shallow pond, but the plants grab and pull him underwater, killing him.
The Doctor and Sarah Jane realize that Henderson is gone and Sarah Jane goes to look for the soldier. She makes her way to the compost machine room and Chase confronts her, telling him he’s become part of the plant world thanks to the Krynoid. Chase plans to support the Krynoid and refers to humanity as parasites, then attacks Sarah Jane and knocks her unconscious.
Beresford contacts the Doctor, who warns they have 15 minutes until the Krynoid germinates, spreading its seeds across England. The Doctor tells them to launch an air strike before it’s too late, and regardless of the fact he and Sarah Jane are at ground zero.
Chase has tied up the unconscious Sarah Jane and starts feeding her into the compost machine. The Doctor arrives, sends Chase flying, and shuts off the machine to untie Sarah Jane. He gets her out but Chase turns the machine back on and throws himself at the Doctor, and the two struggle inside the machine’s bin. The Doctor manages to climb out as Chase is pulled into the machine despite the Doctor’s efforts to save him.
The RAF launches a sighting run as Beresford and Sir Colin look for any signs of the Doctor. Sarah Jane and the Doctor can’t get out through the plant life covering the house but the Doctor rigs a steam pipe and they blast their way out. They make their way through the hostile plant life and take refuge in a clearing filled with cut-down trees, as the RAF opens fire and destroys the Krynoid along with the mansion.
Monday, March 28, 2011
Wednesday, March 23, 2011
The Last Time I Saw Paris is a 1954 romantic drama made by MGM. It is loosely based on F. Scott Fitzgerald 's short story Babylon Revisited. It was directed by Richard Brooks, produced by Jack Cummings and filmed on locations in Paris and the MGM backlot. The screenplay was by Julius J. Epstein, Philip G. Epstein and Richard Brooks. The film is currently in the public domain.
The film starred Elizabeth Taylor and Van Johnson in his last role for MGM, with Walter Pidgeon, Donna Reed, Eva Gabor, Kurt Kasznar, George Dolenz, Sandy Descher and Roger Moore in his Hollywood debut.
The film's title song, by composer Jerome Kern and lyricist Oscar Hammerstein II, was already a classic when the movie was made and inspired the movie's title. Though the song had already won an Oscar after its film debut in 1941's Lady Be Good, it is featured much more prominently in "The Last Time I Saw Paris." It can be heard in many scenes, either being sung by Odette Myrtil or being played as an instrumental.
Tuesday, March 22, 2011
The Who Boys: "Frank's Here"
Colatron: "Sycamore Cowboys"
Voicedude: "Velvet Dreams"
Neiltomo: "This is David Lynch"
The Reborn Identity: "Violent at Heart"
Phil RetroSpector: "In My Twin Life"
From the album Mashed in Plastic http://www.mashedinplastic.co.uk (Download a whole album of this unholy shit from the link.....)
I AM is an utterly engaging and entertaining non-fiction film that poses two practical and provocative questions: what’s wrong with our world, and what can we do to make it better? The filmmaker behind the inquiry is Tom Shadyac, one of Hollywood’s leading comedy practitioners and the creative force behind such blockbusters as “Ace Ventura,” “Liar Liar,” “The Nutty Professor,” and “Bruce Almighty.” However, in I AM, Shadyac steps in front of the camera to recount what happened to him after a cycling accident left him incapacitated, possibly for good. Though he ultimately recovered, he emerged with a new sense of purpose, determined to share his own awakening to his prior life of excess and greed, and to investigate how he as an individual, and we as a race, could improve the way we live and walk in the world.
Armed with nothing but his innate curiosity and a small crew to film his adventures, Shadyac set out on a twenty-first century quest for enlightenment. Meeting with a variety of thinkers and doers–remarkable men and women from the worlds of science, philosophy, academia, and faith–including such luminaries as David Suzuki, Noam Chomsky, Howard Zinn, Archbishop Desmond Tutu, Lynne McTaggart, Ray Anderson, John Francis, Coleman Barks, and Marc Ian Barasch – Shadyac appears on-screen as character, commentator, guide, and even, at times, guinea pig. An irrepressible “Everyman” who asks tough questions, but offers no easy answers, he takes the audience to places it has never been before, and presents even familiar phenomena in completely new and different ways. The result is a fresh, energetic, and life-affirming film that challenges our preconceptions about human behavior while simultaneously celebrating the indomitable human spirit.
The pursuit of truth has been a lifelong passion for Shadyac. “As early as I can remember I simply wanted to know what was true,” he recalls, “and somehow I perceived at a very early age that what I was being taught was not the whole truth and nothing but the truth.” He humorously describes himself as “questioning and searching and stumbling and fumbling toward the light.” The “truth” may have been elusive, but success wasn’t. Shadyac’s films grossed nearly two billion dollars and afforded him the glamorous and extravagent A-List lifestyle of the Hollywood blockbuster filmmaker. Yet Shadyac found that more – in his case, a 17,000-square foot art-filled mansion, exotic antiques, and private jets — was definitely less. “What I discovered, when I began to look deeply, was that the world I was living in was a lie,” he explains. “Much to my surprise, the accumulation of material wealth was a neutral phenomenon, neither good or bad, and certainly did not buy happiness.” Gradually, with much consideration and contemplation, he changed his lifestyle. He sold his house, moved to a mobile home community, and started life—a simpler and more responsible life – anew.
But, at this critical juncture, Shadyac suffered an injury that changed everything. “In 2007, I got into a bike accident which left me with Post Concussion Syndrome, a condition where the symptoms of the original concussion don’t go away.” These symptoms include intense and painful reactions to light and sound, severe mood swings, and a constant ringing sound in the head. Shadyac tried every manner of treatment, traditional and alternative, but nothing worked. He suffered months of isolation and pain, and finally reached a point where he welcomed death as a release. “I simply didn’t think I was going to make it,” he admits.
But, as Shadyac wisely points out, “Death can be a very powerful motivator.” Confronting his own mortality, he asked himself, “If this is it for me – if I really am going to die – what do I want to say before I go? What will be my last testament?” It was Shadyac’s modern day dark night of soul and out of it, I AM was born. Thankfully, almost miraculously, his PCS symptoms began to recede, allowing him to travel and use his movie-making skills to explore the philosophical questions that inhabited him, and to communicate his findings in a lively, humorous, intellectually-challenging, and emotionally-charged film.
But this would not be a high-octane Hollywood production. The director whose last film had a crew of 400, assembled a streamlined crew of four, and set out to find, and film, the thinkers who had helped to change his life, and to seek a better understanding of the world, its inhabitants, their past, and their future. Thus, Shadyac interviews scientists, psychologists, artists, environmentalists, authors, activists, philosophers, entrepreneurs, and others in his quest for truth. Bishop Desmond Tutu, Dr. Noam Chomsky, historian Dr. Howard Zinn, physicist Lynne McTaggart, and poet Coleman Banks are some of the subjects who engage in fascinating dialogue with Shadyac.
Shadyac was very specific about what he was after, wanting I AM to identify the underlying cause of the world’s ills – “I didn’t want to hear the usual answers, like war, hunger, poverty, the environmental crisis, or even greed,” he explains. “These are not the problems, they are the symptoms of a larger endemic problem. In I AM, I wanted to talk about the root cause of the ills of the world, because if there is a common cause, and we can talk about it, air it out in a public forum, then we have a chance to solve it.”
Ironically, in the process of trying to figure out what’s wrong with the world, Shadyac discovered there’s more right than he ever imagined. He learned that the heart, not the brain, may be man’s primary organ of intelligence, and that human consciousness and emotions can actually affect the physical world, a point Shadyac makes with great humor by demonstrating the impact of his feelings on a bowl of yogurt. And, as Shadyac’s own story illustrates, money is not a pathway to happiness. In fact, he even learns that in some native cultures, gross materialism is equated with insanity.
Shadyac also discovers that, contrary to conventional thinking, cooperation and not competition, may be nature’s most fundamental operating principle. Thus, I AM shows consensus decision-making is the norm amongst many species, from insects and birds to deer and primates. The film further discovers that humans actually function better and remain healthier when expressing positive emotions, such as love, care, compassion, and gratitude, versus their negative counterparts, anxiety, frustration, anger and fear. Charles Darwin may be best known for popularizing the notion that nature is red in tooth and claw, but, as Shadyac points out, he used the word love 95 times in The Descent of Man, while his most famous phrase,survival of the fittest, appears only twice.
“It was a revelation to me that for tens of thousands of years, indigenous cultures taught a very different story about our inherent goodness,” Shadyac marvels. “Now, following this ancient wisdom, science is discovering a plethora of evidence about our hardwiring for connection and compassion, from the Vagus Nerve which releases oxytocin at simply witnessing a compassionate act, to the Mirror Neuron which causes us to literally feel another person’s pain. Darwin himself, who was misunderstood to believe exclusively in our competitiveness, actually noted that humankind’s real power comes in their ability to perform complex tasks together, to sympathize and cooperate.”
Shadyac’s enthusiastic depiction of the brighter side of human nature and reality, itself, is what distinguishes I AM from so many well-intentioned, yet ultimately pessimistic, non-fiction films. And while he does explore what’s wrong with the world, the film’s overwhelming emphasis is focused on what we can do to make it better. Watching I AM is ultimately, for many, a transformative experience, yet Shadyac is reluctant to give specific steps for viewers who have been energized by the film. “What can I do?” “I get asked that a lot,” he says. “But the solution begins with a deeper transformation that must occur in each of us. I AM isn’t as much about what you can do, as who you can be. And from that transformation of being, action will naturally follow.”
Shadyac’s transformation remains in process. He still lives simply, is back on his bicycle, riding to work, and teaching at a local college, another venue for sharing his life-affirming discoveries. Reflecting Shadyac’s philosophy is the economic structure of the film’s release; all proceeds from I AM will go to The Foundation for I AM, a non-profit established by Shadyac to fund various worthy causes and to educate the next generation about the issues and challenges explored in the film. When he directs another Hollywood movie, the bulk of his usual eight-figure fee will be deposited into a charitable account, as well. “St. Augustine said, ‘Determine what God has given you, and take from it what you need; the remainder is needed by others.’ That’s my philosophy in a nutshell,” Shadyac says, “Or as Gandhi put it, ‘Live simply, so others may simply live.’”
Shadyac’s enthusiasm and optimism are contagious. Whether conducting an interview with an intellectual giant, or offering himself as a flawed character in the narrative of the film, Shadyac is an engaging and persuasive guide as we experience the remarkable journey that is I AM. With great wit, warmth, curiosity, and masterful storytelling skills, he reveals what science now tells us is one of the principal truths of the universe, a message that is as simple as it is significant: We are all connected – connected to each other and to everything around us. “My hope is that I AM is a window into Truth, a glimpse into the miracle, the mystery and magic of who we really are, and of the basic nature of the connection and unity of all things. In a way,” says Shadyac, a seasoned Hollywood professional who has retained his unerring eye for a great story, “I think of I AM as the ultimate reality show.”
Written & Directed by: Tom Shadyac
Producer: Dagan Handy
Editor: Jennifer Abbott
Co-Producer: Jacquelyn Zampella
Associate Producer :: Nicole Pritchett
Director of Photography: Roko Belic
Executive Producers: Jennifer Abbott, Jonathan Watson
Media and PR Coordinator: Harold Mintz
Graphic Designers: Yusuke Nagano, Barry Thompson
Release Dates: March 11, 2011 – Los Angeles, March 18, 2011 – New York
Running Time: 80 minutes
Rating: Not rated
Sunday, March 20, 2011
Tuesday, March 15, 2011
Cracked Actor, the BBC produced Bowie documentary focusing on the changeling’s time spent in LA post-Ziggy/pre-Station To Station, is a raw—at times unsettling—look into the artist’s life and career during the mid ’70s. A period often mythologized as a sort of hedonistic manifest destiny gone purgatorial limbo, the always svelte Bowie is positively skeletal here—a physical deterioration that when coupled with some of the film’s archival interviews goes a long way to show just how precipitous Bowie’s stay in Los Angeles really was. In short, Cracked is a candid, essential, watch for Bowie completests, especially for those interested in this period of his career.
Originally broadcast by the BBC in 1975, the documentary has been available on DVD (via dubious gray market bootlegs) and is widely circulated online. You can stream it below, in its entirety, or watch it here.
Monday, March 14, 2011
Ivor Cutler (15 January 1923 – 3 March 2006) was a Scottish poet, songwriter and humorist. He became known for his regular performances on BBC radio, and in particular his numerous sessions recorded for John Peel's influential radio programme, and later for Andy Kershaw's programme. He appeared in the Beatles' Magical Mystery Tour film in 1967 and on Neil Innes' television programmes. Cutler also wrote books for children and adults and was a teacher at A. S. Neill's Summerhill School and for 30 years in inner-city schools in London. He told Andy Kershaw on his radio show that he also gave private poetry lessons to individuals.
In live performances Cutler would often accompany himself on a harmonium. Phyllis King appears on several of his records, and for a number of years was a part of his concerts. She usually read small phrases but also read a few short stories. The two starred in a BBC radio series, King Cutler, in which they performed their material jointly and singly. Cutler was known to have had a long term relationship with King, but they never married or set up home together. Cutler also collaborated with pianist Neil Ardley and singer Robert Wyatt.
Cutler was an anti-intellectual and noted eccentric, dressing in a distinctive style including plus-fours and hats adorned with many badges, travelling mainly by bicycle and often communicating by means of sticky labels printed with "Cutlerisms", one of which, "never knowingly understood" came to be summary applied by supporters and detractors alike. Others included "Kindly disregard", reserved for official correspondence, and "to remove this label take it off", designed to confuse pedants.
Many of Cutler's poems and songs involve conversations delivered as a monologue and, in these, one party is often Cutler as a child, a part of his intended "bypassing the intellect". Cutler describes poverty and neglect from his parents with great stoicism. He focuses on acceptance and gratitude for the basic elements of life, nature and love, which allows him to make points about mother-love in particular. The humour develops from the child's curiosity and the playful or self-serving lies the parent tells him to get, for example, a chore done or simply to stop the incessant questions. Cutler recited his poems in a gentle Scottish burr, and this, combined with the absurdity of the subject matter, is a mix that earned him a faithful cult following. John Peel once remarked that Cutler was probably the only performer whose work had been featured on Radio 1, 2, 3 and 4. Cutler was a member of the Noise Abatement Society and the Voluntary Euthanasia Society. He retired from performing in 2004, and died on 3 March 2006. The reception room of his home contained a number of pieces of ivory cutlery, deliberately intended as a pun on his name.
Sunday, March 13, 2011
Krautrock legends Can on German TV 1971, fooling around, playing foosball, jamming, talking about politics.
Can was an experimental rock band formed in Cologne, West Germany in 1968. Later labeled as one of the first "krautrock" groups, they transcended mainstream influences and incorporated strong minimalist and world music elements into their often psychedelic music.
Can constructed their music largely through collective spontaneous composition –– which the band differentiated from improvisation in the jazz sense –– sampling themselves in the studio and editing down the results; bassist/chief engineer Holger Czukay referred to Can's live and studio performances as "instant compositions". They had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. Through albums such as Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), the band exerted a considerable influence on avant-garde, experimental, underground, ambient, punk, post-punk, new wave and electronic music.
Mother Sky (Live German TV)
Paper House (Live on German TV)
Sing Swan Song (Live in Paris)
Vitamin C (Live Fragment)
CAN are a band of such great genius and free creative energy. A universe in sound.
Wednesday, March 09, 2011
The Century Of Self Part 1: Happiness Machines
The story of the relationship between Sigmund Freud and his American nephew, Edward Bernays. Bernays invented the public relations profession in the 1920s and was the first person to take Freud's ideas to manipulate the masses. He showed American corporations how they could make people want things they didn't need by systematically linking mass-produced goods to their unconscious desires. Bernays was one of the main architects of the modern techniques of mass-consumer persuasion, using every trick in the book, from celebrity endorsement and outrageous PR stunts, to eroticising the motorcar. His most notorious coup was breaking the taboo on women smoking by persuading them that cigarettes were a symbol of independence and freedom. But Bernays was convinced that this was more than just a way of selling consumer goods. It was a new political idea of how to control the masses. By satisfying the inner irrational desires that his uncle had identified, people could be made happy and thus docile. It was the start of the all-consuming self which has come to dominate today's world. (Excerpt from BBC Site)
"This series is about how those in power have used Freud's theories to try and control the dangerous crowd in an age of mass democracy." - Adam Curtis
Wednesday, March 02, 2011
“A Day In The Afterlife,” a 1994 BBC documentary that revisits Dick’s life (troubled at times) and his sprawling body of literary work. The doc runs an excellent 57 minutes, and I should mention that three Philip K. Dick works appear in Free Audio Books, all thanks to Librivox.