“Maximum Penetration,” a Pussy Galore video compilation that came out in 1987.
Pussy Galore was an American band that formed in Washington, D.C. in 1985. They had a constantly fluid line-up until their demise in 1990. The band broke new ground in the mix of industrial and punk genres. They also preempted the Copy cultures that became popular in the nineties, with entire albums released that were covers of other band's albums. Many of the members of Pussy Galore went on to play in other bands or start their own, which then became critically acclaimed if not always mainstream popular.
1. Pig Sweat 2. White Noise 3. Just Wanna Die 4. Nothing Can Bring Me Down 5. Biker Rock Loser 6. Constant Pain 7. Rope Legend 8. Pussy Stomp 9. NYC: 1999! 10. Cunt Tease 11. When I Get Off 12. Get Out 13. Pretty Fuck Look 14. Trash Can 15. Die Bitch 16. Spin Out 17. Kill Yourself 18. No Count 19. Fuck You, Man 20. Alright [Cut]
Jon Spencer (guitar, vocals); Julie Cafritz (guitar, vocals); Kurt Wolf (guitar); Neil Hagerty (guitar); Bob Bert (drums).
Chelsea Girls is a 1966 experimental underground film directed by Andy
Warhol and Paul Morrissey. The film was Warhol's first major commercial
success after a long line of avant-garde art films (both feature length
and short). It was shot at the Hotel Chelsea and other locations in New
York City, and follows the lives of several of the young women who live
there, and stars many of Warhol's superstars. It is presented in a split
screen, accompanied by alternating soundtracks attached to each scene
and an alternation between black-and-white and color photography. The
original cut runs at just over three hours long.
The title,
Chelsea Girls, is a reference to the location in which the film takes
place. It was the inspiration for star Nico's 1967 debut album, Chelsea
Girl. The album featured a ballad-like track titled "Chelsea Girls",
written about the hotel and its inhabitants who appear in the film.
The
film was shot in the summer and early autumn of 1966 in various rooms
and locations inside the Hotel Chelsea. Filming also took place at
Warhol's studio "The Factory." Appearing in the film were many of
Warhol's regulars, including Nico, Brigid Berlin, Gerard Malanga, Mary
Woronov as Hanoi Hannah, Ingrid Superstar, International Velvet and Eric
Emerson.
Once principal photography wrapped, Warhol and
co-director Paul Morrissey selected the twelve most striking vignettes
they had filmed and then projected them side-by-side to create a visual
juxtaposition of both contrasting images and divergent content (the
so-called "white" or light and innocent aspects of life against the
"black" or darker, more disturbing aspects.) As a result, the 6½ hour
running time was essentially cut in half, to 3 hours and 15 minutes.
However, part of Warhol's concept for the film was that it would be
unlike watching a regular movie, as the two projectors could never
achieve exact synchronization from viewing to viewing; therefore,
despite specific instructions of where individual sequences would be
played during the running time, each viewing of the film would, in
essence, be an entirely different experience.
Several of the
sequences have gone on to attain a cult status, most notably the "Pope"
sequence, featuring avant-garde actor and poet Robert Olivo, or Ondine
as he called himself, as well as a segment featuring Mary Woronov
entitled "Hanoi Hannah," one of two portions of the film scripted
specifically by Tavel.
The cast of the film is largely made up of persons playing themselves, and are credited as so:
Brigid Berlin as herself (The Duchess) Nico as herself Ondine as himself (Pope) Ingrid Superstar as herself Randy Bourscheidt as himself Angela 'Pepper' Davis as herself Christian Aaron Boulogne (Nico's son) as himself (as Ari) Mary Woronov as Hanoi Hannah Ed Hood as himself Ronna as herself International Velvet as herself Rona Page as herself Albert Rene Richard as himself Dorothy Dean as herself Patrick Flemming as himself Eric Emerson as himself Donald Lyons as himself Edie Sedgwick as herself (footage cut) Gerard Malanga as Son Marie Menken as Mother Arthur Loeb as himself Mario Montez as Transvestite
Chelsea
Girls is largely unavailable for home video format. The film belongs to
the Andy Warhol Foundation, and it, along with Warhol's other films
(apart from a handful of his screen tests, which have since been
released on DVD)[7] have never seen home video releases in the United
States. In Europe, however, a handful of Warhol's films were released on
DVD, including a short-lived DVD print of Chelsea Girls which was
available in Italy for some time. This Italian DVD print, which is the
film's only official home video release, was released on September 16,
2003.
Jean-Michel Basquiat: The Radiant Child is a respectfully vivid, accurate, and entertaining homage to a painter who led a radical life and left an ambitious body of work behind after his premature death. The film opens with 1986 footage of Basquiat being interviewed in a hotel room by friends Becky Johnston and director Tamra Davis. For Basquiat fans, this film will prove essential viewing to flesh out an understanding of downtown New York's art scene in the 1980s, and to see Basquiat's pivotal role in this. While Downtown 81 is an awesome fictionalized portrait of Basquiat and his crew, and Julian Schnabel's feature Basquiat serves as tribute via Schnabel's dramatic artistic interpretation, Radiant Child offers the best possible documentary coverage of Basquiat's triumph and demise.
This feature-length film, constructed after Davis unearthed her 10-years-buried Basquiat footage to make a 20-minute short, then buried that another 10 years because of her strong wish to avoid exploitation, contains so much footage of Basquiat painting, partying, and being his charismatic self that one trusts it immediately. Additionally, Davis has interviewed every affiliated gallerist, among them Diego Cortez, Larry Gagosian, Bruno Bischofberger, Tony Shafrazi, Annina Nosei, and Jeffrey Deitch, not to mention all of Basquiat's surviving close friends, including Schnabel, Fab 5 Freddy, Glenn O'Brien, Maripol, and Thurston Moore. The film, organized chronologically to chart Basquiat's move out of Brooklyn to Manhattan, his beginnings as an itinerant street artist named Samo, his rise to gallery stardom, and his struggles at the end, marks time by showing paintings throughout that commemorate moments in Basquiat's life.
While the film obviously ends on a melancholy note as a warning about sudden fame and fortune, this film is ultimately more than a documentary about one man. It is a well-made testament, from the actual participants' perspectives, about what conspired in New York to allow Basquiat to shine. For viewers who recall those times, it may feel nostalgic; for viewers who glorify 1980s New York, this film will solidify New York's greatness; viewers who are artists may identify most, as one experiences a glimpse of a New York lifestyle that has come and gone.
"As I had discovered, Jean-Michel could be pretty awful. He also could be very kind and sweet, and The Radiant Child apparently showcases that side of Jean's character. In my presence he was often very paranoid about the people surrounding him, and he certainly was right to be that way as so many people were using him in one way or another. At least one of the people who was around his studio stole drawings, and I tend to think that Jean liked to be stolen from:
he could then amaze the thief by confronting them and knowing exactly what they had taken." - John Seed, Driving Mr. Basquiat
He died on Friday August 22 1988 at his live in studio at 57 Great Jones Street, amidst a heatwave in New York, alone and using. A girlfriend in the lounge downstairs, who waited for him to wake up alone. He was a junkie, a genius and too young but so wise.
"Basquiat was buried at Green-Wood Cemetery in Brooklyn five days later. His father invited only a few of the artist's friends to the closed-casket funeral at Frank Campbell's; they were outnumbered by the phalanx of art dealers. The heat wave had broken, and it rained on the group gathered at the cemetery to bid Jean-Michel goodbye. The eulogy was delivered by Citibank art consultant Jeffrey Deitch, lending the moment an unintentionally ironic tone.
Blanca Martinez, Basquiat's housekeeper, was struck by the alienated attitude of the mourners. "They were all standing separately, as if it were an obligation," she says. "They didn't seem to care. Some looked ashamed." People began to leave the cemetery before the body was buried. Ignoring the objections of the gravediggers, Martinez tearfully threw a handful of dirt onto the coffin as they lowered it into the grave." From Basquiat - A Quick Killing in Art By PHOEBE HOBAN
In the studio apartment was found finished and unfinished paintings, other artists' works (including several dozen Warhols and a piece by William Burroughs), a vintage collection of Mission furniture, a closet full of Armani and Comme des Garcons suits, a library of over a thousand videotapes, hundreds of audiocassettes, art books, a carton of the Charlie Parker biography Bird Lives!, several bicycles, a number of antique toys, an Everlast punching bag, six music synthesizers, some African instruments, an Erector set, and a pair of handcuffs.
Sounds from the West of England are unique, and suffer from none of the
second-city rivalries and hang-ups of other national centers of musical
excellence. This is cutting-edge music - without boundaries, free to
experiment, bred from a rich cultural mix-up and fed on an independence
of spirit - that has always stood on its own terms. Sounds of the West
is the showcase for this music, its history and influence, and it
includes commentary by Phil Johnson (author of Straight Outa Bristol)
and John Mitchell. It focuses on three formats: Techno, Drum 'n' Bass,
and Dub Out West and features artists such as Pete Kowalski (Death Row
Techno), Producer, Subvision, Way Out West (Nick Warren & Jody
Wisternoff), The Advent, Scorpio, Roni Size, Ray Mighty, Ruffneck Ting
(MC Jakes & DJ Dazee), Full Cycle (DJ Krust & MC Dynamite), DJ
Die, Virginia Lynch, Flynn & Flora, Gaffa, Black Roots, Prince
Green, Orange Street with Delroy O'Gilvie, Jah Trinity Sound System, Ray
Mighty, Henry & Louis, and The Rhythmites.
This cutting-edge
music series focuses on the unique and independent-spirited tunes
coming out of Bristol and the rest of west England. Part 1,2 & 3
focuses on the musical areas known as "techno," "drum 'n' bass," and
"dub out West." Part 4 is punk to avant garde.
We've all been there:
in the lapses after midnight, stumbling down unfamiliar gutters after
one too many for the road and looking for inviting lights before they
call last orders. James is trying to lose himself, but in a fractured
men's room mirror finds the eyes that have been waiting for him.
Following
from the unnerving prelude Act of Faith, Alan Moore and Mitch Jenkins
unveil a phantasmagoric English dreamtime made of goosefleshed pin-up
girls, burned out comedians and faulty lights, with judgement just
behind the tinsel
Jimmy's End pulls back the purple drapes upon an intricate new planet of desire and mystery. We've all been there.
Breaking the Taboo: The Truth About the War on Drugs is a 2015 Brazilian documentary on the War on Drugs (1971-) in which countless lives have been lost or destroyed at a cost of billions of dollars. This film is narrated by Morgan Freeman and is a harrowing account of how drugs policy is enacted on the ground around the world. From the slums of Baltimore to the mountains of Afghanistan a violent campaign is being waged against the production, distribution and consumption of illegal narcotics. But when viewed in light of human rights and harm minimization the cost of the War on Drugs can be argued to outstrip the cost of addiction and health problems from taking drugs.
The film also had repercussions in the English newspaper The Guardian: "The documentary highlights the perils of debating an issue so clouded by ideology and calls for an end to the stigmatization of the debate. It boasts the support of several former world leaders including Bill Clinton and Jimmy Carter."
"The War on Drugs has failed. After 50 years of prohibition, illicit
drugs are now the third most valuable industry in the world after food
and oil, all in the control of criminals. Drugs are cheaper and more
available than ever before. Millions of people are in prison for drugs
offences. Corruption and violence, especially in producer and transit
countries, endangers democracy. Tens of thousands of people die each
year in drug wars."
Austin Osman Spare (30 December 1886 – 15 May 1956) was an English artist and occultist who worked as both a draughtsman and a painter. Influenced by symbolism and the artistic decadence of art nouveau, his art was known for its clear use of line, and its depiction of monstrous and sexual imagery. In an occult capacity, he developed idiosyncratic magical techniques including automatic writing, automatic drawing and sigilization based on his theories of the relationship between the conscious and unconscious self.
Examined Life pulls philosophy out of academic journals and classrooms, and puts it back on the streets. In Examined Life, filmmaker Astra Taylor accompanies some of today's most influential thinkers on a series of unique excursions through places and spaces that hold particular resonance for them and their ideas. Peter Singer's thoughts on the ethics of consumption are amplified against the backdrop of Fifth Avenue's posh boutiques. Michael Hardt ponders the nature of revolution while surrounded by symbols of wealth and leisure. Judith Butler and a friend stroll through San Francisco's Mission District questioning our culture's fixation on individualism. And while driving through Manhattan, Cornel West - perhaps America's best-known public intellectual - compares philosophy to jazz and blues, reminding us how intense and invigorating a life of the mind can be. Offering privileged moments with great thinkers from fields ranging from moral philosophy to cultural theory, Examined Life reveals philosophy's power to transform
the way we see the world around us and imagine our place in it.
Jimi Hendrix Experience live at Konserthuset, Stockholm, Sweden January 9th 1969. Jimi would have turned 70 years old today.
Set List:
I Don't Live Today
Spanish Castle Magic
Hey Joe (The Leaves cover)
Voodoo Child (Slight Return)
Sunshine of Your Love (Cream cover)
Red House
Fire
Purple Haze
The Star-Spangled Banner (John Stafford Smith cover)
The fifth in a series of very hard to find films on Borneo produced by Tom Harrisson and Hugh Gibb and first broadcast on the BBC in the late 1950s.
The culture and lifestyle of the Iban Sea Dayaks living on the Skrang River are documented. Included are religious practices, agriculture, cooking methods, textiles, and headhunting. Hugh Gibb and Tom Harrisson for British television. (1956)
A TV documentary adaptation by John Pilger, The Secret Country is first a disturbing account of the genocide that took place in Australia under colonial settlement. It then details the struggle and successes of the Aboriginal people of Australia from the 1970s to the 80s. I finished high school in rural Queensland the year this program was broadcast. I read Pilger's book A Secret Country when I started university in the late 1980s and it was a total revelation for me. As Pilger states in this program, there was the official version of events that were taught in school, and then there was the truth. I was shocked by this truth and it has effected my whole life since I learned of it.
Today things have continued to change for indigenous Australians and the majority community in Australia. Since this program was made we have had Mabo, The Bringing them Home Report, Little Children are Sacred and the Intervention. The attitude towards Aboriginal people in Australia by the wider community has shifted, for the better I am tempted to say. However, there remains no elected collective body for decision making for Aboriginal peoples (ATSIC was abolished in 2005) and health, education and economic conditions for Aborigines remain extremely poor in many parts of the country. Land disputes are still common and Aboriginal incarceration is totally disproportionate. Deaths in police custody of Aboriginal people are regular. Australia must still come to terms with its horrific colonial past and address the inequality and injustices of the present time.
HRC President Chad Griffin presents Director and Producer Lana Wachowski with the HRC Visibility Award at the 2012 HRC San Francisco gala. Lana speaks of her journey and why now is the most important time to get involved in the fight for LGBT equality.
"Every human life represents a negotiation between the public and the private"
"Anonymity allows you access to civic space, to a form of participation in public life, to an egalitarian invisibility"
"Knowledge had the materiality, not unlike the materiality of a ladder, that could be used to gain access to places and worlds that were previously unimaginable".
During the shooting of Andrei Tarkovsky's last film Offret, cameraman Arne Carlsson taped around 50 hours of behind the scenes footage. Editor Michal Leszczylowski took the material and added scenes of previous interviews and interesting statements from the script of Offret and from Tarkovsky's book 'Sculpting in Time'. The result is a documentary that shows the way Tarkovksy worked: carefully building each scene. Shows why he did the things he did: his vision on film. And shows the emotion of the man Tarkovsky: his great disappointment when the camera breaks while shooting the house going up in flames.
Richard Linklater‘s low-key debut Slacker. He constructed the 1991 film as a series of set pieces —
some irreverent, some meandering, and some bizarre, but most all of them
with stealthily universal resonance — taking place across the college
town of Austin, Texas. Douglas Coupland having coined the term
“Generation X” with his eponymous novel less than four months before,
the North American zeitgeist had come to take serious, if smirking,
notice of all these slouchy twenty-somethings who seemed to turn up
without warning, spouting endless streams of ideas, theories,
wisecracks, and elaborate plans, yet drained of anything recognizable as
ambition. These slackers, as we now call them without hesitation, make
up the dramatis personæ of Slacker. You can see them in their own peculiar type of action by watching the picture free online.
Sing Me A Song - T.Rex All Around The World I've Been Looking - The Jam I Love To Boogie - T.Rex Cool Wind From The North - Stephanie No Russians In Russia - Radio Stars Heart Throb's Dance (You Made Me Believe In Magic / DCR) Celebrate Summer - T.Rex You Have What It Takes - Showaddywaddy Jeepster - T.Rex
Motherboard's documentary on Occupy Wall Street, hacktivism, and the
hackers trying to build a distributed network for the Occupy movement
and beyond.
Mesh networking (topology) is a type of networking where each node must not only capture and disseminate its own data, but also serve as a relay for other nodes, that is, it must collaborate to propagate the data in the network.
A mesh network can be designed using a flooding technique or a routing technique. When using a routing technique, the message propagates along a path, by hopping
from node to node until the destination is reached. To ensure all its
paths' availability, a routing network must allow for continuous
connections and reconfiguration around broken or blocked paths, using self-healing algorithms. A mesh network whose nodes are all connected to each other is a fully connected network. Mesh networks can be seen as one type of ad hoc network. Mobile ad hoc networks
(MANET) and mesh networks are therefore closely related, but MANET also
have to deal with the problems introduced by the mobility of the nodes.
The self-healing capability enables a routing based network to
operate when one node breaks down or a connection goes bad. As a result,
the network is typically quite reliable, as there is often more than
one path between a source and a destination in the network. Although
mostly used in wireless scenarios, this concept is also applicable to
wired networks and software interaction.
A revealing look into the bands comprising the 1978 London punk-rock scene, and a peek back-stage at the lives behind the facade. Includes performances by Sex Pistols, Siouxsie and the Banshees, Eater, and other concurrent bands.
Most of the bands were filmed at the Roxy club in London, where Don Letts worked as a DJ. Letts filmed the bands very simply with a Super-8 camera, and also filmed on the tour bus and at shows with The Clash and The Slits. The Sex Pistols were filmed at Screen on the Green in London on 3 April 1977, Sid Vicious's first show with the band.
We like to eat because we wouldn’t survive without the energy that
food gives us. We like sex because without it we wouldn’t still be here.
But why do we like dancing and singing?
Eduardo Punset interviews the Neuroscientist Lawrence Parsons,
who researches the relationship of human beings with music and dance.
Some of the topics that are dealt with have do to with the evolutionary
origin of dance and music, the relationship of dance with language, the
relationship between emotions and dance, and how learning music and
dance links different zones of the brain, which is good for the working
memory and planning capacity.
To find out more:
* ‘So You Think You Can Dance?: PET Scans Reveal Your Brain’s Inner Choreography‘,
article by Lawrence Parsons and Steven Brown in Scientific American in
which they explain recent studies where complex neuronal choreographies
have been discovered that support our ability to dance.
* ‘We Got Rhythm; the Mystery Is How and Why‘, article by Nicholas Wade in the New York Times.
* ‘Singing in the Brain‘, article in the San Diego Union Tribune.
* ‘Music on the Brain‘, article in the Harvard University Gazette.
Jared Diamond is the author of "Guns, Germs and Steel" and the current New York Times' best selling "Collapse: How Societies Choose to Fail or Succeed." This lecture examines the factors that caused great civilizations of the past to collapse and what we can learn from their fates. Series: "Voices"
Be Glad For the Song Has No Ending (1970) is a film that captures the hippiness of TISB and while it is at times dated and silly, there’s no denying the film is a spirited bit of whimsy that falls into the kind of strangely compeling vanity projects that many bands of the era were involved in, most notably Led Zeppelin’s The Song Remains The Same and The Beatles’ Magical Mystery Tour. No one will mistake these films as great works of art but they are trippy glimpses into what happens when musicians and Purple Owsley cross paths.
Super Size Me is a 2004 American documentary film directed by and starring Morgan Spurlock, an American independent filmmaker. Spurlock's film follows a 30-day period from February 1 to March 2, 2003 during which he ate only McDonald's food. The film documents this lifestyle's drastic effect on Spurlock's physical and psychological well-being, and explores the fast food industry's corporate influence, including how it encourages poor nutrition for its own profit.
Spurlock dined at McDonald's restaurants three times per day, eating
every item on the chain's menu at least once. Spurlock consumed an
average of 20.92 megajoules or 5,000 kcal (the equivalent of 9.26 Big Macs) per day during the experiment.
As a result, the then-32-year-old Spurlock gained 24½ lbs. (11.1 kg), a 13% body mass increase, a cholesterol level of 230, and experienced mood swings, sexual dysfunction, and fat accumulation in his liver. It took Spurlock fourteen months to lose the weight gained from his experiment using a vegan diet supervised by his future wife, a chef who specializes in gourmet vegan dishes.
The reason for Spurlock's investigation was the increasing spread of obesity throughout U.S. society, which the Surgeon General has declared "epidemic," and the corresponding lawsuit
brought against McDonald's on behalf of two overweight girls, who, it
was alleged, became obese as a result of eating McDonald's food [Pelman
v. McDonald's Corp., 237 F. Supp. 2d 512].
Spurlock points out that although the lawsuit against McDonald's failed
(and subsequently many state legislatures have legislated against
product liability actions against producers and distributors of "fast
food"), much of the same criticism leveled against the tobacco companies applies to fast food franchises whose product is both physiologically addictive and physically harmful.
Last Concert Of The Beatles On The APPLE RECORDS on Abbey Road 12.00pm, Thursday 30 January 1969 (43 years ago)
The Beatles, with Billy Preston,
gave their final live performance atop the Apple building at 3 Savile
Row, London, in what became the climax of their Let It Be film.
We went on the roof in order to resolve the live
concert idea, because it was much simpler than going anywhere else; also
nobody had ever done that, so it would be interesting to see what
happened when we started playing up there. It was a nice little social
study.
We set up a camera in the Apple reception area, behind a window so
nobody could see it, and we filmed people coming in. The police and
everybody came in saying, 'You can't do that! You've got to stop.'
30 January 1969 in London was a cold day, and a bitter wind was blowing on the rooftop by midday. To cope with the weather, John Lennon borrowed Yoko Ono's fur coat, and Ringo Starr wore his wife Maureen Starkey's red mac.
There was a plan to play live somewhere. We were
wondering where we could go - 'Oh, the Palladium or the Sahara.' But we
would have had to take all the stuff, so we decided, 'Let's get up on
the roof.' We had Mal and Neil
set the equipment up on the roof, and we did those tracks. I remember
it was cold and windy and damp, but all the people looking out from
offices were really enjoying it.
Ringo Starr
Anthology
The 42-minute show was recorded onto two eight-track machines in the basement of Apple, by George Martin, engineer Glyn Johns and tape operator Alan Parsons. The tracks were filled with the following: Paul McCartney,
vocals; John Lennon's and George Harrison's vocals; Billy Preston's
organ; McCartney's bass guitar; a sync track for the film crew; Starr's
drums; Lennon's guitar; Harrison's guitar.
That was one of the greatest and most exciting days of
my life. To see The Beatles playing together and getting an instant
feedback from the people around them, five cameras on the roof, cameras
across the road, in the road, it was just unbelievable.
Alan Parsons
The Complete Beatles Recording Sessions, Mark Lewisohn
Brief, incomplete and off-the-cuff versions of I Want You (She's So Heavy),
God Save The Queen and A Pretty Girl Is Like A Melody were fooled
around with in between takes - as was Danny Boy, which was included in
the film and on the album. None of these were serious group efforts, and
one - the group and Preston performing God Save The Queen - was
incomplete as it coincided with Alan Parsons changing tapes.
The Beatles' rooftop show began at around midday. The timing
coincided with the lunch hour of many nearby workplaces, which led to
crowds quickly forming. Although few people could see them, crowds
gathered in the streets below to hear The Beatles play.
There were people hanging off balconies and out of
every office window all around. The police were knocking on the door -
George Martin went white! We really wanted to stop the traffic, we wanted to blast out the entire West End...
Dave Harries, engineer
The Complete Beatles Recording Sessions, Mark Lewisohn
Traffic in Savile Row and neighbouring streets came to a halt, until
police from the nearby West End Central police station, further up
Savile Row, entered Apple and ordered the group to stop playing.
It was good fun, actually. We had to set the mikes up
and get a show together. I remember seeing Vicki Wickham of Ready,
Steady, Go! (there's a name to conjure with) on the opposite roof, for
some reason, with the street between us. She and a couple of friends sat
there, and then the secretaries from the lawyers' offices next door
came out on their roof.
We decided to go through all the stuff we'd been rehearsing and
record it. If we got a good take on it then that would be the recording;
if not, we'd use one of the earlier takes that we'd done downstairs in
the basement. It was really good fun because it was outdoors, which was
unusual for us. We hadn't played outdoors for a long time.
It was a very strange location because there was no audience except
for Vicki Wickham and a few others. So we were playing virtually to
nothing - to the sky, which was quite nice. They filmed downstairs in
the street - and there were a lot of city gents looking up: 'What's that
noise?'
Fela Anikulapo Kuti (15 October 1938 — 2 August 1997), or simply Fela ([feˈlæ]), was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.
Filmed in 1982, the 53-minute documentary captures the late Nigerian
musician/activist at his peak. (There are slight differences between
the English and French versions, so it’s best to watch both.) For the
uninitiated, it’s hard to explain–in mere words–how one man could so
successfully mate the sexuality of James Brown with the righteous politics of Bob Marley and sinuous sounds of Miles Davis. Fela drew as much inspiration for his “Afro-beat” from Martin Luther King Jr. and Malcolm X as funk, reggae, and jazz. Music Is the Weapon features interviews with Fela and a few of his many wives, along with performances of “ITT,”
“Army Arrangement,” and other anthems. A controversial figure
throughout his life, Fela is described as both “superstar” and “man of
the people.” This short, but potent document ably explores that
dichotomy. –Kathleen C. Fennessy
As a supporter of traditional religions and lifestyles, Kuti thought that the most important thing for Africans to fight is European cultural imperialism. The American Black Power movement also influenced Fela's political views; he was a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a candid supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words: "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!". His views towards women are characterized by some as misogynist, with songs like "Mattress" typically cited as evidence. In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady".
Bypassing editorial censorship in Nigeria's predominantly state controlled media, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns. Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitative nature, and evil multinational corporations; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.
Watching Fela in non-performance situations is interesting as you get a much better idea of who he was as a person behind the mythology from the community and his own posturing for the purposes of promotion. Here in this video below he comes across as a very humble figure. The press conference with the newspaper is conducted as a discussion around a table, with Fela just another person sitting there in a group.
Episode Eight: The Future that Was
Shock of the New is a 1980 documentary television series by Robert Hughes (28 July 1938 – 6 August 2012) produced by the BBC in association with Time-Life Films and RM Productions. It was broadcast by the BBC in 1980 in the United Kingdom and by PBS in 1981 in the United States. It addressed the development of modern art since the Impressionists and was accompanied by a book of the same name; its combination of insight, wit and accessibility are still widely praised.
A series of films about how humans have been colonised by the machines they have built. Although we don't realise it, the way we see everything in the world today is through the eyes of the computers.
This is the story of the dream that rose up in the 1990s that computers could create a new kind of stable world. They would bring about a new kind global capitalism free of all risk and without the boom and bust of the past. They would also abolish political power and create a new kind of democracy through the internet where millions of individuals would be connected as nodes in cybernetic systems - without hierarchy.
The film tells the story of two perfect worlds. One is the small group of disciples around the novelist Ayn Rand in the 1950s. They saw themselves as a prototype for a future society where everyone could follow their own selfish desires. The other is the global utopia that digital entrepreneurs in Silicon Valley set out to create in the 1990s. Many of them were also disciples of Ayn Rand. They believed that the new computer networks would allow the creation of a society where everyone could follow their own desires, yet there would not be anarchy. They were joined by Alan Greenspan who had also been a disciple of Ayn Rand. He became convinced that the computers were creating a new kind of stable capitalism - "Like a New Planet", he said.
But the dream of stability in both worlds would be torn apart by the two dynamic human forces - love and power.
This is the story of how our modern scientific idea of nature, the self-regulating ecosystem, is actually a machine fantasy. It has little to do with the real complexity of nature. It is based on cybernetic ideas that were projected on to nature in the 1950s by ambitious scientists. A static machine theory of order that sees humans, and everything else on the planet, as components - cogs - in a system.
But in an age disillusioned with politics, the self-regulating ecosystem has become the model for utopian ideas of human 'self-organizing networks' - dreams of new ways of organising societies without leaders, as in the Facebook and Twitter revolutions, and in global visions of connectivity like the Gaia theory.
This powerful idea emerged out of the hippie communes in America in the 1960s, and from counterculture computer scientists who believed that global webs of computers could liberate the world.
But, at the very moment this was happening, the science of ecology discovered that the theory of the self-regulating ecosystem wasn't true. Instead they found that nature was really dynamic and constantly changing in unpredictable ways. But the dream of the self-organizing network had by now captured our imaginations - because it offered an alternative to the dangerous and discredited ideas of politics.
This episode looks at why we humans find this machine vision so beguiling. The film argues it is because all political dreams of changing the world for the better seem to have failed - so we have retreated into machine-fantasies that say we have no control over our actions because they excuse our failure.
At the heart of the film is one of the most famous scientists in the world - Bill Hamilton. He argued that human behaviour is really guided by codes buried deep within us. It was later popularised by Richard Dawkins as 'the selfish gene'. It said that individual human beings are really just machines whose only job is to make sure the codes are passed on for eternity.
The film begins in 2000 in the jungles of the Congo and Rwanda. Hamilton is there to help prove his dark theories. But all around him the Congo is being torn apart by 'Africa's First World War'. The film then interweaves the two stories - the strange roots of Hamilton's theories, and the history of the West's tortured relationship with the Congo over the past 100 years
More info: http://www.v2.nl/archive/people/stelarc/
The Documentary 'Stelarc Psycho Cyber' was made in the year 1996 and directed and produced by Mic Gruchy.It is a comprehensive one hour documentary of the 30 year body of work of Australian electronic media and performance artist Stelarc.
An interesting summary of Stelarc's most influencial works presented in the form of a short documentary, augmented by comments of Stelarc himself. The film also gives an idea of his approach to the body and his works in general, as well as his perspective on the future.
A Page of Madness (狂った一頁 Kurutta Ippēji or Kurutta Ichipeiji) is a silent film that was made in 1926 by Japanese film director Teinosuke Kinugasa and an avant garde group of artists in Japan called the Shinkankaku-ha (or School of New Perceptions). It was lost for 50 years, until Kinugasa found it in his storehouse in 1971. In the film, a man works as a janitor in an asylum in order to be with his wife, who is a patient there. The print of the film that currently exists is significantly shorter than what was shown in theaters in 1926, and the adaption of the film in this presentation has been further edited by Loren Connors from over an hour to 30 minutes. The original soundtrack for this presentation is by Loren Connors.
Daniel A.I.U Higgs, Interdimensional Song-Seamstress and Corpse-Dancer of the Mystic Crags was born in the Harbor City of Baltimore, USA in the early-mid sixties of the previous millenium. Having begun singing 25 years ago, he is perhaps best known as the singer and lyricist of the band Lungfish, which is now, as it often has been, quasi if not entirely defunct. Presently, the music Daniel manifests proceeds without the blessing/curse and help/hinderance of collaborative influence.
Runtime: 54 minutes
Language: English
Country: USA, UK
Color: Black and White
Director: Jack Bond
Cast
Salvador Dalí
Jane Arden
Jack Bond
Gala Dalí
Phillipe Halsman
Lila Karp
Peter Moore
Eddie Senz
Filmmaker Jack Bond and Salvador Dali got together at Christmas 1965 to
make Dali in New York, a highly entertaining film. Dali devoted two
weeks of his life to creating extraordinary scenes for the film,
performing “manifestations” with a plaster cast, a thousand ants, and
one million dollars in cash. When he confronts the feminist writer, Jane
Arden, sparks fly. "You are my Slave! I am not your slave. Everybody is
my slave.”
Dali recalls his meeting with Freud, “The last human relationship ever”
About his wife, ‘But for Gala I would be lying in a gutter somewhere
covered with lice” Jim Desmond's dazzling cinematography captures the
great artist painting as Flamenco virtuoso Manitas de Plata performs.
Dali in New York is a rare treat for anyone who loves film and the
living theatre of Dali’s surreal universe.
Rare documentary from 1979 taken from the book of the same name. Even on the lower levels of life, there is a profound consciousness or awareness that bonds all things together.
A fascinating account of the physical, emotional, and spiritual relations between plants and man. Essentially, the subject of the film is the idea that plants may be sentient, despite their lack of a nervous system and a brain. This sentience is observed primarily through changes in the plant's conductivity, as through a polygraph, as pioneered by Cleve Backster. The book also contains a summary of Goethe's theory of plant metamorphosis.
I would suggest also turning the sound down and listening to music while watching the images, such as the 1997 classix Fat of the Land by Prodigy
Shine on Star Children!! We are not alone.
Closer
I can teach you
A secret geometry
Beyond skin where
Everythis is a version
Of everythat, where
We live and lie
Beside ourselves,
And beyond what
Is called love,
That joins the stars
With our shadows,
Where desire spreads,
Light becomes truth.
There is No Authority But Yourself is a Dutch film directed by Alexander Oey documenting the history of anarchist punk band Crass. The film features archive footage of the band and interviews with former members Steve Ignorant, Penny Rimbaud and Gee Vaucher. As well as reflecting on the band's past the film focusses on their current activities, and includes footage of Rimbaud performing with Last Amendment at the Vortex jazz club in Hackney, a compost toilet building workshop and a permaculture course held at Dial House in the spring of 2006.
The title of the film is derived from the final lines of the Crass album Yes Sir, I Will; "You must learn to live with your own conscience, your own morality, your own decision, your own self. You alone can do it. There is no authority but yourself."
There is No Authority But Yourself premiered at the Raindance Film Festival at the Piccadilly Circus, London Trocadero in October 2006 and was part of the Official Selection film programme at the Flipside film festival in May 2008
Born March 5, 1922(1922-03-05) Bologna, Italy Died November 2, 1975(1975-11-02) (aged 53) Ostia, Rome, Italy Occupation Novelist, poet, intellectual, film director, journalist, linguist, philosopher Notable work(s) Accattone Salò Ragazzi di vita Le ceneri di Gramsci La religione del mio tempo
Influences[show]Dante
Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, William Shakespeare,
Novalis, Marquis de Sade, Charles Baudelaire, Arthur Rimbaud, Fyodor
Dostoyevsky, Carlo Emilio Gadda, Giovanni Pascoli, Antonio Gramsci
Pier
Paolo Pasolini (March 5, 1922 -- November 2, 1975) was an Italian poet,
intellectual, film director, and writer. Pasolini distinguished himself
as a poet, journalist, philosopher, linguist, novelist, playwright,
filmmaker, newspaper and magazine columnist, actor, painter and
political figure. He demonstrated a unique and extraordinary cultural
versatility, becoming a highly controversial figure in the process.
Originally filmed in 1922, this version was updated in the mid 1960's to include english narration by William S Burroughs. The writer and director Benjamin Christensen discloses a historical view of the witches through the seven parts of this silent movie. First, there is a slide-show alternating inter-titles with drawings and paintings to illustrate the behavior of pagan cultures in the Middle Ages regarding their vision of demons and witches. Then there is a dramatization of the situation of the witches in the Middle Ages, with the witchcraft and the witch-hunts. Finally Benjamin Christensen compares the behavior of hysteria of the modern women of 1921 with the behavior of the witches in the Middle Ages, concluding that they are very similar.
The Industrial Revolution sought to dominate Nature as a means to create profit. Romantic artists would seek to replace this relationship of domination with one of reverence and understanding.
The poet John Clare sought freedom in exploring the countryside around him.
But the lands he loved were increasingly seen as units of production. When such lands were officially enclosed by Act of Parliament in 1809, the freedom to roam the countryside was curtailed.
This shift in attitudes drove John Clare insane. It drove William Blake to write works of protest, such as the raging, tempestuous 'Jerusalem'.
Both William Blake and Samuel Taylor Coleridge sought to understand man's true relation to nature by returning to the source - by observing and writing about the innocence of children. Others sought to reconnect themselves to Nature more directly - such as William Wordsworth, who wrote of his travels to the Alps, the Lake District and the Wye Valley.
The ideas of the child, nature and scientific progress would collide in Mary Shelley's Frankenstein. This book is a Romantic manifesto - a warning that nature is not to be trifled with, that children are sacred, and science can corrupt our world. It is also a work of prophecy, still relevant in the 21st century.
A Story of Pleasure and Promise is a joyful and surprising film, with colorful characters, exploring science, sexual liberation, ideological conflicts, and of course ... pleasure.
How, in 2011, can there still exist myths around female sexuality? How can an erotic region mysteriously identified as the “G spot” be known to all yet... only a few know its location, its physiology or the story of its discovery? How can the mere mention of this erogenous zone provoke such argument, doubt, and salacious laughter? This is an investigation into the heart of the fascinating world of scientific sexology, a close-up of the “G” zone.
Gnawa Music in Sahara Desert Morocco. This band is from the Saharan village of Khamlia. This village is the only settlement where all its people are in fact from black African descendents in Moroccan South East-Sahara.
Gnawa or Gnaoua refers to an ethnic group and a religious order, in part descended from former slaves from Sub-Saharan Africa or black Africans who migrated in caravans with the trans-Saharan trade, or a combination of both.
Gnawa music is a mixture of African, Berber, and Arabic religious songs and rhythms. It combines music and dancing. The music is both a prayer and a celebration of life. Though many of the influences that formed this music can be traced to sub-Saharan Africa, and specifically, the Western Sahel, its practice is concentrated mainly in Morocco.
The Free Voice of Labor: The Jewish Anarchists traces the history of a Yiddish anarchist newspaper (Fraye Arbeter Shtime - The Free Voice of Labor) publishing its final issue after 87 years. Narrated by anarchist historian Paul Avrich, the story is mostly told by the newspaper’s now elderly, but decidedly unbowed staff. It’s the story of one of the largest radical movements among Jewish immigrant workers in the 19th and 20th centuries, the conditions that led them to band together, their fight to build trade unions, their huge differences with the communists, their attitudes towards violence, Yiddish culture, and their loyalty to one another.”
Kane FM documented and captured the Dub to Jungle tour 2011; the film explores the living history of bass culture with interviews with Channel One Sound System, Congo Natty, Tenor Fly, Klose One, Nanci & Phoebe. We also speak with the stakeholder and Director of Punch Records Ammo Talwar and promoters about the concept behind the tour.
Roots reggae has been cited by many music critics of the 20th century as the mother of many modern music forms. Born from the garrisons of Jamaica this music has given a voice to disaffected peoples of all cultures and all backgrounds around the world. The messages of rebellion and truth seeking that roots provides struck a chord across the globe.
In the 1990′s artists like Ragga Twins, Rebel Mc & Lennie De Ice began to fuse roots reggae with acid house. Jungle techno, or as it was first called, 4beat, was born. Jungle is the child of reggae, conceived by the union of Jamaican sound system culture and British acid house music.
Director / Interviews -- Chris Jones / Producer -- Nick Hayman@ Burningwick / Elliot Seeds @ Motion Graphics / Sound Man -- Alpesh Patel / Camera -- Squeaky Clean, Sophie Akehurst, Ben Cornish.
Thanks to Ammo Talwar, Rachel Bevan, Jack Vagabondz, Gurpreet Bilkhu @ Punch, Anthony @ Kontakt, Gentlemens Dub club, Luke Murray, Jess @ Patchwork, James @ Take the Whole Cake, Channel One Sound System, Congo Natty, Tenor Fly, Nanci & Phoebe, Klose One (Ruairi), NOISE CONTROL AUDIO, Dubkasm & Vibtronics
Adam Yauch, MCA from The Beastie Boys (the thin sharp one with the almond shaped face) died yesterday aged 48 following 3 years of cancer combat.I feel inexplicably sad about this. A genius has left us.
Henry Valentine Miller (December 26, 1891 – June 7, 1980) was an American writer and painter. He was known for breaking with existing literary forms and developing a new sort of "novel" that is a mixture of novel, autobiography, social criticism, philosophical reflection, surrealist free association, and mysticism, one that is distinctly always about and expressive of the real-life Henry Miller and yet is also fictional. His most characteristic works of this kind are Tropic of Cancer (1934), Black Spring (1936), and Tropic of Capricorn (1939). He also wrote travel memoirs and essays of literary criticism and analysis.
1 A.M. (aka One American Movie) was shot in 1968, abandoned by Jean Luc Godard in 1969, and then later resurrected and re-edited by his collaborator on the film D.A. Pennebaker. Intercut with film footage of Godard at work on the film and re-named 1 P.M. (One Parallel Movie), it was finally released in 1972.
This upheaval may not have been so compelling at the time but, retrospectively it is a tremendous statement about how far the boundaries were being pushed during the late 60's. The American scene with all its exuberance and diversity--represented best in the scene of the Black Panthers where the crew is in the film and the camera oscillates between Godard and the producers who watch stiffly from a distance and Black Panthers and the crew that are dancing, beating wildly on their instruments.
The first scene, a lengthy monologue by Godard followed by a discussion with the crew makes obvious that Godard cultivates this self-reflexivity. As the film progresses the crew becomes disenchanted with Godards control of this to some degree and begins to take things into their own hands portraying him as an outsider and themselves as insiders who can "dig" the American scene. Almost the exact same progression occurs in Symbiopsychotaxiplasm: Take Two (the archival footage from the 1968 outtakes) where the director William Greaves sets up a scenario for the crew to be on set with the actors who play out a short psychodrama. The crew revolts against the control of the director, which, turns out to be part of his plan and they begin to film their own meetings where they analyze what is going on and plot and scheme. It is definitely a statement of the anarchic relationships that began to form that both of these films were made during the same year.
Eldridge Cleaver, Jean-Luc Godard, Tom Hayden, Rip Torn all hanging around Chicago, around the time of the Chicago Eight trial (I think). The talks Tom Hayden gave in this movie sum up the feelings most young people had about the political system at the time. His talks in this movie hit home like nothing else I've ever seen or heard. This is a GREAT documentary of the late sixties/early seventies in Chicago. The film also features Jean-Luc out on the south side streets of Chicago grooving on some chanting and percussion, the Sears tower in the background. I also remember an image of Rip Torn riding up in a construction elevator (dressed as an Indian?).
This is an intense and brilliant documentary about the seductive horror that is crystal methamphetamine use, told from the perspective of American gay men. This is a drug that will take your life to pieces, set it on fire and then flush the remains down the toilet, all the while you are believing you are king/queen of the world. That is until you are a twitching, emaciated, jabbering, paranoid, bleeding, homeless, messed-up slave or dead.
METH explores the rising wave of crystal methamphetamine use within the gay population. Through the reflections of a dozen gay men, we learn of the drug's allure, its promise, and why its popularity is soaring. Some of the men in the film are current users, and they share their life with us while under the constant influence of "Tina." Other interviewees are former denizens of "Tina World," who have managed to crawl back from the depths to which their addictions brought them. Throughout, METH is an unflinching look at the devastating effects of addiction to this very serious drug. Now on iTunes.
David Hoyle's channel here
https://www.youtube.com/user/DavidHoyleArtist/videos
This is 90 minutes of some of the maddest shit I have seen online for a little while, even if it is a product of the crazed acid vision that so many shared in the the the the the the the the the the the the the the the the the the the the the the the the the the the the the 1990s.
Brene Brown studies human connection -- our ability to empathize, belong, love. In a poignant, funny talk at TEDxHouston, she shares a deep insight from her research, one that sent her on a personal quest to know herself as well as to understand humanity.
Henry Charles Bukowski (born Heinrich Karl Bukowski; August 16, 1920 – March 9, 1994) was an American poet, novelist and short story writer. His writing was influenced by the social, cultural and economic ambience of his home city of Los Angeles. It is marked by an emphasis on the ordinary lives of poor Americans, the act of writing, alcohol, relationships with women and the drudgery of work. Bukowski wrote thousands of poems, hundreds of short stories and six novels, eventually publishing over sixty books. In 1986 Time called Bukowski a "laureate of American lowlife". Regarding Bukowski's enduring popular appeal, Adam Kirsch of The New Yorker wrote, "the secret of Bukowski’s appeal. . . [is that] he combines the confessional poet’s promise of intimacy with the larger-than-life aplomb of a pulp-fiction hero."
Filmed in Denmark on April 17, 1966.
Thelonious Monk - Piano
Charlie Rouse - Tenor Sax
Larry Gales - Bass
Ben Riley - Drums
Tunes :
Lulu's Back In Town (Warren & Dubin) 0:00
Don't Blame Me (McHugh & Fields) 17:44
Epistrophy (Monk) 23:11
WITH ENGLISH SUBS. This is a Swedish 2003 documentary about the sentences given to rioters arrested during and after the Gothenburg Riots in conjunction with the European Union summit in Gothenburg 2001.
It is directed by Lucas Moodyson, famous for Mammoth and Lilya Forever.
Tara Browne (4 March 1945 -- 18 December 1966) was a young London socialite. He is perhaps most famous today for serving as an inspiration of the Beatles song "A Day in the Life".
This short film, with simple French dialogue, also provides a good glimpse into the high end social world of London in 1966. My parents lived in Richmond in 1966.
"Touring makes you crazy," Frank Zappa says, explaining that the idea for this film came to him while the Mothers of Invention were touring. The story, interspersed with performances by the Mothers and the Royal Symphony Orchestra, is a tale of life on the road. The band members' main concerns are the search for groupies and the desire to get paid.
Part documentary, part drama, this film presents the life and work of Jack Kerouac, an American writer with Québec roots who became one of the most important spokesmen for his generation. Intercut with archival footage, photographs and interviews, this film takes apart the heroic myth and even returns to the childhood of the author whose life and work contributed greatly to the cultural, sexual and social revolution of the 1960s.
La Montaña Sagrada (The Holy Mountain, reissued as The Sacred Mountain) is a 1973 cult film directed by Alejandro Jodorowsky who also participated as actor, composer, set designer, and costume designer. The film was produced by The Beatles manager Allen Klein of ABKCO after Jodorowsky scored an underground phenomenon with El Topo and the acclaim of both John Lennon and George Harrison (Lennon and Yoko Ono put up the production money). It was shown at various international film festivals in 1973, including Cannes, and limited screenings in New York and San Francisco.
The film is based on Ascent of Mount Carmel by St. John of the Cross and Mount Analogue by Rene Daumal, a student of G.I. Gurdjieff. In particular, much of Jodorowsky's visually psychedelic story follows the metaphysical thrust of Mount Analogue such as the climb to the Alchemist, the assembly of individuals with specific skills, the discovery of the mountain that unites Heaven and Earth "that cannot not exist" and symbolic challenges along the mountain ascent. Daumal died before finishing his allegorical novel, and Jodorowsky's improvised ending provides a way of completing the work (both symbolically and otherwise).
When the cops finally forced their way through the crowd at the very last Refused show, it seemed a fitting end to a story of revolutionary romanticism and merry rebellion. Refused was the greatest promise punk rock was making. Was that promise of redemption fulfilled in this act of repression or was it just another installation in the neverending soap opera of authority vs. kids? In this undaunred documentary, Refused guitarist Kristofer Steen retraces the steps of how punk rock's brave new sound forged it's way through the swamps and swill on their last campaign in Europe and America, rushing like mad dogs to meet with their inevitable doom. This documentry chronicles there last days as a band.
Refused is a Swedish hardcore punk band originating from Umeå, formed in 1991. In total the band released five EPs and three albums, before splitting up in 1998.
Back to the Garden (2010). In 1988, director Kevin Tomlinson interviewed a group of back-to-the-land hippies at a “healing gathering” in rural Washington state, practicing peace and love. Now, in this poignant examination of this community over time, he tracks down those original interviewees and their children twenty years later to find out what the glories and sufferings of living out of the mainstream and off the grid might really look like. Click on the above image to watch the film in full.
Pink Floyd were filmed in concert a number of times in the early 1970s, and as such footage goes, this was not the best performance nor the most dramatically shot. The show filmed at and broadcast by KQED public television in San Francisco in April 1970, for instance, had more compelling performances, and the more familiar scenes shot for the Live at Pompeii movie were certainly filmed with more cinematic flair. But if you're a serious Pink Floyd fan and want even more, this is certainly a satisfactory, professionally made fivesong, 50minute concert film of an August 8, 1970 performance at the Saint Tropez Music Festival, originally done for broadcast on the French TV program Pop 2. The image and sound quality are good (though not great) on live versions of several of their oftperformed pieces of the period, including "Atom Heart Mother," "The Embryo," "Green Is the Colour," "Careful with That Axe, Eugene," and "Set the Controls for the Heart of the Sun." Also included is a montage of Pink Floyd photos, soundtracked by a recording of "Cymbaline" done at the soundcheck. As a "bonus feature," the DVD also contains seven blackandwhite promotional clips done for Belgian television in February 1968. They're not nearly as interesting as that concert sequence, however, as they're fairly typical, if just slightly arty, pop promo films of the time, showing the band goofily romping around and miming to the studio versions of the early Pink Floyd songs "Astronomy Domine," "Corporal Clegg," "Set the Controls for the Heart of the Sun," "Paintbox," "See Emily Play," "The Scarecrow," and "Apples and Oranges." Three of these songs ("See Emily Play," "The Scarecrow," and "Apples and Oranges") actually featured Syd Barrett on lead vocals on those studio versions, and it's a little disconcerting to see other members of the band mouthing the lyrics, Barrett having left Pink Floyd just weeks before the clips were made.
- Richie Unterberger, All Music Guide
John Graham Mellor (21 August 1952 – 22 December 2002), best remembered by his stage name Joe Strummer, was the co-founder, lyricist, rhythm guitarist and lead vocalist of the British punk rock band The Clash. His musical experience included his membership in The 101ers, Latino Rockabilly War, The Mescaleros and The Pogues, in addition to his own solo music career. Strummer's work as a musician allowed him to explore other interests, which included acting, creating film scores for television and movies, songwriting, radio broadcasting, and a position as a radio host. Strummer is one of the iconic figures of the British punk movement.
Strummer and The Clash were inducted into the Rock and Roll Hall of Fame in January 2003. In his remembrance, Strummer's friends and family have established the Strummerville Foundation for the promotion of new music, and each year there are many festivals and both organised and spontaneous ceremonies worldwide to celebrate his memory.
Becoming a Woman in Zanskar recounts the moving story of a friendship shattered by destiny, when two best friends have to part and leave their families forever. Tenzin will be married to a man she hasn’t chosen, while Palkit will become a nun.
English Subtitles
France, 2007, 87 minutes
Directed by Jean-Michel Corillion
Produced by Manuel Catteau
Production company: ZED
An extremely rare documentary about Witchcraft aired once in the UK in 1971. Featuring contributions from Eleanor Bone, Cecil Williamson, Alex & Maxine Sanders, Doreen Valiente et al. Very much of its time and with some very rare footage, also includes reference to the famously unsolved murder of Charles Walton on Meon Hill.
Last Hippie Standing (2001) is a 45 min. documentary by the German filmmaker Marcus Robbin about Goa, India. The film compares the sixties and seventies hippie era with the situation in 2000.
The film works without commentary and consists of documentation of the ongoing party culture in Goa, as well as private and previously unreleased Super 8 footage from the sixties and seventies in Goa, filmed by Cleo Odzer. This material is the only existing contemporary film document of the hippie days in Goa. Furthermore, interviews with hippie veterans like Goa Gil, locals and the former chief minister of Goa, Francisco Sardinha, describe the clashes that occur between the party culture and Indian conservatism.
The last part of the documentary is shot at the Berlin Love Parade, where the protagonists reflect about their own spiritual development and the changes that have happened since the hippie movement had started.
The film was shot in December 1999 and January 2000 with an estimated budget of $20.000. Since 2004, it has been distributed by Nowonmedia (Japan).
Despite the refusal of many TV stations and film funding institutions to cooperate, the documentary became very popular on the Internet.
"Anjuna’s psychedelic trance scene cannot be understood outside its hippie legacy. There are clear continuities between Goa’s psy-trance scene and the legendary fluorescent Furthur bus of the Merry Prankster, which brought Ken Kesey’s delirious multimedia “acid tests” across the United States and into Mexico. These continuities express what this book is about: psychedelic whiteness. In an essay on the American hippies, Stuart Hall usefully summarized the eclectic practices and attitudes that defined them. Hippie culture literally held together through the adoption of black slang and what Hall calls “assumed poverty”; enacting Jack Kerouac’s On the Road; an identification with American Indians and India; hallucinogenic mysticism; slogans about “togetherness”; a yearning for childhood innocence; and a new brand of hedonistic anarchism do your own thing. Each of these meant a redefinition of what it meant to be white and middle-class in the America of the fifties and sixties, challenging its politeness, suburban consumerism, hometown nostalgia, the Protestant work ethic, and white supremacism." - Psychedelic White: Goa Trance and the Viscosity of Race by Arun Saldanna p11
According to lexicographer Jesse Sheidlower, the terms hipster and hippie derive from the word hip and the synonym hep, whose origins are unknown. The words hip and hep first surfaced in slang around the beginning of the 20th century and spread quickly, making their first appearance in the Oxford English Dictionary
in 1904. At the time, the words were used to mean "aware" and "in the
know." In the late 1960s, African language scholar David Dalby
popularized the idea that words used in American slang could be traced
back to West Africa. He claimed that hipi (a word in the Wolof language meaning "to open one's eyes") was the source for both hip and hep. Sheidlower, however, disputes Dalby's assertion that the term hip comes from Wolof origins.
During the jive era of the late 1930s and early 1940s, African-Americans began to use the term hip to mean "sophisticated, fashionable and fully up-to-date". and the word hippie is jazz slang from the 1940s. Reminiscing about late 1940s Harlem in his 1964 autobiography, Malcolm X referred to the word hippy as a term that African Americans used to describe a specific type of white man who "acted more Negro than Negroes". In his autobiography, Harry Gibson claims to have coined the related term hipster in the 1940s for use in his stage name. In the 1970s, Gibson remade his act to appeal to contemporary hippies, and is known as the 'original hippie'.
In Greenwich Village in the 1960s, New York City, young counterculture advocates were named hips because they were considered "in the know" or "cool", as opposed to being square. In a 1961 essay, Kenneth Rexroth used both the terms hipster and hippies to refer to young people participating in African American or Beatnik nightlife.
In 1963, the Orlons, an African-American singing group from Philadelphia, Pennsylvania released the soul dance song "South Street", which included the lyrics "Where do all the hippies meet? South Street, South Street...The hippest street in town".[8][9] Some transcriptions read "Where do all the hippist (sic) meet?" Nevertheless, since many heard it as "hippies", that use was promoted.
"The Hippies" was also the name of a mixed African American and white soul singing group on the Orlons' record label, Cameo-Parkway. Another use around the same time was on the 1963 Freddy Cannon single on Swan Records, "Do What The Hippies Do".
