How to Survive Surrey Hills

I lived on Bourke Street 1993-1995.

The Last Time I saw Paris (1954)

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.

Mashed in Plastic: The Mutations of David Lynch

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: The Shift is About to Hit the Fan

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

I have Seen Jesus

And now you can too......

David Bowie :: Cracked Actor (BBC Documentary 1975)

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.

Looking for Truth with a Pin (Ivor Cutler Documentary)

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.

CAN

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[1]; bassist/chief engineer Holger Czukay referred to Can's live and studio performances as "instant compositions".[2] 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)


Moonshake


Halleluhwah


Future Days


Paper House (Live on German TV)


Spoon (Live)


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.

The Century of the Self

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)


Part 2


Part 3


Part 4

"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

Philip K. Dick: A Day In The Afterlife

“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.