The Beatles - Rooftop Concert (Full Version)

The Beatles Rooftop Concert 1969 London (HD) from lordcris on Vimeo.

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.'

George Harrison
Anthology

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

The songs performed on the roof:

• Get Back (five versions)
• I Want You (She's So Heavy)
• Don't Let Me Down (two versions)
• I've Got A Feeling
• One After 909
• Danny Boy
• Dig A Pony (two versions)
• God Save The Queen
• A Pretty Girl Is Like A Melody

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?'

Paul McCartney
Anthology

Fela Kuti- Music is the Weapon (1982)

Fela Kuti - Music Is the Weapon from GistMe2 Multimedia on Vimeo. Music is the Weapon - Fela Kuti from Paul Swanson on Vimeo.

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.

The Shock of the New (1980) Episodes 1-8

Episode One: The Mechanical Paradise

Episode Two: The Powers that Be

Eprisode Three: The Landscape of Pleasure

Episode Four: Trouble in Paradise

Episode Five: The Threshold of Liberty

Episode Six: The View from the Edge

Episode Seven: Culture as Nature

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. Watching it today it is a bit of a 'sausage fest' with male attitudes and artists seeming to be the only people who made any contribution to Modern Art. In the words of Hughes, when discussing the painting of Georges Braque, The Castle of La Roche-Guyon, "a big strong cylinder on top". A revision of the 'new art' could do with some of the many female artists that worked within the frame.

All Watched Over by Machines of Loving Grace

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.

All watched over by machines of loving grace from mayo11 on Vimeo.

Part 1

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.

Adam Curtis - All Watched Over by Machines of Loving Grace 2/3 - The Use and Abuse of Vegetational Concepts - Subs Español Span from avefenix1954 on Vimeo.

Part 2

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.

Adam Curtis - All Watched Over by Machines of Loving Grace 3/3 - The Monkey in the Machine and the Machine in the Monkey - Subs from avefenix1954 on Vimeo.

Part 3

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

Stelarc - Psycho Cyber (1996), The Man with Three Ears (2009)

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.

STELARC: THE MAN WITH THREE EARS by saigonick

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 (Japanese Silent Film from 1926)

A Page of Madness from mac11215 on Vimeo.

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.

The Amazing Daniel Higgs

"You are not alone in the midst of song. You are not even close" - Daniel Higgs

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.

Salvador Dali in New York (1965)

"Everybody is my slave" - Salvador Dali 1965

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.

BOB MARLEY & THE WAILERS HARVARD STADIUM 1979(Full DVD)

1.opening announcer (Mel King) 2.Dick Gregory talk 3.Dick Gregory introduces Bob Marley Bob talk 4.Positive Vibration 5.Slave Driver 6.Them Belly Full 7.Running Away 8.Crazy Baldhead 9.The Heathen 10.War 11.No More Trouble 12.Lively Up Yourself 13.No Woman No Cry 14.Jammin' 15.Get Up Stand Up 16.Exodus (with Babatunde Olatunji) 17.encore break 18.Zimbabwe 19.Wake Up & Live 20.band intros by Junior Marvin 21.credits & announcer 22.end

The Secret Life of Plants (Full Film)

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.