31 05 2013
#3337

Recent internet image finds


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.....

24 05 2013
#3335

JESSIKA KENNEY & EYVIND KANG - European Tour May/June 2013

16/05 @ Nimm! - Moers, Germany

17/05 @ Worm - Rotterdam, Netherlands
19/05 @ Cafe OTO - London, UK
23/05 @ Jazz Dock - Prague, Czech Republic

28/05 @ Whelan's - Dublin, Ireland

29/05 @ Café KoZ - Frankfurt, Germany

30/05 @ Cultuurcentrum Berchem - Antwerpen, Belgium
04/06 @ N.K. Projekt - Berlin, Germany
06/06 @ Tectonics- Tel Aviv

 

23 05 2013
#3334

I heart Japan: Human doll cloning


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21 05 2013
#3332

Recommendation: František Vláčil’s "Marketa Lazarová" (1967) on Criterion


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Highly recommend this beautiful Czech film... restored by Criterion Collection presently. 

http://www.criterion.com/films/27876-marketa-lazarova

František Vláčil’s "Marketa Lazarová"

Czechoslovakia
1967
165 minutes
Black and White
2.35:1
Czech, German
  
Spine #661

In its native land, František Vláčil’s Marketa Lazarová has been hailed as the greatest Czech film ever made; for many U.S. viewers, it will be a revelation. Based on a novel by Vladislav Vančura, this stirring and poetic depiction of a feud between two rival medieval clans is a fierce, epic, and meticulously designed evocation of the clashes between Christianity and paganism, humankind and nature, love and violence. Vláčil’s approach was to re-create the textures and mentalities of a long-ago way of life, rather than to make a conventional historical drama, and the result is dazzling. With its inventive widescreen cinematography, editing, and sound design, Marketa Lazarová is an experimental action film.

 “As gracefull as Tarkovsky's Andrei Rublev, Parajanov & Pasolini's The Gospel According to St. Matthew.”

21 05 2013
#3331

RIP Ray Manzarek


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From NYTimes

“We knew what the people wanted: the same thing the Doors wanted. Freedom.”
The Doors around 1970. From left: Robby Krieger, Ray Manzarek, John Densmore and Jim Morrison.

Ray Manzarek, 74, Keyboardist and a Founder of the Doors, Is Dead

By JON PARELES
Ray Manzarek, who as the keyboardist and a songwriter for the Doors helped shape one of the indelible bands of the psychedelic era, died on Monday at a clinic in Rosenheim, Germany. He was 74.

The cause was bile duct cancer, according to his manager, Tom Vitorino. Mr. Manzarek lived in Napa, Calif.

Mr. Manzarek founded the Doors in 1965 with the singer and lyricist Jim Morrison, whom he would describe decades later as “the personification of the Dionysian impulse each of us has inside.” They would go on to recruit the drummer John Densmore and the guitarist Robby Krieger.

Mr. Manzarek played a crucial role in creating music that was hugely popular and widely imitated, selling tens of millions of albums. It was a lean, transparent sound that could be swinging, haunted, meditative, suspenseful or circuslike. The Doors’ songs were generally credited to the entire group. Long after the death of Mr. Morrison in 1971, the music of the Doors remained synonymous with the darker, more primal impulses unleashed by psychedelia. In his 1998 autobiography, “Light My Fire,” Mr. Manzarek wrote: “We knew what the people wanted: the same thing the Doors wanted. Freedom.”

The quasi-Baroque introduction Mr. Manzarek brought to the Doors’ 1967 single “Light My Fire“ — a song primarily written by Mr. Krieger — helped make it a million-seller. Along with classical music, Mr. Manzarek also drew on jazz, R&B, cabaret and ragtime. His main instrument was the Vox Continental electric organ, which he claimed to have chosen, Mr. Vitorino said, because it was “easy to carry.”

The Doors’ four-man lineup did not include a bass player; onstage, Mr. Manzarek supplied the bass lines with his left hand, using a Fender Rhodes piano bass, though the band’s studio recordings often added a bassist.

Mr. Densmore said, via e-mail: “There was no keyboard player on the planet more appropriate to support Jim Morrison’s words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother.”

After Mr. Morrison’s death, Mr. Manzarek strove to keep the Doors together, led his own bands and continued to influence the Los Angeles underground. He produced “Los Angeles,” the 1980 debut album by the leading Southern California punk band X. But he also kept returning to the music of the Doors, rejoining Mr. Krieger in 2002 in a band whose name became the subject of a long legal battle with Mr. Densmore over use of the Doors’ name. Manzarek-Krieger, as the band was finally named, had more dates booked this year, Mr. Vitorino said.

“I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today,“ Mr. Krieger said in a statement. “I’m just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him.“

Mr. Densmore had also hinted publicly that the surviving Doors might reunite. “The Doors are back on their hinges,“ he told the talk-show host Tavis Smiley earlier this month.

Mr. Manzarek was born Raymond Daniel Manczarek Jr. on Feb. 12, 1939, in Chicago and grew up there on the South Side, taking classical piano lessons. In 1962-65, he attended film school at the University of California in Los Angeles, where he met Mr. Morrison, a fellow film student who was writing poetry.

In a chance encounter on Venice Beach during the summer after graduation, Mr. Morrison mentioned that he had some possible song lyrics; they included “Moonlight Drive,” prompting Mr. Manzarek to suggest that they start a band. “Ray was the catalyst, he was the galvanizer,” said Jeff Jampol, who manages the Doors’ estate. “He was the one that took Jim by the hand and took the band by the hand and always kept pushing. Without that guiding force, I don’t know if the Doors would have been.”

Mr. Manzarek had joined his two younger brothers, Rick and Jim Manczarek, in a surf-rock band, Rick and the Ravens, that initially worked with Mr. Morrison. (Rick and Jim Manczarek survive him along with Mr. Manzarek’s wife, Dorothy; his son, Pablo; his daughter-in-law, Sharmin; and three grandchildren.) But two musicians Mr. Manzarek met in a transcendental meditation class, Mr. Densmore and Mr. Krieger, ended up becoming the Doors, named after the Aldous Huxley book on the psychedelic experience, “The Doors of Perception” (quoting William Blake).

They honed their music through club dates in Los Angeles, including a residency at the Whisky a Go Go on the Sunset Strip. In 1966 they were signed to Elektra Records, two months before they were fired by the Whisky when Mr. Morrison unveiled the crudely Oedipal lyrics of “The End.” They recorded their 1967 debut album, “The Doors,” in a week; it included “Light My Fire,” and an edited version of the song, without a jazzy instrumental interlude, became a No. 1 hit and part of the ubiquitous soundtrack of the Summer of Love and the Vietnam War.

From 1967 to 1971, the Doors had a prolific and stormy career. In the volatile culture of the late 1960s Mr. Morrison strove to test taboos, defying television censorship — singing the word “higher” on “The Ed Sullivan Show” — and drawing prosecution for obscenity. Alcohol and drugs made him unreliable onstage and in the studio, but the Doors would end up recording six studio albums and a string of hits including “Hello, I Love You” and “Riders on the Storm,” which featured Mr. Manzarek’s electric piano. The Doors’ catalog has never left rock radio and has been endlessly repackaged, most recently as an iPad app.

After Mr. Morrison’s death, the band made albums without him before disbanding. In 1977, the surviving Doors reunited to record backup tracks to poetry that Mr. Morrison had recorded; the resulting album, “An American Prayer” sold a million copies.

Mr. Manzarek made solo albums and led the band Nite City during 1970s, and in 1983 he recorded a rock adaptation of Carl Orff’s “Carmina Burana” with the composer Philip Glass. In 2002 he and Mr. Krieger began touring as The Doors of the 21st Century. Mr. Densmore and the Morrison estate sued to prevent them from using the Doors name and eventually prevailed. According to Mr. Vitorino, the Manzarek-Krieger band has made unreleased recordings.

Mr. Manzarek had other projects. He made music to back up the poet Michael McClure, and he worked with the blues slide guitarist Roy Rogers. His last studio album was “Translucent Blues,” a collaboration with Mr. Rogers that was released in 2011. “He was always stretching boundaries,” Mr. Rogers said.


This article has been revised to reflect the following correction:

Correction: May 21, 2013

A caption with an earlier version of this article misspelled the given name of a member of the Doors. He is Robby Krieger, not Robbie Krieger.
Color pic: Mr. Manzarek in performance in Manhattan in 2004. Matthew Peyton/Getty Images

B/W pic: Michael Ochs Archives, via Getty Images


20 05 2013
#3330

Alejandro Jodorowsky "La Danza de la Realidad" (2013) trailer

Bande annonce de "La Danza de la Realidad", un film de Alejandro Jodorowsky, avec Brontis Jodorowsky, Pamela Flores, Jeremias Herskovits, Alejandro Jodorowsky, Bastián Bodenhofer, Andrés Cox, Sergio Vargas, Alisarine Ducolomb, Adán Jodorowsky et Cristóbal Jodorowsky 

Quinzaine des Réalisateurs - Festival de Cannes 2013

http://www.ladanzadelarealidad-lefilm...

" M'étant séparé de mon moi illusoire, j'ai cherché désespérément un sentier et un sens pour la vie. " Cette phrase définit parfaitement le projet biographique d'Alexandro Jodorowsky : restituer l'incroyable aventure et quête que fut sa vie.

Le film est un exercice d'autobiographie imaginaire. Né au Chili en 1929, dans la petite ville de Tocopilla, où le film a été tourné, Alejandro Jodorowsky fut confronté à une éducation très dure et violente, au sein d'une famille déracinée. Bien que les faits et les personnages soient réels, la fiction dépasse la réalité dans un univers poétique où le réalisateur réinvente sa famille et notamment le parcours de son père jusqu'à la rédemption, réconciliation d'un homme et de son enfance.

Il brosse ici la fresque d'une existence qui exalte, au-delà de toute mesure, les potentialités de l'être dans le but de repousser les limites de l'imaginaire et de la raison, et d'éveiller le capital de transformation de vie qui se trouve en chacun de nous.

19 05 2013
#3329

Loren Connors on slowness...


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Beautifully said.

Mr. Loren Connors: "Well… NY Times critic Ben Ratliff says I play notes so slowly it makes you wonder if I’m losing my way. I think this comment was said as a joke, or with a light heart. But I like to think about slowness. The same kind of thing was said about Billie Holliday, Lester Young, Miles Davis, Chet Baker, and on and on. The truth here lies in the fact that a person ages internally. The fast-paced, technically strong youthfulness gives way to a deeper concern. Look at Beethoven’s last quartets, op. 131 and others. Look at Chopin’s last nocturnes. And other great composers. They all offer us their slower, deeper sound in their final days. Like Ebenezer’s spirits, the spirit of Music past and Music present and even Music future is gonna haunt you. It sure will. And when you do get older, if it’s truth you’re after, you play like the man or woman that you’ve grown to become and you leave all the youthful techniques behind. At 63, I play like the man I’ve become, not the boy I once was."

From Family Vineyard who are presently reissuing a remastered, LP version of Loren's classic The Departing of a Dream

19 05 2013
#3328

Sunday blog favorites …those who wish to sing always find a song…


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SEE WITCH

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