I first saw Jim Henson’s experimental art film “Time Piece” in 2001, during the first (and only) Muppet convention in Santa Monica. (MuppetFest was awesome, so shut it!)

Started as a personal project, Henson would go on to storyboard, write, direct and star in the film starting in the spring of 1964. It premiered in May 1965 at the Museum of Modern Art, and was even nominated for an Academy Award in the category of “Best Short Subject, Live Action Subjects” in 1966.

Since 2001, I’ve tried to track down the film online. Finally, someone put it on YouTube. Awesome.

So here it is, Jim Henson’s “Time Piece” in all its jazzy glory. You can totally see how it would go on to influence some of the shorts from “Sesame Street” years later.

Be sure to keep an eye out for brief cameos from Frank Oz (with a full head of hair) as a messenger boy, Muppet designer Don Sahlin as a stand-up comic, and head Muppet writer Jerry Juhl as a bartender.

When you’re done, check out this short “behind the scenes” segment on the making of “Time Piece.”

Help,

-Shady

Sinopse:

Odile encontra com Arthur e Franz em uma aula de inglês e os conta que há uma grande quantia em dinheiro na casa de campo onde vive com sua tia. Arthur e Franz tentam convencê-la de roubar sua própria casa, enquanto tentam seduzi-la… No início Arthur tem mais sucesso, mas as coisas não são tão simples assim.

Ficha Técnica:

Direção: Jean-Luc Godard
Ano: 1964
País: França
Gênero: Drama, Policial
Duração: 97 min.
Título Original: Bande à Part
Título em inglês: Band of Outsiders

Elenco:

Anna Karina
Sami Frey
Claude Brasseur
Danièle Girard
Louisa Colpeyn

Trailer:

“Descontraído, estiloso e apaixonante. Bande à Part, junto com Os Incompreendidos de Truffaut e Acossado de Godard, é um dos expoentes máximos da Nouvelle Vague, um estilo peculiar do cinema francês. Cheio de inovações geniais, é um dos filmes mais interessantes que já tive a oportunidade de assistir.”

Download do arquivo torrent.
Download da legenda.

Link Alternativo: Filme em RMVB (Legendas Embutidas) – 315.3MB
Download.

Med ugens skævert vil jeg prøve at tage nogle lidt anerledes film, som ikke bare er mainstream Hollywood film. Dr. Strangelove, er en film jeg så i forbindelse med historie undervisningen i 3g, da den viser ét fremtidssyn fra 60′erne. Da jeg fortalte min mor, hvad jeg skulle se, sagde hun at det var en klassiker, og da jeg aldrig havde hørt om den er den ugens skævert.
I filmens begyndelse forskanser en amerikansk general sig på en luftbase, under dække af at USSR har angrebet, derfor sender han ordrer til at bombe USSR med alle deres avåben. Men hvad endnu værre er at USSR lige har installeret et forsvarssystem, der dræber alt på jordens overflade, hvis de skulle blive angrebet. USA og USSR arbejder nu sammen for at stoppe flyene men vil det lykkes.
Jeg vil give den film 1/5 stjerner, kan godt være den er lidt kult, men ihvertfald ikke for min generation

Ditlev

OK this is a tough one.

I have a very brief clip here which I’m trying to figure out its exact placing.  It’s about 2-3 seconds long so it’s only a brief section of a sentence.  It plays several times at different speeds to help you.  It comes from the Lost in Time DVD but I don’t think it fits where they thought it does, so I’ve taken the sound off to avoid distractions.

Can you tell what fragments of words he is saying?  or what sound it seems to your eyes/ears?  I don’t need the exact words, just a general idea of the sound structure of the words he’s speaking, so I can play through the soundtrack and figure out where it fits.

To those who have the soundtrack of this Reign of Terror episode, it’s listed as a segment from episode 5, though it might be mislabelled as a piece from episode 4.  It’s definitely not from episodes 1-3 (Ian’s clothing confirms this) or from episode 6.

I haven’t put up what I think he’s saying as that might get a sound stuck in your head which you can’t override.

I’m sure someone is clever enough to figure it out.  I’ve played through the soundtrack myself and it doesn’t seem to fit with any bit I select!

Good luck!

I’m going to go ahead and let the Playboy interview with Miss November 1964, the lovely and talented Kai Bredlinger, almost totally speak for itself.

Photographed by Pompeo Posar

AMBITIONS:
Modeling.

TURN-ONS:
Men. (data sheet).

Ms. Brendlinger did get slightly more specific about that wacky “men” fetish of hers in the more detailed article that accompanied her pictorial:

She eschews the possibility of ever becoming a career woman and anxiously looks toward the day when she can move to the wide-open spaces with her special brand of male, who will be “tall, fair, and smart enough to know he doesn’t have to prove he’s brighter than I.” (“Hallelujah, the Hills,” Playboy, November 1964)

TURNOFFS:
Dirt — I can’t stand anything dirty.

FAVORITE BOOKS:
Only the Bible and I still don’t understand it.

No kiddin’.

The Night Walker, 1964 – Direção: William Castle – Elenco: Barbara Stanwick, Robert Taylor, Hayden Rorke.

A história de Robert Bloch poderia muito bem ser interpretada de maneiras diferentes, já que, tratando-se da discussão sobre sonhos, há uma infinidade de releituras sob o aspecto do “outro mundo que somos transportados durante o sono”. A premissa aqui não é simples, e por isso é necessário saber com o que está lidando para complementar a ideia do filme; no caso, há problemas.

The Night Walker é um filme bastante peculiar, uma técnica alá Jacques Tourneur – com sombras e luzes fantásticas -, e um enredo parecido ao de Kiss me Deadly, do Aldrich, porém transposto às lentes de uma busca completamente diferente. Enquanto o noir de Aldrich estabelece uma magnífica busca de um assassino, Quando Descem as Trevas preocupa-se em encontrar a solução para um mistério que rodeia os sonhos da protagonista – mais estúpida não há.

O filme conta a história de Irene Trent, uma mulher casada com um rico e cego homem, chamado Howard. Tendo sonhos relacionados a um suposto “amante”, Howard passa a desconfiar do advogado Barry Moreland, pois este era o único que entrava em sua casa; de onde Irene nunca saía. Howard acaba morrendo numa explosão em seu laboratório, e Irene decide mudar-se para outro lugar. Porém os pesadelos continuam e ela acaba não sabendo mais o que é sonho e o que é a terrível realidade.

Ao contrário de muitos filmes, este começa mal – ou melhor, muito mal, com um prólogo vagabundo sobre sonhos que dura aproximadamente cinco minutos. Depois, com o ínicio da história, conhecemos os personagens/atores superficiais do filme. Mas é intrigante acompanhar a história até o final, que descamba ao ininteligível para tentar surpreender o espectador.

Os aspectos positivos ficam por conta da música de Vic Mizzy e a belíssima fotografia de Harold E. Stine, que, juntos, trazem um excelente clima de suspense à obra. A seqüência do casamento de Irene com seu “amante” é uma das melhores cenas do filme; absolutamente tenebrosa! É uma pena que, William Castle, que parece ter problemas com seu filme, traz à cena um desfecho tão banal e infantil, que chega a levar aos risos.

Irene Trent é uma das personagens mais imbecis do Cinema. É daquelas que nunca sabem o que procuram, e permanece durante o filme inteiro inexpressiva; e acredite, isso é chato pra caralho. Quando Descem as Trevas é um filme que poderia ser muito melhor realizado, e que não soube aproveitar sua ótima parte técnica. Um filme sem objetivos e sem inteligência, que faz questão de substituir o “The End” por “Pleasant Dreams”.

3/5

Padron 1964

Ring Gauge: 7 x 50 (Diplomatico)

Tobacco: Nicaraguan

Bought: August 2009

Smoked November 18th 2009

Price: about $13.78 a stick

Beverage: None

Smoke Time: 1 hour 30 minutes (+ or -)

Initial Thoughts:

If Padron were a car it would in the Lexus category. Excellence and quality are two words which dominate the Padron line of cigars. Their devotion to excellence is proved by numerous 90+ ratings from industry experts.  Padron has been around for about 125 years learning, crafting, and perfecting a great cigar.

I bought this particular cigar a few months back and it’s been temptingly aging in my humidor for awhile. The time’s up, my impatiences has got the better of me. When I pulled this cigar out of the humidor I noticed it was a firm smooth even colored medium brown.  It is box-pressed and no flaws could be found.

The Smoke…

A cold draw proved very smooth and pepper notes dominated. The cigar was easy to light and burned even from the start to the finish. No relight was required and no flaws occurred.  This cigar could easily pass a non-Cuban poster child for a smooth, rich, complex cigar. Pepper was in the forefront with other subtle infusions of  rich flavors.  The tobacco blended well and no harshness or bitterness was found. You could feel the rich Cuban heritage mixed in with this cigar. The ash was white, firm, and just grew.

This is the kind of cigar to be savored and enjoyed as it is truly a finer pleasure. I highly recommend aging some in the humidor as the flavors just meld and blend together even more then they do out of the box. Don’t worry, I still have some in my humidor… I am trying to make some last two years… we shall see.

The Results are in!

Construction 30/30

Appearance 20/20

Burning Properties 15/15

Taste 30/35

Rating: 95 (A)

Hoy les coloco una joya musical de un grupo chileno muy famoso en muchos países de latinoamerica que se hicieron famosos con POEMA, SIGAMOS PECANDO y TE SEGUIRE QUERIENDO, se trata de LOS HERMANOS ARRIAGADA, este su primer larga duración en Venezuela para el sello ODEON. Un dato curioso de este grupo es que ellos son los PADRINOS DEL AEROPUERTO INTERNACIONAL DE MAIQUETIA, de VENEZUELA y ganadores del GUAICAIPURO DE ORO. Los temas que oiremos y disfrutaran muchos melómanos  son:

1. QUE COSAS TE HICE YO- BOLERO

2. VUELVE- ROCK LENTO

3. NATHALIE- CANCION- TEMA DE GILBERT BECAUD

4. EL GAVILAN POLLERO-TWIST- HASTA PEDRO INFANTE LA CANTA EN UNA DE SUS PELICULAS

5. HORIZONTE- RITMO NUPCIAL

6. TE SEGUIRE QUERIENDO- TANGO

7. MARIBEL- CANCION- DEL ESTILO DE NATHALIE

8. MI AMADA- TWIST- TEMA TRADICIONAL VERSION DE MY BONNIE

9. CERRO SAN CRISTOBAL- TANGO

10. ME DA RISA- BOLERO

11. LIMBO EN EL LIMBO- LIMBO ROCK- BAILE EN QUE SE TENIA QUE PASAR DEBAJO DE UNA VARA Y CADA VEZ SE BAJABA MAS

12. SIGAMOS PECANDO- BOLERO- RECITA: JUAN CARLOS GIL

LAS ORQUESTACIONES ESTAN A CARGO DE:

• LUIS BARRAGAN Y SU ORQUESTA-1-6-9-12

• RENE CALDERON Y SU ORQUESTA-2-3-8-10

• VALENTIN TRUJILLO Y SU ORQUESTA( ESTE DEBE SER EL MISMO QUE LE PONE MUSICA A SABADO GIGANTE)-5

• FERNANDO MORELLO Y SU ORQUESTA-11

• Los HERMANOS ARRIAGADA conforman un trío vocal y musical cuyo origen se remonta a la época de su niñez. Nacieron en el pueblo de Cañete (Sur de Chile), en una familia compuesta de 8 miembros: los padres y seis hermanos; tres de éstos heredaron claramente las condiciones musicales de los padres, siempre dispuestos a tocar la guitarra, a cantar ya hacer un buen papel como bailarines, especialmente de cueca (danza folklórica nacional de Chile).

• El mayor del trío, Mario, fue el primero en tomar con seriedad y convicción el arte de cantar acompañándose con guitarra, instrumento que comenzó a estudiar a los 6 años de edad. Trasladados a la ciudad de Concepción, a los 12 formó un grupo “cómico-musical” que se denominó “Los 4 Chicotes”, pero sus tres compañeros eran unos amigos, no aún sus hermanos.

• Esta experiencia le sirvió de mucho; con gran entusiasmo y dedicación estudiaban los temas más populares de entonces para interpretarlos en fiestas escolares y amenizando la barra del Club Naval (de fútbol) de Talcahuano, el gran puerto sureño. Tiempo después nació (en 1954) el trío de los HERMANOS ARRIAGADA, compuesto por Omar, Mario y Jorge – apenas unos adolescentes. Así, pues, desde su infancia y primera juventud el grupo se constituyó en una unidad musical además de familiar, cuyas mayores virtudes han sido su estilo notablemente afiatado, su línea musical constante y su mensaje melódico romántico y directo. Todas ellas, características aparentemente simples, pero en cuya sencillez precisamente radica su éxito inalterable a lo largo del tiempo.

• En efecto, tienen esa rara virtud de interpretar, idealizadas, las emociones de la gente común, que ven reflejados sus más genuinos sentimientos en las canciones románticas de siempre, contándose por supuesto entre ellas sus inolvidables creaciones como “SIGAMOS PECANDO”, “MAR y CIELO”, “POEMA “, “NO VUEL VO A AMAR”, “QUE COSAS TE HICE YO” y muchas otras.

• Se iniciaron en el disco en 1958, grabando en RCA cuatro temas, tres de los cuales puede decirse que fueron aciertos interesantes para artistas noveles.

• Poco después firmaron su primer contrato por 5 años con EMI ODEON de Chile, en donde sus ambiciones de triunfar encontraron campo fértil. La firma enfocó el proyecto con visión más amplia, poniéndoles una orquesta con una sonoridad muy especial (hasta entonces se habían acompañado sólo con sus guitarras y un instrumento de percusión) que jerarquizó y embelleció su estilo.

• Recordemos en este momento al Maestro Luis Barragán, pianista y director destacado desaparecido prematuramente, que interpretó correctamente la idea del sello, proveyéndolos de ese respaldo de violines y vientos con inspirados arreglos, aún hoy admirados.

• El caso de los HERMANOS ARRIAGADA en EMI es típico de la eficacia de un equipo creativo constituido en unidad de trabajo armónico, cuya producción resulta como realmente se proyectó: temas internacionales elegidos “a dedo ” o compuestos especialmente por Omar, arreglos musicales aptos, la conformación de álbumes cuyo programa es de alta calidad pareja; la unión de canto y recitación en ciertos números, y finalmente el trabajo de estudio exhaustivo, con medios mucho menos sofisticados que hoy, pero llenos de idealismo y corazón, todo lo cual se concretó en el hallazgo de la sonoridad como la que caracteriza, de vez en cuando en la historia musical grabada de este siglo, los grandes hitos de la música popular por los más grandes intérpretes.

• A un año de iniciarse en EMI, no fue la irrupción, sino la conquista avasalladora por los HERMANOS ARRIAGADA del mercado internacional del disco, que se inició a comienzos de los ‘60 con el lanzamiento en Chile, y de inmediato en Venezuela, de su primer LP, que alcanzó en ese tiempo, en este país, la impresionante cifra de 76.000 ejemplares en cuatro meses; no obstante lo cual, Colombia y México se disputaron a continuación la primacía en el éxito de estos notables artistas.

• Tampoco olvidemos los otros países latinoamericanos como Perú, Bolivia, Argentina, Ecuador, Centroamérica etc., que rivalizaban por los primeros lugares con su repertorio; pero a largo plazo los países del Norte, sin olvidar el público hispano de los Estados Unidos (de Miami a New York y de costa a costa) fueron los que con mayor cariño y devoción se transmitieron, a largo de tres generaciones, la fidelidad a estos artistas y sus canciones.

• Omar dice que siente un especial reconocimiento por Colombia: cuando ellos se presentan en sus ciudades principales ( como mínimo, una temporada por año), les conmueve ver que vienen familias enteras a escucharlos, aplaudirlos e invitarlos a la mesa (ya la casa); de padres a hijos, de abuelos a nietos se han ido transmitiendo la admiración por las queridas voces y sus gratas y románticas melodías.

• Los HERMANOS ARRIAGADA poco pueden actuar en su país natal (donde sus viejos éxitos se siguen vendiendo); tienen compromisos permanentes en el exterior, con giras anuales garantizadas desde Ecuador por el Sur a Estados Unidos por el Norte, con una regularidad en el éxito y los contratos que suele constituir el seguro más preciado para la carrera de un artista. Han viajado también a Europa, pero su centro preferido de actividades sigue siendo Latinoamérica, donde comunican a un público conmovido y fiel la eterna emoción de sus interpretaciones.

• Hoy día los Arriagada, en la cumbre de su carrera artística, con cientos de triunfos y trofeos en su bitácora, dicen que todo lo deben a la canción romántica ya la lealtad y el aplauso del público de muchos países. Además -pensamos nosotros- a su calidad innata y su ejemplar profesionalismo.

Tomado de http://www.hermanosarriagada.scd.cl/biografia.htm

DISFRUTENLO!!!

Create a playlist at MixPod.com

The top-30 movies from the swinging sixties. This was a tough one, but like always, I think I nailed it. Ladies and gentlemen, please welcome the top movies from 1960-1969!

1. Psycho (1960) Director: Alfred Hitchcock
2. 2001: A Space Odyssey (1968) Director: Stanley Kubrick
3. Midnight Cowboy (1969) Director: John Schlesinger
4. Repulsion (1965) Director: Roman Polanski
5. Bonnie and Clyde (1967) Director: Arthur Penn
6. The Graduate (1967) Director: Mike Nichols
7. Dr. Strangelove (1964) Director: Stanley Kubrick
8. Cool Hand Luke (1967) Director: Stuart Rosenberg
9. Rosemary’s Baby (1968) Director: Roman Polanski
10. Butch Cassidy and the Sundance Kid (1969) Director: George Roy Hill
11. Lolita (1962) Director: Stanley Kubrick
12. The Great Escape (1963) Director: John Sturges
13. The Hustler (1961) Director: Robert Rossen
14. The Fearless Vampire Killers (1967) Director: Roman Polanski
15. The Umbrellas of Cherbourgh (1964) Director: Jacques Demy
16. The Sound of Music (1965) Director: Robert Wise
17. Goldfinger (1964) Director: Guy Hamilton
18. Planet of the Apes (1968) Director: Franklin J. Schaffner
19. Breakfast at Tiffany´s (1961) Director: Blake Edwards
20. Man’s Favorite Sport? (1964) Director: Howard Hawks
21. My Fair Lady (1964) Director: George Cukor
22. The Birds (1963) Director: Alfred Hitchcock
23. Breathless (1960) Director: Jean-Luc Godard
24. The Dirty Dozen (1967) Director: Robert Aldrich
25. The Good, the Bad and the Ugly (1966) Director: Sergio Leone
26. Bullit (1968) Director: Peter Yates
27. Easy Rider (1969) Director: Dennis Hopper
28. Spartacus (1960) Director: Stanley Kubrick
29. The Apartment (1960) Director: Billy Wilder
30. The Party (1968) Director: Blake Edwards

THE TRAILERS FOR THE TOP 3 BEST MOVIES OF 1960-1969

Highland Park is launching the eagerly anticipated 1964 and 1968 expressions from the distillery’s new Orcadian Vintage Series in response to the growing international demand for high quality aged single malt whisky.

See and read more at WHISKEY INTELLIGENCE.

(PT) Vor mittlerweile zwei Wochen haben meine bessere Hälfte und ich unseren guten Freund Sebastian Schür (natürlich auch mit seiner besseren Hälfte) in Bürgstadt besucht. Wenn dieses Quartet zusammen kommt, wird immer vorzüglich frisch gekocht, dabei auch gerne mal experimentiert und natürlich Wein verkostet. Da alle vier des Quartets die Leidenschaft Wein zum Beruf gemacht haben, sind die gemeinsamen Abende natürlich auch immer Fortbildungsveranstaltungen.

In diesem Sinne, und inspiriert durch Dirks Posting haben wir ein paar reife Riesling Schätze aus den Tiefen unserer Keller an das abendliche Dämmerlicht befördert:
Das Schloß Eltz, wahrlich eines der legendärsten Riesling Güter der Welt, war mit drei Weinen vertreten. In diese Reihe gesellte sich ein 1968er Riesling vom Weingut J.B.Becker nur zu gerne, da Hajo Becker in keinem geringerem Betrieb als eben dem Schloß Eltz seine Winzerlehre absolvierte.

Folgende Weine wurden mit Genuß und unter staunenden Gaumen verkostet:

1964 Schloß Eltz Auslese Rauenthaler Wieshell Riesling
Nach sehr heißem Sommer 1964 ein Reifer Riesling in Perfektion, perfekter Kork, sehr guter Füllstand (-0,5 cm), frische Riesling Aromatik, pfirsich, mirabelle, marille, im Glas: grün mit gelben Reflexen, animierende reife Säure mit ausgleichender Süße, Reduktivität mt ewiger Entwicklung – beeindruckender Wein!

1968 J.B.Becker Elviller Sonnenberg Riesling Cabinet Faß Nr. 6815
Leider nicht so, wie man die Weine vom Weingut J.B. Becker gewohnt ist: Nasser Kork der auch Auwirkungen auf den Geschmack hat; muffig und müde.

1969 Schloß Eltz Spätlese Eltviller Mönchhanach Riesling
Dezente Firne, strohgelbe Farbe, dezente Süße, reife Säure; gut.

1971 Schloß Eltz Auslese Rauenthaler Baiken Riesling
Sehr guter Füllstand (-0,8 cm),  verhaltene Firne, bernsteinfarben, frische belebende Säure, Restsüße ist immer noch vordergründig, mächtige Auslese,; Fasziniernd voller reifer Riesling mit Potenzial für weitere 10 ? Jahre -> flüssiges Gold

Leider sind die Weine des Schloß Eltz nur noch recht selten zu finden, ANGORA in Freiburg bietet noch ein paar Flaschen an – für Weinfans ist das probieren solch eines Rieslings ein Muß.

Die Weine vom Weingut J.B. Becker sind noch ab Hof zu bekommen: Weingut J.B.Becker in Walluf – einfach altmodisch im Telefonbuch stöbern;)

Habt ihr auch schon Erfahrungen mit Rieslingen dieses Alters gemacht?
Was waren eure Erfahrungen?

Schloss Eltz – Wappen

-> Weitere Artikel zu “Reifer Riesling”

Hello, i bring for yours delicates ears this beautiful record: Tijuana, from the

The Persuaders or Hollywood Persuaders: Natural born killer, man!!

Persuaders or more knowed like The Hollywood Persuaders. This álbum was published in México and Spain. It only have four tracks, but, man, what great music made this guys. They sound like surf machine arrival from hell. An interesting fact is that they record with Frank Zappa, he play his dirty guitar in a few songs, but thats songs isn`t here. Later i`m going to publish the only Lp from this guys. Well, now i let you with Tijuana (this song was in the top there, in Mexico). Enjoy Los Persuaders manito!

How about some old school sci-fi? Last man on Earth is based on the Richard Matheson science fiction classic “I am Legend”. It was later remade as “The Omega Man” with Charlton Heston.

Having seen Masculin féminin just days before A Married Woman, I expected to inevitably draw some parallels between the two regardless of how similar they were, but now that I’ve seen both, the similarities are really quite striking. They are very similar films, and I’m not sure this was unintentional. A Married Woman is told through the eyes of an unhappy, elusive and spontaneous woman. She’s exactly the kind of woman men fear. She’s impossible to possess, which brings me to the first comparison to Masculin féminin. Paul’s failure to possess Madeleine, the ever-modern woman resigned to her fate as a pop-culture construct, was the focal point of that film, whereas A Married Woman has its gaze set on the ever-modern woman, this one married. Her sex appeal is the central focus of the camera, though she’s allowed to keep her “secrets” i.e. she’s never shown nude, merely every other inch of her body except what every male is dying to catch a glimpse of. This of course is reflective of her indecisiveness and spontaneity. This brings into mind the nature of the youth depicted in Masculin féminin. Their interests aren’t deep ones, they show but a passing interest in things outside of their own social circles. Paul’s interest in politics doesn’t see him working to improve the situation, he simply tags his opinion on who and what he can.

Paul is “the child of Marx”. Madeleine is “the child of Coca-Cola”, obsessed with fashion, music and trends. This is where Madeleine meets Charlotte from A Married Woman. As seemingly less than flattering Godard painted the women of Masculin féminin, moreso Madeleine, he paints Charlotte with a less scathing brush. We get a bit of insight into what Godard sees as helping paint these women into their social corners: the endless pursuit of the perfect physique. The perfect female. One proportioned to mass standard. A sexual woman not concerned with the ills of the world, only concerned with pleasing her man. But as we all know, this trap that we’ve set can’t last, thus the infidelity and the racing minds of Godard’s females. Godard rarely paints his males in a much better light. They’re often too caught up in work to pay any attention to their families, treat their women poorly and/or are too numb or indifferent to truly sympathize with the chaotic mind of the female.

Masculin féminin’s depiction of youth is one of critical sympathy. Godard felt a distance growing between him and the younger generation of the time, and Masculin féminin was a sort of attempt to put himself back in that place. All of the awkward conversations, fleeting loves and passing desires are captured wonderfully and reflected perfectly through the fragmented structure, the extended contemplative silences and the bursts of emotion. A Married Woman’s heavy focus on words-within-words rather aptly relays Godard’s desire to have you read between the lines. There is no black and white, despite the choice of film stock. Charlotte is a complex, beautiful woman, and though she seeks a freedom that is likely far too abstract to ever reach, she’s never too far from an influence keeping her trapped in a cage. Godard’s keen filming of these influences, obsessions and subliminal text-within-text suggests a deep desire to understand her, and by extension, women in general.

Into the heart of the beast… here is something so good, so pure, that if no other hint of it but this record existed, there would still be such a thing as rock and roll… Van Morrison’s voice a fierce beacon in the darkness, the lighthouse at the end of the world. Resulting in one of the most perfect rock anthems known to humankind – Paul Williams, on “Baby Please Don’t Go/Gloria”

- Gyro

Por Maria Fernanda Teperdgian

Muito já se sabia sobre o apoio americano ao Golpe Militar de 1964, aqui no Brasil. Mas no dia 31 de março de 2004, 40 anos após a derrubada do Governo de João Goulart, The National Security Archive liberou documentos referentes a operações que conduziram ao golpe.

Entre os arquivos liberados existe uma fita de áudio de um contato telefônico de Lyndon Johnson, que estava em sua fazenda no Texas, que resume como o exército brasileiro se mobilizou contra Goulart. Na gravação, o subsecretário George Ball explica para o presidente a situação política em alguns estados brasileiros e reforça que o apoio americano se faria necessário para o golpe.

No áudio, Lyndon Johnson manifesta-se pouco, mas é enfático quando propõe uma ação de apoio. “Eu colocaria todo mundo que teve qualquer imaginação ou ingenuidade para trabalhar com o McCone [CIA Diretor, John], o McNamara [Secretario de Defesa, Robert]“. Em seguida, Johnson instrui o subsecretário novamente, afirmando que “Nós não podemos aceitar este aqui”, e conclui dizendo “Eu me colocaria certo em cima disto e arriscaria meu pequeno pescoço”.

Entre os documentos existem comunicados secretos enviados pelo embaixador norte-americano Lincoln Gordon, que pressionou Washington para envolvimento direto, apoiando os conspiradores do golpe militar organizado por Humberto Castelo Branco. “Se nossa influência será trazida para aguentar, e ajudará a evitar um desastre que poderia fazer do Brasil uma China dos anos 1960. Eu e todos meus aconselhadores experientes acreditamos que nosso apoio deveria ser colocado”, Gordon escreveu para o Departamento de Estado, Casa Branca e funcionários de CIA no dia 27 de março de 1964.

Para assegurar o sucesso do golpe súbito, Gordon pede “que seja preparada uma entrega clandestina de armas de origem não americana, a ser feita a Castello Branco e seus partidários em São Paulo”. É evidente que o embaixador explica que o armamento seria usado “por unidades paramilitares e o exército amigável contra exército hostil se necessário.” Para esconder o papel norte-americano, Gordon recomendou as armas fossem entregues por submarino sem qualquer logotipo dos EUA. As entregas deveriam ser feitas à noite e nas costas isoladas ao sul de Santos, em São Paulo.

Quatro dias antes do golpe militar, Gordon pediu que o EUA enviasse navios-tanques de petróleo para facilitar as operações de logística dos conspiradores do golpe militar, e solicitou uma força-tarefa naval para intimidar os financiadores de Goulart e para intervir militarmente caso fosse necessário.

Tal apoio dos EUA ao golpe militar se tornou desnecessário. As forças de Castello Branco tiveram sucesso derrubando Goulart mais rápido e com menos resistência armada do que os políticos norte-americanos imaginaram. No dia 2 de abril, agentes de CIA no Brasil declararam que “João Goulart, presidente deposto de Brasil, estava seguindo de Porto Alegre para Montevideo.”

(exercício #2 – aula de 07/11)

Os Beatles realizando uma sátira da peça ” Sonho de Uma Noite de Verão”,de Willian Shakespeare, em 1964 um programa de televisão britânica.Também foi uma homenagem aos 400 anos de nascimento do escritor e dramaturgo britânico. McCartney é Píramo, Lennon é Thisby,Ringo o Leão e ‘
George  é “Moonshine”

Club: Rondeau Pavilion
Year: 1964
Built in 1952 by Maurice Smyth
Location: Rondeau Park Ontario
What: Hottest dance club around for decades.

Note: People would drive from a hundred mile radius to party at the Pavilion, and there is no way I could do the Chatham Music Archive without mentioning this place and what I have been told about it. Nothing was like it for miles and miles and the kids would do anything to make it every night.

• The club drew 1,500 on average every Saturday night
• People came from Sarnia, Windsor, Detroit, London and everywhere in between
• Ages 12 – 20 were the scene for the infamous dances held
• The rules were strict but were respected and followed by patrons
• Bands included The pharaohs, The Fiends, Sally and the Bluesman, The American Breed, MC5(in 1969)
• Bob Seger and Alice Cooper played there regularly as struggling musicians before becoming famous
• The Hops (DJ’s spinning what the kids wanted to hear) were the high lights for the kids
• Popular Dj’s for the years the Pavilion were most packed were Bill Saunders and Paul Dustin
• Bill Saunders became the DJ in 1964
• The place is also memorable for its closing song “The Sand and the Sea”
• Girls waited against the wall for a guy to ask them to dance, that was the era
• The guys constantly walked clock wise around the hall
• Mr. Smyth sold Rondeau Pavilion in 1975, attendance was dropping as policies changed to the park
• The pavilion was the third and last dance hall at Rondeau
• Rondeau is Ontario’s second oldest provincial park, which was established in 1899, a year after Algonquin Provincial Park.

  Main Source: The Weekender, May 10^th 1980 By S. Dudley

Released in 1964.

I’m a HUGE Beatles fan. It started when I was 11 or 12, and I’ve never looked back. Most people know only their most famous songs (granted, there are a lot of them), but the real fans know that every album is peppered with obscure beauties.

On this album, then, you’ll find the title track, ‘Can’t Buy Me Love’, ‘And I Love Her’, and this gem, called ‘If I Fell’. When I was a young romantic fool, I thought this was the most beautiful love song ever…

At the 1964 Republican National Convention in San Francisco, CA, then-NY Governor Nelson Rockefeller was granted five minutes to address the delegates. He was booed for over 16 minutes.

At the time, the Republican party’s sweetheart was Arizona Senator Barry Goldwater, and the party was in jeopardy of being hijacked by subversive ideologues from the Ku Klux Klan, John Birch Society, Communists and others whom Goldwater and the party at large refused to repudiate. Appealing to racist elements, and Southern Democrats, Goldwater later became the party’s presidential nominee, only to be resoundingly defeated  in the November General Election by incumbent LBJ – Lyndon Baines Johnson – whom had become president upon JFK’s death. Goldwater’s defeat was one of the widest margins in American political history.

In his later years, having resigned, then re-elected and succeeded by John McCain, Goldwater’s extremist libertarian ideals included abortion, gay rights, and anti-religious sentiment.

I wonder – to what extent have those same subversives successfully infiltrated the party, our airwaves and national governance today?

The following is the text of Governor Rockefeller’s remarks from The Rockefeller Archive Center, and are available online. See http://www.rockarch.org/inownwords/nar1964text.php.

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FOR RELEASE AT 6:00 P.M., PDT, TUESDAY, JULY 14, 1964 ROBERT L. McMANUS, PRESS SECRETARY TO THE GOVERNOR

TEXT OF REMARKS BY GOVERNOR NELSON A. ROCKEFELLER PREPARED FOR DELIVERY BEFORE THE THIRD SESSION OF THE 1964 REPUBLICAN NATIONAL CONVENTION IN MOVING ADOPTION OF THE AMENDMENT TO THE REPORT OF THE COMMITTEE ON RESOLUTIONS ON THE SUBJECT OF EXTREMISM, COW PALACE, SAN FRANCISCO, CALIFORNIA JULY 14, 1964

Mr. Chairman, fellow delegates, I move that the following language be inserted in the proposed 1964 Republican Platform as a new full paragraph between the present sixth and seventh paragraphs under the section headed “For a Free People.”

“The Republican Party fully respects the contribution of responsible criticism, and defends the right of dissent in the democratic process. But we repudiate the efforts of irresponsible, extremist groups, such as the Communists, the Ku Klux Klan, the John Birch Society and others, to discredit our Party by their efforts to infiltrate positions of responsibility in the Party, or to attach themselves to its candidates.”

The time has come for the Republican party to face this issue realistically and take decisive action. It is essential that this Convention repudiate here and now any doctrinaire, militant minority, whether Communist, Ku Klux Klan or Bircher which would subvert this party to purposes alien to the very basic tenets which gave this party birth.

Precisely one year ago today on July 14, 1964, I issued a statement wherein I warned that:

“The Republican party is in real danger of subversion by a radical, well-financed and highly disciplined minority.”

At that time I pointed out that the purpose of this minority were “wholly alien to the sound and honest conservatism that has firmly based the Republican party in the best of a century’s traditions, wholly alien to the sound and honest Republican liberalism that has kept the party abreast of human needs in a changing world, wholly alien to the broad middle course that accommodates the mainstream of Republican principles.”

Our sole concern must be the future well-being of America, and of freedom and respect for human dignity – the preservation and enhancement of these principles upon which this nation has achieved its greatness.

During this year, I have criss-crossed this nation fighting for those principles, fighting to keep the Republican party of all the people – and warning of the extremist threat, its danger to the party and its danger to the nation.

The methods of these extremist elements I have experienced at first hand.

Their tactics have ranged from cancellation by coercion of a speaking engagement before a college audience to outright threats of personal violence.

These things have no place in America, but I can personally testify to their existence. And so can countless others who have also experienced:
•    Anonymous midnight and early-morning telephone calls.
•    Unsigned threatening letters.
•    Smear and hate literature.
•    Strong arm and “goon” tactics.
•    Bomb threats and bombing.
•    Infiltration and take-over of established political organizations by Communist and Nazi methods.

These extremists feed on fear, hate and terror. They have no program for America – no program for the Republican party. They have no solution for our problems of chronic unemployment, of education of agriculture, or racial injustice or strife.

These extremists have no plan and no program to keep the peace and bring freedom to the world.

On the contrary – they spread distrust. They engender suspicion. They encourage disunity. And they operate from the dark shadows of secrecy.

They have called President Eisenhower “a dedicated, conscious agent of the Communist conspiracy.”

They have labeled a great Republican Secretary of State, the late John Foster Dulles, “a Communist agent.”

They have demanded that the United States get out of the United Nations and that the United Nations get out of the United States.

There is no place in this Republican party for such hawkers of hate, such purveyors of prejudice, such fabricators of fear, whether Communist, Ku Klux Klan or Bircher.

There is no place in this Republican party for those who would infiltrate its ranks, distort its aims, and convert it into a cloak of apparent respectability for a dangerous extremism.

And make no mistake about it – the hidden members of the John Birch Society and others like them are out to do just that!

These people have nothing in common with Republicanism.

These people have nothing in common with Americans.

The Republican party must repudiate these people.

I move the adoption of this resolution.

This original printing of Amiri Baraka’s (when he was still called LeRoi Jones) hit off Broadway play was another thirft store score of mine.  Dutchman is the story of a young, well dressed Black man who has an (un)fortunate encounter with a provocative and seductive young White woman. Set in a hot subway car, this racial drama speaks on the danger that lurks beneath our civilized society. Seduced intellectually and psychically, the play speaks to the dual nature that lives beneath the surface of a brother posited between two worlds. There was a revival a few years ago in the same space (The Cherry Lane Theater)  in which it premiered over 40 years ago. Somewhat heavy handed yet still powerful, Amiri Baraka’s Dutchman still titillates and challenges.

Klappentext:

Lexington, Kentucky, 1964: In einer stürmischen Winternacht entbindet der Arzt Dr. David Henry seine hochschwangere Frau. Zuerst bringt sie einen kerngesunden Sohn auf die Welt. Doch dann setzen die Wehen erneut ein, und dem Jungen folgt seine Zwillingsschwester nach. Dieses Kind ist behindert. In Sekundenschnelle trifft David eine Entscheidung, die das Leben aller Beteiligten folgenreich verändert: Während seine Frau Norah in Narkose liegt, bittet er die die Krankenschwester Caroline, den Säugling stillschweigend in ein Heim zu bringen. Aber Caroline flieht mit dem Mädchen und zieht es allein groß.
So beginnt die ergreifende Geschichte, die mehr als ein Vierteljahrhundert umspannt und die Schicksale ganz außergewöhnlicher Menschen erzählt. Erst am Schluss treffen alle Lebenswege wieder zusammen, die in jener verschneiten Nacht so grausam getrennt wurden.

Erste Meinung:

Ich bin noch zu Beginn des Buches, aber soviel kann ich schon einmal sagen, dass mir der Schreibstil von Kim Edwards sehr zu sagt. Es kommt einen so vor, als sei man ein Teil der Geschichte.

Erster Satz: “Es schneite bereits seit mehreren Stunden, als ihre Wehen einsetzten.”

Released in 1964.

A masterpiece from start to finish, perfect for warm summer days and rainy winter nights.

Dance the samba with ‘So Danço Samba’: