Hey Penguins! You know Club Penguin have a ‘Mute’ button? Well, it doesn’t block ALL the music.

For example:

 Walking into the stage you get zapped. Sound

Ninja Hideout going into the new room. Sound

New Room. LOUD SOUND. etc.

I thought MUTE, mean’t Mute. I.E: There is no sound, but I suppose that is not the case.

Just thought I’d tell you.

Waddle Away…

~Caldog9~

Early this morning I was resting comfortably in my bed, laying there listening to my kids argue about who got more cereal in their bowl. Though they weren’t just arguing, it was that high pitch ear bleeding whining. I gritted my teeth and tried to relax when every nerve in my body was in a fevered pitch.

I continued on with my day, doing laundry, directing the kids as to what chore needed to be done next, etc. When out of the blue my daughter Aubry comes screaming into the bathroom where I was. I was freaked out in an instant, wondering what was causing her to wail like that. “MOM! SHE WON’T GIVE ME THAT THING BACK, SHE JUST TAKED IT FROM ME.” I said in a calm voice, “What thing?” and my daughter answered, “That chewed up Barbie shoe.” I couldn’t believe it. My daughter was freaking out over a chewed up Barbie shoe that her sister took from her. Was this really happening?

Fast forwarded to 3pm. Time for our Girl Scout meeting. We jumped in the car and was on our way. The sun beaming at my sensitive-headache-riddled eyeballs. The girls in the very back of the mom-van arguing again over a doll that was supposed to stay home. And that’s when it happened. The epiphany came to me as a sun ray shining right into my over worked brain. I even mentioned it my boyfriend.

God would have been considered a genius (by me, not that he isn’t already) had he given every parent a remote with a child mute button. Think about it………………………….See what I mean? Think of how many lives would and could be saved with a child mute button. I know what your thinking, that I would miss hearing my children’s voices. No because there would be rules with the remote. Rules that couldn’t be changed. Like, the mute only last for 5 minutes, you can only press the mute button once an hour and once the children reach 18 it will no longer work.

Oh the sanity that would be saved. The awesomeness part of this mute remote is, it works on all children not just yours. Example: say your child is acting rather well, yet you’re sitting in a theatre for 4 hours awaiting the arrival of a much anticipated movie such as The Twilight Saga: New Moon, and there you are, in a room full of annoying teenagers and about 15 parents. You could sync up your remotes in intervals and have about a good couple of hours of total quiet. The teenagers can talk and hear each other but the adults can’t hear anything.

Seriously, this is awesome. I know there are sooo many times in my life that I’ve wished for such a thing. If it ever comes to pass you know where you heard it first, SHEER CHAOS DOT COM!!!!!!! Can I get an AMEN?

Twitter is something that has become a norm in society. I was always familiar with its purpose but never created an account until last Thursday. After looking through a bunch of interesting applications, I came across one I liked called Twalala. I think this app is beneficial for avid twitter users because it gives people the opportunity to control what they can and cannot see on their own page. It is a mute button for the twitter world! In addition, it is a great way for people to get rid of tweets about uninteresting topics or block annoying chatty people. It is simple and easy to control and could be the answer to many problems! However, the layout is different from a normal twitter page because the twitterfeed is the only thing aligned down the center of the page. All of the tweets from people you are following are visible and there is the option to mute or reply to that specific tweet. Also, while in this app by clicking on a person’s name, you can look at an quick overview of their twitter account. This application allows tweeting to take place but just adds the simple option of muting. In order to filter tweets, type in common words/ phrases or click the red circle to “mute” the people you choose.

Interested?! Check it out or even try it out! http://www.twalala.com/login

En 1986 y después de la edición del compilatorio “The Singles 81-85″, Depeche vuelve a la carga entregando nuevo material, producido por Miller y Jones, “Black Celebration” (#4) engendró 3 sencillos los cuales no fueron tan populares como los anteriores; esto se debe quiza al cambio musical que estaban experimentado, ya que tanto las letras como la música se había vuelto más oscuras.
Otro cambio radical fue la imagen del grupo. Es a partir de este LP, que DM empieza a trabajar con el fotografo Anton Corbijn; atrás quedaron las ropas de cuero y la imagen sadomasoquista que solían usar, todo comenzo a tomar matices oscuros tanto en la fotografia como en los videos (filmados principalmente en blanco y negro). Con esto Dave Gahan se consolida como la imagen principal del grupo .

Para el año siguiente Depeche alista su nuevo LP, pero cambiando esta vez la producción, “Music for the Masses” (#10) contaría con Dave Bascombe, como productor del disco, pero según Alan Wilder, Bascombe terminó simplemente como un ingeniero de sonido. Con la edición de los sencillos “Strangelove” (#16), “Behind the Wheels” (#21) y “Never Let Me Down Again” (#22),  además del sencillo “Little 15″ (#18) editado en Europa, Depeche entra con fuerza al mercado americano.

Se inicia entonces el Tour for the Masses” (que se iniciaba en España y concluía en E.E.U.U.) y que constaba de 101 presentaciones, de las cuales la última sería registrada como el siguiente LP del grupo y su primer álbum en vivo titulado “101″ . De este LP se editaría como sencillo la versión en vivo de “Everything Counts” (#22).

Para 1989, Martin editaría el “Counterfeit” EP como solista, además de iniciar la promoción del siguente álbum del grupo. “Personal Jesus” (#13) se convertiría en el primer sencillo de nuevo disco. “Violator” (#2) que  no sería editado hasta el año siguiente. Esta vez la producción correría a cargo de Mark Ellis (a.k.a. Flood) quien le dió un nuevo sonido a Depeche Mode, haciéndolo más accesible y a la ves más sofisticado. “Enjoy the Silence” (#6) , sería uno de los temas más populares de la banda, asi como los dos últimos sencillos editados del álbum, Policy of Truth” (#16) y “World in my Eyes” (#17) . “Violator” destaca, por ser el primer álbum de DM, donde la guitarra toma un papel más importante con respecto a los discos anteriores. El álbum demostró ser uno de los más vendidos además de ser bastante influyente para las nuevas generaciones de músicos de electrónica.

Después del “World Violation Tour”, Depeche debía a comproner y arreglar los temas de su siguiente álbum; sin embargo, El grupo paso casi 2 años separado; Dave quién se había divorciado se fue a vivir  a California, seducido por el estilo de vida americano, se había convertido en un adicto a las drogas y apenas mantenía contacto con los demás miembros. Las sesiones de grabación de “Songs of Faith and Devotion” (#1) estuvieron cargadas de mucha tensión, ya que Gahan no se presentaba o simplemente se iba de las grabaciones sin decir nada, Flood practicamante estaba harto de todo y sólo la constancia y dedicación de Wilder ayudo a sacar el álbum después de muchos retrasos.

De este álbum se editarían los siguientes sencillos: “I Feel You” (#8), “Walking in my Shoes” (#14),  “Condemnation” (#9), y finalmente “In Your Room” (#8). Estos sencillos y el álbum hicieron que Depeche Mode se quitaría la etiqueta de música eletrónica y entraría ya como una banda de música alternativa (de hecho, el cambio musical fue un poco chocante para algunos).

El 19 de mayo de 1993 comenzaría la más larga y extenuante gira para Depeche; “El Devotional Tour” que comprendia 99 shows incluida una segunda gira llamada “The Exotic Marathon”; para entonces el exceso de trabajo y las malas relaciones con Wilder hacen que Andy Fletcher sufra una crisis nerviosa siendo sustituido por Daryl Bamonte para la continuación de la gira.

Después de terminada la Gira “Exotic”, Alan Wilder hace publica su separación de la banda; estaba cansado del comportamiento errático de Dave y Martin y de su pésima relación con Andy; era Junio de 1995. Alan Wilder aparecería después con su propio proyecto “Recoil” .

Para ese entonces, muchoes pensaban que sería el final de Depeche Mode.

DISCOGRAFIA (1986-1993)
BLACK CELEBRATION (1986) 9 25429-2 (referencia edición americana)
1. Black Celebration 4:55
2. Fly on the Windscreen – Final 5:18
3. A Question of Lust 4:20
4. Sometimes 1:53
5. It Doesn’t Matter Two 2:50
6. A Question of Time 4:10
7. Stripped 4:16
8. Here is the House 4:15
9. World Full of Nothing 2:50
10. Dressed in Black 2:32
11. New Dress 3:42
12. But Not Tonight 4:15

Written by M.L. Gore
Produced by Daniel Miller , Depeche Mode , Gareth Jones
Engineer [Assistant] – Peter Schmidt , Richard Sullivan
Mastered By – Tim Young
Artwork By [Cover Design] – D.A. Jones , M. Atkins , M. Higenbottam
Photography – Brian Griffin
Photography [Assistant] – Stuart Graham

Programmed at Worldwide International.
Recorded & mixed at Westside, London & Hansa, Berlin except “Fly on the Windscreen” recorded at Genetic, re-mixed at Hansa, Berlin.
Marketed by Warner Bros. Records Inc., a Warner Communications Company
Made In U.S.A. By WEA Manufacturing
© 1986 Sire Records Company
℗ 1985, 1986 Sire Records Company

http://rapidshare.com/files/300653953/dm_bc.rar

____________________________________________________________________________________________

MUSIC FOR THE MASSES (1987) CD STUMM 47 (referencia edición inglesa)
1. Never Let Me Down Again 4:48
2. The Things You Said 4:02
3. Strangelove 4:56
4. Sacred 4:47
5. Little 15 4:18
6. Behind the Wheel 5:18
7. I Want You Now 3:44
8. To Have and To Hold 2:51
9. Nothing 4:18
10. Pimpf 5:25
11. Agent Orange 5:15
12. Never Let me Down Again [Aggro Mix]4:57*
13. To Have and To Hold [Spanish Taster]2:37*
14. Pleasure, Little Treasure [Glitter Mix]5:36 *

* Bonus tracks

Written by  Martin L. Gore

Produced by  David Bascombe , Depeche Mode
Engineered by David Bascombe
Additional Producing & Help: Daniel Miller
Recorded at Studio Guilliame Tell, Paris & Konk, London.
Mixed at PUK Studios, Denmark.
Mastered by Nimbus.
Artwork By [Design], Photography – Martyn Atkins, David Jones & Mark Higenbottam @ T&CP Assoc.
Thanks to Dave (stitch that) Powell, Henrik Nilsson, Peter Iverson, Phillippe, Dean, Rico Conning.

® 1987 Mute Records Ltd.

http://rapidshare.com/files/300726003/dm_mftm.rar

____________________________________________________________________________________________

101 (1989) CD STUMM 101 (referencia edición inglesa)
Disc 1:
1. Pimpf  0:58
2. Behind The Wheel  5:54
3. Strangelove 4:49
4.  Sacred 5:09
5.  Something To Do 3:53
6. Blasphemous Rumours 5:09
7. Stripped 6:45
8.  Somebody 4:34
9.  Things You Said 4:21

Disc 2:
1.  Black Celebration 4:54
2.  Shake The Disease 5:10
3. Nothing 4:36
4.  Pleasure, Little Treasure 4:38
5. People Are People 4:59
6. A Question Of Time 4:12
7.  Never Let Me Down Again 6:40
8. A Question Of Lust 4:07
9. Master & Servant 4:30
10.  Just Can’t Get Enough 4:01
11. Everything Counts 6:31

Produced by Depeche Mode
Engineered by Alan Moulder
Recorded live at The Pasadena Rose Bowl, California, 18-Jun-88.

® 1989 Mute Records Ltd.

Disc 1: http://rapidshare.com/files/301049773/dm101a.rar
Disc 2: http://rapidshare.com/files/301097675/dm101b.rar

____________________________________________________________________________________________

VIOLATOR (1990) CD STUMM 64(referencia edición inglesa)
1. World in My Eyes 4:26
2. Sweetest Perfection 4:43
3. Personal Jesus 4:56
4. Halo 4:30
5. Waiting For The Night 6:07
6. Enjoy The Silence* 6:13
7. Policy Of Truth 4:55
8. Blue Dress 5:42
9. Clean 5:28

All titles written by Martin L. Gore

Produced by Depeche Mode and Flood.
Engineered by Alan Gregorie, Dennis Mitchell, Goh Hotoda, Peter Iversen, Phil Legg, Pino Pischetola, Steve Lyon.
Assistant Enginners: Daryl Bamonte, David Browne, Dick Meany, Mark Flannery, Ricky.
Mixed by François Kevorkian except * mixed by Flood and Daniel Miller.
Recorded & mixed at: Logic Studios, Milan, PUK Studios, Denmark, The Church, London, Master Rock Studios, London, Axis, New York.

® 1989 Mute Records Ltd.

http://rapidshare.com/files/301184017/dm_v1.rar
http://rapidshare.com/files/301643573/dm_v2.rar

____________________________________________________________________________________________

SONGS OF FAITH AND DEVOTION (1993) (referencia edición inglesa)
1. I Feel You 4:35
2. Walking In My Shoes 5:35
3. Condemnation 3:19
4. Mercy In You 4:17
5. Judas 5:13
6. In Your Room 6:24
7. Get Right With Me 3:52
8. Rush 4:36
9. One Caress 3:30
10. Higher Love 5:56

Written by Martin L. Gore

Bagpipes[Uilleann Pipes]on 5: Steafan Hannigan
Additional Vocals on 7: Bazil Meade, Hildia Cambell, Samantha Smith
Strings arranged and conducted on 9: Wil Malone

Produced by Depeche Mode and Flood.
Engineered by Chris Dickie, Paul Kendall, Steve Lyon.
Assitant Engineers: Jeremy Wheatley, Mark Einstmann, Shaun De Feo, Volke Schneider.
Mastered by Kevin Metcalfe.
Recorded in Madrid & Hamburg (Chateau Du Pape).
Mixed in London (Olympic Studios) by Depeche Mode, Flood, Mark Stent.
Sleeve Design: Anton Corbijn & Area.
Art Direction:Anton Corbijn.
Album Co-ordinator: Daryl Bamonte

© 1993 Mute Records Ltd.

http://rapidshare.com/files/302107634/dm_sofad1.rar
http://rapidshare.com/files/303838652/dm_sofad2.rar

____________________________________________________________________________________________

SONGS OF FAITH AND DEVOTION LIVE (1993) LCDSTUMM 106 (referencia edición inglesa)
1. I Feel You 7:11
2. Walking In My Shoes 6:41
3. Condemnation 3:55
4. Mercy In You 4:20
5. Judas 5:01
6. In Your Room 6:47
7. Get Right With Me 3:11
8. Rush 4:35
9. One Caress 3:35
10. Higher Love 7:30

Barcode: 5 016025 621064
Recorded live in Copenhagen, Milan, Lievin & New Orleans.

® 1993 Mute Records Ltd.

http://rapidshare.com/files/300982169/dm_sofadl.rar

Nie dziwię się już temu, że Duncan Jones ma problemy ze sfinansowaniem produkcji filmu Mute. Reżyser schizowatego Moon mógł trochę przegiąć w scenariuszu i pojechał mało przystępną alternatywą. W Mute przeniesiemy się do Berlina 2046 r. Fabuła produkcji skupiona będzie wokół perypetii dwóch postaci: czterdziestoletniego barmana o imieniu Leo, który to stracił głos po wypadku z dzieciństwa oraz Cactus Billa – zadłużonego u rosyjskiej mafii Amerykanina. Pewnego dnia Leo budzi się i z przerażeniem stwierdza, że jego papużka-nierozłączka – Afganka o imieniu Naadira, gdzieś wsiąkła – wobec czego wyrusza na  jej poszukiwania pośród mrocznych zakamarków niemieckiej stolicy. Bill chce uciec wraz z rodziną z Niemiec – w tym celu załatwia lewe paszporty, które pozwolą mu wrócić do ojczystej ziemi. Nie wszystko idzie łatwo, a jego asystent wydaje się być fanem pedobeara i ukradkiem zerka na cactusową córkę.

Nie ma dźwięku? Fonii?

Według redaktora z blogu ScriptShadow, w scenariuszu Mute nie dzieje się zbyt wiele – niemowa radzi sobie nadzwyczaj dobrze, a Bill po prostu czeka na przepustki do raju. W każdym razie ma to być prawdziwe wyzwanie dla aktorów. Jedynie realia miasta przyszłości zapowiadają się okrutnie smacznie, niech świadczy o tym ten cytat: Jones clearly understands what he wants to do with the film visually. In fact, this will probably be one of the coolest fucking trailers ever to hit the geek community. The film nerds that have unopened Blade Runner DVDs, Blade Runner Special Edition DVDs, Blade Runner Director’s Cut DVDs, even Blade Runner Super Edition HD-DVDs, will be swimming in a soupy ecstasy of barely-lit futuristic noir til they can’t tell themselves from their shadows. This film will no doubt look awesome.

Za ScriptShadow.

Drowning in this emptiness of thought

Like a pantomime lost of words

A mind’s tongue that’s in decay

Silence resonates but is never heard

Suffocating in this dearth of muse

With a lung that’s in full collapse

Appendages turn blue and violet

With lack of breath;

Resuscitate, resuscitate

Unlock this mind in mute

Set free all that is chained and imprisoned

And let ink flow through these veins once more

Jake Gyllenhaal is in negotiations to star in sci-fi thriller Source Code according to Variety.

Duncan Jones will direct and Mark Gordon will produce.

It sounds like a nice little concept as it centers on a soldier who wakes up in the body of an unknown commuter and is forced to live and relive a harrowing train bombing until he can determine who is responsible for it. Kind of like a VR thing going on by the sounds of it. He keeps waking up back in an army base every time the bomb goes off and then does it all again. Also reminds me a little of The Jacket starring Adrien Brody.

It will be interesting to see what Jones does with this one after the brilliant Moon starring Sam Rockwell. His sci-fi film Mute, has been put on hold for the moment so Source Code may well be his next film.

Ode to the Morning Walk with a Mute Girl

There is something Zen about insanity:

Everything is something, and nothing is

Everywhere is somewhere, and nowhere is

Everyone is someone, and no-one is.

These are not delusions, but facts;

Realities suppressed and rejected,

Superseded by a jury of “peers”

Could not be further from the truth

For those who know, watch, and listen.

It is their reality, their world. They find

Beauty where we see none; they find

Horror where we see joy. They find

Friends where they can, when they need

Support.

They exist, and we exist. Those are our facts.

We do not communicate well, and at the same

time we do not need to speak

to understand each other.

POLITICS, POETICS AND POPULAR EDUCATION IN BRAZILIAN CINEMA, 1962-1979

‘Stronger are the powers of the people’: politics, poetics and popular education in Brazilian cinema, 1962-1979

December 4 (6.30pm – 10pm) 
December 5th and 6th (2pm to 10pm)

At No-w-here, First Floor, 316-318 Bethnal Green Road, London, E2 OAG

Full programme and further information: http://www.no-w-here.org.uk/index.php?cat=1&subCat=docdetail&&id=212

The late 1950s and early 1960s were a period of intense social and economic transformation in Brazil. It was also a period of political upheaval, curbed by the 1964 military coup, and one in which the relations between politics, poetics and popular education, the role of the cultural producer, the vanguard-popular-mass culture nexus, were absolutely central to the cultural and political debate.

‘Stronger are the powers of the people’, a programme of films and debates curated and presented by Brazilian philosopher, artist and political activist Rodrigo Nunes, uses Brazilian films from 1962 to 1979 as ‘monuments’ whose animating forces can be put again into play to understand how the problems posed by the period are expressed in the aesthetic and political choices of filmmakers.

In particular, it examines one of the most neglected experiences of that time – the Popular Culture Centres (CPCs) – as a central node of the practical and theoretical articulation of those debates. With this, the programme addresses them not only in their historical situatedness, but above all in relation to those problems that animate artistic and political practice in the present, when so much is made of the intersections between politics, art, and pedagogy, and there is a growing interest in recovering past experiences of this convergence – above all, from the 1960s, and increasingly, from peripheral countries such as Brazil. What can the problems of those years teach us regarding what we are or would like to be doing today? How can the proposals emerging in this field then – Paulo Freire’s pedagogy, Liberation Theology, Augusto Boal’s Theatre of the Oppressed,tropicalismo, Helio Oiticica’s, Lygia Clark’s and Lygia Pape’s researches, cinema novo – resonate with us today?

The programme includes the rare collective work Five Times Favela, the only CPC-produced film, and the first film for many of that generation’s directors; Glauber Rocha’s internationally acclaimed Land in Anguish and Antonio das Mortes; Ruy Guerra’s The Guns and its sequel, The Fall; and Leon Hirszman’s ABC of the Strike.

Rodrigo Nunes has a PhD in philosophy from Goldsmiths College, University of London, where he prepared a thesis on immanence and philosophy in Foucault and Deleuze with a grant from CAPES – Brazilian government. As an organiser, popular educator and artist, he has been involved in many political initiatives in Latin America and Europe, including the organisation of the first three editions of the World Social Forum. He is a member of the editorial collective of Turbulence (http://www.turbulence.org.uk). His work, as writer and translator, has appeared in such publications as ephemera, Mute, Transform, and he has forthcoming papers in Radical Philosophy and Third Text.

This project is supported by Raven Row, the Brazilian embassy in London, and No.w.here.

Films

Cinco vezes favela (Five times favela), various authors, 1962: The only film the Popular Culture Centre (CPC) brought to completion, it comprises five episodes directed by Miguel Borges, Joaquim Pedro de Andrade, Caca Diegues, Marcos Farias and Leon Hirszman, and was responsible for a split between the CPC and the cinema novo group. Some of the key figures in the CPC reportedly considered the film both a commercial and a political flop, and filmmakers such as Diegues and Arnaldo Jabor (though not Hirszman) left after decrying a narrow, instrumental conception of the relation between aesthetics and politics. With a cast including many of Augusto Boal’s colleagues from Teatro de Arena (and, most notably, CPC founder Oduvaldo Viana Filho), it captures a group of young filmmakers grappling with the same problems – how to create a form adequate to the specificity of Brazilian content? How to do so in a way that reaches beyond a middle-class audience, and plays a role in the transformation of Brazilian society from below? What is popular culture, and how must the artist deal with it? – while working through a host of influences, from Russian revolutionary cinema to neo-realism. Joaquim Pedro de Andrade’s Couro de gato (Catgut) was included in a list of the 100 best shorts of all times selected by the Clermont-Ferrand Festival.

Os Fuzis (The guns), Ruy Guerra, 1964: One of the greatest achievements of the first crop of cinema novo – alongside Nelson Pereira dos Santos’ Vidas secas (Barren lives) and Glauber Rocha’s Deus e o Diabo na Terra do Sol (Black God White Devil) (1964) –, it showcases many of the period’s defining traits: the rural Northeastern setting, the use of location, natural light and non-professional actors. At the same time, in its plot about the existential and moral crises undergone by a group of soldiers sent to a small town to stop the starving victims of the draught from attacking a food warehouse, it provides in arguably the clearest way the keys to reading some of the political limitations of cinema novo at this stage. It won the Silver Bear at the Berlin Festival.

Terra em transe (Land in anguish), Glauber Rocha, 1967: Part roman à clef about the Joao Goulart government and the 1964 military coup, part schematic description of the dynamics of the post-colonial world, part baroque allegory about the destiny of Latin America, part gauntlet thrown at the right and left of post- coup Brazil: one of Rocha’s most celebrated films, it finds the effects of his ‘epic-didactic’ cinema all the more effective because its target is much clearer. A whole generation at a crossroads appears in the vacillations of the main character, his multiple allegiances to social transformation and to his own class, to aesthetics and to politics, to utopia, the heat of the struggle, and his professional situation as a hired pen; the choice for armed struggle, which the film suggests in ambiguous fashion, was already brewing as it was produced. Nominated to the Palme d’Or at Cannes, best film at the Havana Film Festival.

O Dragão da Maldade contra o Santo Guerreiro (Antônio das Mortes), Glauber Rocha, 1969: Rocha’s first international co-production, first film in colour, and first using direct sound. He would often refer to it as ‘my western’, but, despite some nods at John Ford and Howard Hawks, it is clear that the oeuvre in question here is above all his own. Like a revision of his two earlier films that relaunches its questions, but also seems to run out of answers, it already points towards some of the procedures (such as the long, semi-improvised takes) that would characterise his work in the exile that immediately follows it. The plot finds Antônio das Mortes, the gunman hired by landowners to kill cangaceiros (highwaymen), brought out of retirement for one last job which, once executed, causes him to question the side on which he has fought over the years. Won best director and a nomination to the Palme d’Or at Cannes.

A Queda (The Fall), Ruy Guerra, 1976: An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

ABC da greve (ABC of the strike), Leon Hirszman, 1979-91: While preparing the cinema version of groundbreaking 1957 Teatro de Arena play Eles não usam black tie on location in the ABC (the auto industry belt around São Paulo), Hirszman has the opportunity to document the most powerful strikes in over a decade of Brazilian history. The latter would become a catalyst and a convergence point for the opposition to the military regime, intellectuals, artists, returning exiles, eventually leading to the creation of the Worker’s Party – whose biggest leader, Lula, was the president of the metalworkers union who led the strikes. Running into problems with the regime’s censorship because of the material, Hirszman dies in 1987 leaving the film unfinished until 1991, when his two daughters and son eventually release a final cut. The narration and text are provided by Ferreira Gullar, poet, who was president of the CPC at the time of the military coup.

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

The Ockress: http://www.theockress.com

Probably the greatest video ever

Typical – Mute Math

Liars will release a new album, Sisterworld, on Mute in early 2010. Check out their cryptic new album website, full of nature scenes hinting towards something sublime. The album was recorded in LA, and the band had this to say: “We’re interested in the alternate spaces people create in order to maintain identity in a city like LA. Environments where outcasts and loners celebrate a skewered relationship to society”.

• Coming in November from Nina Power (aka Infinite Thought): One Dimensional Woman (featuring a great cover by the extraordinary Laura Oldfield Ford). This feminist polemic is “partly an attack on the apparent abdication of any systematic political thought on the part of today’s positive, up-beat feminists” and is bound to provoke a lot of discussion.
• Proud to be Flesh – a collection of work from over the years from the excellent Mute magazine (‘cultural politics after the net’).
• Capitalist Realism: Is There No Alternative? – just around the corner, another from Zero Books, Mark Fisher (aka K-Punk) with his excellent critique of contemporary ideology. Slavoj Zizek says about it: “Let’s not beat around the bush: Fisher’s compulsively readable book is simply the best diagnosis of our predicament that we have!“
• Nihil Unbound: Enlightenment and Extinction – Ray Brassier’s formidable contribution to speculative realism will be available in paperback in the new year.
• Crack Capitalism – John Holloway’s follow-up to the debate-fuelling Change the World Without Taking Power will be out in April 2010.
• Utopias – Whitechapel Gallery are doing a wonderful series of introductory readers to art and cultural theory and their new one, edited by Richard Noble, includes texts from More to Bloch to Debord.
• Nice Work if You Can Get It: Life and Labor in Precarious Times – Andrew Ross’s fascinating discussion of precarious labour in the global market.

Como para recordar aquella memorable presentación en la explanada del Monumental, les estoy dejando la discografia de una de las bandas más emblemáticas de los 0chentas, vendedora de millones discos a nivel mundial y cuyo estilo inicialmente synthpop, derivo hacia un industrial revestido de cierta comercialidad, hasta llegar a la música electrónica actual fusionada con guitarras y baterias reales. Los inicios de Depeche Mode se remontan a 1977 en Basildon – Essex, cuando 2 jovenes estudiantes Vince Clarke (Vincent John Martin 03-07-1960, en voz y guitarras) y Andrew John Fletcher (08-07-1961 en bajo) forman la banda “No Romance in China”, dos años después Clarke formaría otra banda “The Plan” con 2 amigos; Robert Marlow y Paul Langwith; paralelamente Martin Lee Gore (23-07-1961 en guitarra) formaba un duo acústico con un amigo, Philip Burdett “Norman and the Worms”, pero no hubo continuidad.

Para 1979 Vince Clarke, Martin Gore, Robert Marlow y el recién llegado Paul Redmond formarian otra banda “The French Look”; pero no sería hasta el año siguiente que el embrión de Depeche Mode se formaría con Clarke (voz y guitarra), Gore (teclados) y Flechter (bajo) con el nombre de “Composition of Sound” . Esto sucedía en Marzo de 1980; en mayo de ese año, “Compostion of Sound” y “The French Look” tocarían juntos en el St. Nicholas School Youth Club en Basildon.

Poco después el sonido del trio cambiaria al usar sólo sintetizadores, y es en ese momento que entraría otro nombre clave a la banda; Dave Gahan (09-05-1962) entra poco después de que Clarke lo escuchara cantando el cover de de David Bowie “Heroes”; Depehce Mode había nacido.

El nombre de la banda viene  del título de una revista de moda francesa “Dépêche mode”; fue precisamente Gahan quién sugirió ese nombre (erroneamente se le traduce como “moda rápida” o “moda apresurada” , pero el término apropiado es “noticias acerca de moda”).

El debut de Depeche aparece bajo la forma de un tema “Photographic”, grabado para el naciente sello independiente “Some Bizzarre” propiedad del DJ Stephen John Pearce conocido como “Stevo” y que se incluiria dentro del sampler “Some Bizzarre Album” que presentaba además a otros pioneros de la new wave como “Soft Cell”, “The The” y “B-Movie” entre otros. Poco después es el músico y director de Mute Records, Daniel Miller quien pone los ojos en ellos ofreciéndoles la oportunidad de grabar su primer sencillo propiamente dicho en Diciembre de 1980. “Dreaming of Me” aparecido en Febrero de 1981 llega sólo al puesto 51 pero anima a la banda a sacar un segundo sencillo; “New Life” (Junio 1981) consigue un alentador puesto #11 en los charts; pero es con “Just Can’t Get Enough” (#8) que la banda se hace conocida a un nivel más amplio.  El album debut tambien es editado, “Speak and Spell” llega al puesto 10, la banda comienza a presentarse en Top of the Pops y otros programas de TV, hasta se graba el video promocional del tema (dirigido por Clive Richardson), pero la primera separación de la banda empieza. Vince Clarke decide ponerse a un lado en Noviembre de 1981, citando diferencias musicales y como se estaba llevando la música dentro la banda. Poco después Clarke aparecería con la cantante Alison Moyet formando el duo “Yazoo” (o Yaz en América) y 3 años después el duo “Erasure” con Andy Bell.

Después de la separación de Clarke, Gore es forzado a tomar la composición de temas (previamente había compuesto dos temas para el álbum debut). A su vez, la banda pone un aviso anónimo en Melody Maker solicitando un tecladista; Alan Charles Wilder (1-06-1959) un joven músico contestó el aviso mintiendo sobre su edad para poder obtener el empleo. Wilder integra Depeche a partir de 1982 inicialmente como tecladista de apoyo y luego como miembro oficial de la banda. Wilder (el único músico con formación dentro del grupo) sería quién definiria el sónido de Depeche Mode poco a poco.

En Enero de 1982 se edita el primer sencillo de Depeche sin Clarke; “See You” (#6) aunque este y los dos siguientes sencillos “The Meaning of Love” (#12) y “Leave in Silence”  (#18) así como el álbum “A Broken Frame” (#8) serían el material de menos agrado para Martin, ya que para él, “Aún no tenian una dirección definida y arrastraban aún el estilo pop de Clarke”. Cabe agregar que se graban los videos correspondientes a estos sencillos, pero la banda al final mostró su disconformidad con el nuevo director (Julian Temple) por lo que estos videos no se encontraban disponibles comercialmente (incluso se omiten del video compilatorio “Some Great Videos”).

Un año después (Enero de 1983)  se edita el séptimo sencillo de la banda, que no estaría incluido en el siguiente álbum. “Get the Balance Right!” (# 13) presenta ya a Alan Wilder como miembro oficial y co-escritor con Gore del tema “The Great Outdoor”. Poco después aparece el LP “Construction Time Again” (Agosto de 1983) en el cual Wilder se encarga con Daniel Miller y el ingeniero Garreth Jones de la parte de producción; el álbum vendría a ser considerado el primer álbum de sónido mas elaborado, gracias a los arreglos de Wilder y en parte al trabajo de Jones. De este LP se extrajeron 2 sencillos: “Everything Counts” (uno de los primeros temas en incluir samplings)(#6) y “Love in Itself” (#21).  Poco después en setiembre se inicia el “Construction Tour” que empieza en Irlanda y concluye al año siguiente en Alemania.

Finaliza la gira promocional, y como un adelanto del nuevo álbum se edita el sencillo “People are people” (#6) que llegó al puesto 13 en Estados Unidos, siendo el tema más pinchado en las estaciones alternativas. Sire, la compañia encargada de distribuir los albunes de DM en América decide editar el EP compilatorio (#74) que lleva el mismo nombre del sencillo, y que incluye temas de los dos albunes anteriores además de ser el primer LP de la banda editado ahi.

“Some Great Reward” (#5) editado en Julio de 1984  aparece nuevamente grabado con colaboración de Jones y fue realizado en los estudios Hansa en Alemania donde David Bowie y Eno grabaron sus discos conocidos como la “Trilogia de Berlin”.  De este disco se desprenden ademas de “People are People”, los sencillos “Master and Servant” (# 9) y “Blasphemous Rumours/Somebody” (#16). Después de la correspondiente gira,  los miembros de la banda deciden tomarse un tiempo sabático después de haber trabajado 4 años seguidos, y en Octubre de 1985 se edita el primer LP recopilatorio conteniendo los trece sencillos de la banda (además de dos temas nuevos) “The Singles 81-85″  (#6) ; paralelamente se edita un mes después en Canadá y América el LP “Catching Up with Depeche Mode”  (#113) que no es sino la contraparte del “The Singles” pero omitiendo  los temas ya aparecidos en el EP “People are People” además de incluir 2 lados b (“Flexible” y “Fly on the Windscreen”).

El sónido de Depeche Mode que ahora era influenciado por el industrial, se volveria más oscuro tanto a nivel musical como lírico en los álbunes posteriores.

DISCOGRAFÍA (1981-1985)
SPEAK AND SPELL (UK) (1981) CDSTUMM5 (referencia edición inglesa)
1. New Life – 3:43
2. I Sometimes Wish I Was Dead – 2:14
3. Puppets – 3:55
4. Boys Say Go! – 3:03
5. Nodisco – 4:11
6. What’s Your Name? – 2:41
7. Photographic – 4:44
8. Tora! Tora! Tora!* – 4:34
9. Big Muff *– 4:20
10. Any Second Now (Voices) – 2:35
11. Just Can’t Get Enough – 3:40
12. Dreaming of Me – 4:03+
13. Ice Machine– 4:05+
14. Shout – 3:46+
15. Any Second Now – 3:08+
16. Just Can’t Get Enough [Schizo Mix] – 6:41+

All tracks written by Vince Clarke except * written by Martin L. Gore
Depeche Mode: Vince Clarke, Andrew Fletcher, Martin Gore, David Gahan
Recorded at Blackwing Studios, London
Produced by Daniel Miller and Depeche Mode
Engineered by John Fryer and Eric Radcliffe
Photography by Brian Griffin
CDD Pre-Mastering: WCI Record Group

® 1981 Mute Records Limited

http://rapidshare.com/files/297834930/dmsasuk.rar

Notas:
-El primer álbum de Depeche Mode; de sonido bastante alegre y muy pop para mi gusto sin embrago tiene temas muy buenos; como Tora! Tora! Tora! o Big Muff compuestas por Martin Gore. La edición original en cd tenia una variante de la portada original y presentaba 5 bonus tracks que incluian el primer sencillo “Dreaming of Me” ademas de los correspondientes lados b y un mix de “Just Can’t Get Enough”
- La versión de New life” es la misma del sencillo, pero tanto “Dreaming” como “Shout” tienen finales “secos” y  no fadings como en las versiones 7″

__________________________________________________________________________________________

SPEAK AND SPELL (US) (1987) (referencia edición americana)
1. New Life [Remix] – 3:56
2. Puppets – 3:57
3. Dreaming of Me– 3:42
4. Boys Say Go! – 3:04
5. Nodisco – 4:13
6. What’s Your Name?– 2:41
7. Photographic – 4:58
8. Tora! Tora! Tora! – 4:24
9. Big Muff – 4:21
10. Any Second Now (Voices) – 2:33
11. Just Can’t Get Enough [Schizo Mix] – 6:41

All tracks written by Vince Clarke except * written by Martin L. Gore
Depeche Mode: Vince Clarke, Andrew Fletcher, Martin Gore, David Gahan
Recorded at Blackwing Studios, London
Produced by Daniel Miller and Depeche Mode
Engineered by John Fryer and Eric Radcliffe
Photography by Brian Griffin
CDD Pre-Mastering: WCI Record Group

® 1981 Sire Records Company. Marketed by Warner Records Inc.

http://rapidshare.com/files/297779793/dm_sasus.rar

Notas:
- La versión Americana del primer LP; aqui se omite la versión 7″ de “Just Can’t Get Enough” por el “Schizo Mix” además de incluir una versión diferente de “New Life”

__________________________________________________________________________________________

A BROKEN FRAME (EU) (1982) CDSTUMM9 (referencia edición alemana)
1. Leave in Silence – 4:51
2. My Secret Garden – 4:46
3. Monument – 3:15
4. Nothing to Fear– 4:18
5.  See You – 4:34
6. Satellite – 4:44
7. The Meaning of Love – 3:06
8. A Photograph of You – 3:04
9. Shouldn’t Have Done That – 3:12
10. The Sun and the Rainfall – 5:02

All titles written by Martin Gore and published by Mute Records

Depeche Mode are: David Gahan, Martin Gore and Andrew Fletcher
Produced by Daniel Miller and Depeche Mode
Engineered by John Fryer and  Eric Radcliffe
Recorded at Blackwing Studios, London
CDD Pre-Mastering by WCI Record Group
Photography by Brian Griffin
Design: Martyn Atkins
Calligraphy: Ching Ching Lee
Clothes Stylist: Jacqui Frye

® 1982 Mute Records Limited (UK).

http://rapidshare.com/files/297863841/dm_abfger.rar

_________________________________________________________________________________________

CONSTRUCTION TIME AGAIN (US) (1983) 9 23900-2 (referencia edición americana)
1. Love, in Itself  – 4:27
2. More Than a Party  – 4:30
3. Pipeline  – 6:08
4. Everything Counts – 4:24
5. Two Minute Warning  – 4:10*
6. Shame– 3:50
7. The Landscape Is Changing  – 4:46*
8. Told You So  – 4:25
9. And Then…/Everything Counts (reprise)  – 5:40
10. Everything Counts [Long Version]– 7:23

All titles written by Martin Gore except * written by Alan Wilder

Depeche Mode are: Andrew Fletcher, David Gahan, Martin Gore and Alan Wilder
Produced by Daniel Miller and Depeche Mode
Tonmeister: Gareth Jones
Assistant engineer on “Two Minute Warning”: Corinne Simcock
Recorded at The Garden, London
Mixed at Hansa Mischraum, Berlin
Cover Photography: Brian Griffin
Illustrations: Ian Wright
Design: Martyn Atkins

® 1983 Sire Records Company. Marketed by Warner Records Inc.

http://rapidshare.com/files/297951360/dm_ctaus.rar

__________________________________________________________________________________________

PEOPLE ARE PEOPLE (1984) (referencia edición americana)
1. People Are People [single version] – 3:45
2. Now, This Is Fun [single version] – 3:23
3. Love, in Itself – 4:21
4. Work Hard*[single version] – 4:22
5. Told You So – 4:27
6. Get the Balance Right! [single version] – 3:13
7. Leave in Silence [UK single version] – 4:00
8. Pipeline – 6:10
9. Everything Counts (In Larger Amounts) – 7:20

Written by Martin Gore except* written by Marin Gore and Alan Wilder.
Recorded between 1981 and 1984
Produced by Daniel Miller and Depeche Mode.

This compilation ® 1984 Sire Records Company. Marketed by Warner Records Inc.

http://rapidshare.com/files/300251571/dm_pap.rar

Notas:
-Primer LP editado en América y Canadá de DM, contiene material del “Broken” y “Construction Time” además de algunos lados B y el tema homónimo del álbum.
-Las primeras ediciones del álbum no incluian el nombre de la banda; con las re-ediciones esto se corregiría.

__________________________________________________________________________________________

SOME GREAT REWARD (1984) CDSTUMM19 (referencia edición inglesa)
1. Something to Do – 3:47
2. Lie to Me – 5:03
3. People Are People – 3:52
4. It Doesn’t Matter – 4:44
5. Stories of Old – 3:13
6. Somebody – 4:27
7. Master and Servant – 4:12
8. If You Want (Alan Wilder) – 4:41
9. Blasphemous Rumours – 6:22

All titles written by Martin L. Gore except as indicated

Produced by Daniel Miller, Depeche Mode, and Gareth Jones
Assistant Engineers: Ben Ward, Stefi Marcus, and Colin McMahon

Recorded at Music Works, London and Hansa Mischraum, Berlin
Mixed at Hansa Mischraum, Berlin

Photography: Brian Griffin
Assisted by: Stuart Graham
Clothes Stylist: Jacqui Frye

® 1984 Mute Records Ltd. (UK)

http://rapidshare.com/files/298412372/dm_sgr.rar

__________________________________________________________________________________________

THE SINGLES 81-85 (1985) CDMUTEL1 (referencia edición inglesa)
1. Dreaming of Me* – 3:46
2. New Life*– 3:45
3. Just Can’t Get Enough*– 3:44
4. See You – 3:57
5. The Meaning of Love – 3:05
6. Leave in Silence -4:02
7. Get the Balance Right! -3:59
8. Everything Counts -4:00
9. Love, in Itself– 3:55
10. People are People-3:46
11. Master and Servant – 3:47
12. Blasphemous Rumours – 5:09
13. Somebody – 4:22
14. Shake the Disease – 4:49
15. It’s Called a Heart– 3:51

All titles written by Martin Lee Gore except* written by Vince Clarke
Tracks 1-7 and 15 Produced by Daniel Miller and Depeche Mode.
Tracks 8-14 Produced by Daniel Miller, Depeche Mode, and Gareth Jones.
Photography by Eric Watson

This compilation ® 1985 Mute Records Limited (UK)

http://rapidshare.com/files/298864265/dm_s81-85.rar

__________________________________________________________________________________________

CATCHING UP WITH DEPECHE MODE (1985) (referencia edición americana)
1. Dreaming of Me*– 3:44
2. New Life*– 3:44
3. Just Can’t Get Enough* – 3:36
4. See You – 3:53
5. The Meaning of Love – 3:04
6. Love, in Itself– 3:55
7. Master and Servant – 3:50
8. Blasphemous Rumours – 5:04
9. Somebody – 4:21
10. Shake the Disease – 4:46
11. Flexible – 3:09
12. It’s Called a Heart– 3:48
13. Fly on the Windscreen – 5:05

All titles written by Martin Lee Gore except* written by Vince Clarke
Tracks 1-5, 12 and 13 Produced by Daniel Miller and Depeche Mode.
Tracks 6-11 Produced by Daniel Miller, Depeche Mode, and Gareth Jones.
Photography by Eric Watson

This compilation ® 1985 Sire Records Company. Marketed by Warner Records Inc.

http://rapidshare.com/files/299348497/dm_cuwdm.rar

Notas:
- La contraparte americana a “The Singles 81-85″ incluye 2 lados b (“Flexible ” y “Fly on the Windscreen”, este último reaparecería como una versión final en el LP “Black Celebration” de 1986)
- Según Alan Wilder, “Fly” debió haber sido el lado A de “It’s Called a Heart”, pasando este como lado B; pero la directiva en Mute vetó la canción.

__________________________________________________________________________________________

]]> http://thinkaloo.wordpress.com/2009/10/27/mute-button-for-my-cell/ Tue, 27 Oct 2009 12:10:08 +0000 thinkaloo http://thinkaloo.wordpress.com/2009/10/27/mute-button-for-my-cell/

I have the Nokia E71 cell, the guy who sold it to me told me it has everything I need. I’m generally happy with it but I noticed most super phones these days don’t come with what I think is a very handy function. I’m surprised designers have totally missed it. When I want to change my profile to mute I have to go through the menu. An external mute button on the side that does the same thing or a shortcut press of existing keys is what’s really missing from my cell. When I forget to set it at mute, a call comes in and rings loud. I must either answer, let ring or hang up. With the use of an external button I want to instantly change the ringing tone to mute without going through the menu. It’s so easy to make.

http://www.thinkaloo.com

Numa entrevista dada a Stefan Szczelkun do jornal Mute, a cineasta Nada Prlja fala da evolução da ex-Jugoslávia comunista para uma cultura de consumo, onde se assiste, agora, ao “retorno da burguesia vermelha”. Para ler na íntegra aqui, pela “beleza” e realismo do testemunho.

Fotografia: “Workers’ production line”, 2008.

William Dixon on Paul Mason’s Meltdown: The End of the Age of Greed on Mute site.

Capitalisms present crisis – how will it end?

4pm – 6pm

The capitalist system is facing years of crisis and social instability. This raises two questions. 1. What caused the crisis? Was it greedy bankers, the natural tendencies of the capitalist system or was it the resistance of the working class? 2. How will the crisis end? Will it end with more state regulation, more cuts in living standards or with working class revolution? The anarchist bookfair and Mute magazine have invited 3 speakers to debate these issues. Paul Mason, presenter on BBC newsnight and author of Meltdown; John Holloway, author of Changing the World Without Taking Power; William Dixon, Mute magazine contributor.

For more information see the Anarchist Bookfair site.