domingo, 10 de abril de 2016

The Black Hole



Yo ví esta película con mi familia en Plaza las Américas tras terminar el séptimo grado en Colegio San Ignacio. Fue la primera vez que fui a los nuevos teatros, Plaza 3, 4, 5, en el tercer piso al lado del food court.

Ah, la Wikipedia es tan sabia:


The Black Hole is a 1979 American science fiction film directed by Gary Nelson and produced by Walt Disney Productions.
It received mixed reviews from critics. Famed critic Roger Ebert gave the film 2 stars out of 4 upon its release, saying it "takes us all the way to the rim of space only to bog us down in a talky melodrama whipped up out of mad scientists and haunted houses."[8] The film has a 43% score on Rotten Tomatoes, based on 28 reviews, though The New York Times, Time and Variety all praised the film. The visual effects were generally acclaimed by the press.[9] The film received two Academy Award nominations for Best Visual Effects and Best Cinematography. Science fiction historian John Clute dismissed The Black Hole as "a silly concotion" where "the story disappears down the hole".[10] The Aurum Film Encyclopedia also gave the film a negative review, saying The Black Hole featured "the most heavy-handed dialogue imaginable" and added that the film's climax "has no dramatic power at all".[11]
Author John Kenneth Muir wrote an extensive review of the film that delved into some of the nuances and metaphysical ideas which marked The Black Hole as more adult-oriented fare than Disney had previously been involved with.[12]
In 2014, astrophysicist Neil deGrasse Tyson deemed the film to be the least scientifically accurate movie of all time. Critiquing the film, he noted, "They not only got none of the physics right about falling into a black hole, had they gotten it right it would have been a vastly more interesting movie."[13]

sábado, 9 de abril de 2016

Moonraker (1979) Official Trailer



Esta película la ví con mi amigo Henri a fines de verano del '79, poco antes de él y yo empezar nuestro séptimo grado, en el ya extinto teatro UA Cinema 150 en Carolina. La película no fue más que un burdo intento de los creadores de Bond de sacarle partido a la fiebre de Star Wars.

Moonraker (1979) is the eleventh spy film in the James Bond series, and the fourth to star Roger Mooreas the fictional MI6 agent James Bond. The third and final film in the series to be directed by Lewis Gilbert, it co-stars Lois ChilesMichael LonsdaleCorinne Cléry, and Richard Kiel. Bond investigates the theft of aspace shuttle, leading him to Hugo Drax, the owner of the shuttle's manufacturing firm. Along with space scientist Dr. Holly Goodhead, Bond follows the trail from California to Venice, Rio de Janeiro, and theAmazon rainforest, and finally into outer space to prevent a plot to wipe out the world population and to re-create humanity with a master race.
Moonraker was intended by its creator Ian Fleming to become a film even before he completed the novelin 1954, since he based it on a screenplay manuscript he had written even earlier. The film's producers had originally intended to film For Your Eyes Only, but instead chose this title due to the rise of the science fiction genre in the wake of the Star Wars phenomenon. Budgetary issues caused the film to be primarily shot in France, with locations also in Italy, Brazil, Guatemala and the United States. The soundstages ofPinewood Studios in England, traditionally used for the series, were only used by the special effects team.
Moonraker was noted for its high production cost of $34 million,[2] spending almost twice as much money as predecessor The Spy Who Loved Me, and it received very mixed reviews. However, the film's visuals were praised, with Derek Meddings being nominated for the Academy Award for Best Visual Effects, and the film eventually became the highest grossing film of the series with $210,300,000 worldwide,[2] a record that stood until 1995's GoldenEye.
- Wikipedia

viernes, 8 de abril de 2016

Carnival Música Popular Brasileira Mix


https://www.mixcloud.com/gillespeterson/carnival-m%C3%BAsica-popular-brasileira-mix/

Gilles Peterson does it again!

Gilles was recently in Brazil to play at Boiler Room with the Sonzeira Reconstructed project, as well as working on the sophomore Sonzeira album. Whilst he was in Recife and Rio, Gilles found time to do some record shopping, and here are some of the highlights!

jueves, 7 de abril de 2016

Middle Eastern & Maghreb Disco Funk from the Golden Era


https://www.mixcloud.com/Todomundo/middle-eastern-maghreb-
disco-funk-from-the-golden-era-1975-1985/



John Fitzgerald is one of the most passionate collectors of music we here at Luaka Bop have ever met. He is one of those people who just cares about finding great music, and then genuinely wants to share it with as many people as possible. In the world of record collecting, DJing and working with obscure music from the past—this kind of feature is much more rare than you might think.
For this month's show, DJ Fitz, as most people know him, has put together a mix of his favorite songs from the Middle East and Magreb, focused on the golden era of disco and funk. The mix features a few very rare 7"s he found (under a fish bowl!) during his first visit to Turkey in 2006, and others he's come across since then: the great Ahmed Fakroun from Benghazi, Libya, is featured twice, while the brothers Ziad, Elias and Gassan Rahbani have a few songs, too. Their mother, the legendary Lebanese singer Fairuz, appears towards the end of the show. As always with our show, we don’t attempt to make a representative selection of a whole region or era, it’s just the favorite songs of whoever is making this month’s show… smile
Besides DJing and record collecting, Fitz works with a lot of artists from all over the world. His “day job” is as a booking agent (he recently had the fantastic Mamane Sani, an organ player from Niger, play at his house in London!), and for many years he worked as a tour manager, with bands such as Animal Collective, tUnE-yArDs, Gang Gang Dance, and others. Whenever we release something at Luaka Bop, we sometimes (get lucky?) and the release gets championed by various influential artists or DJs around the world. As time goes, I can usually trace many of those people back to Fitz. It's like a big family tree, with him as the roots. I’ve started calling him "the source of all things good". He is always turning me on to a lot great stuff I've never heard before, too! (Here's the most recent example of that.)
To hear more mixes by DJ Fitz, check out his page on mixcloud and his popular podcast called “the DOODCAST”. For upcoming DJ gigs, please visit his website (he is playing the Film Festival in Istanbul next week, if you are lucky enough to be there).
Hope you like the music!
And thank you to David Macleod for the sound editing!
Love,
Luaka Bop  

miércoles, 6 de abril de 2016

Leafar Legov: Soothing rhythms from a Giegling mainstay



Leafar Legov is a quiet but essential member of the Giegling family. He and Konstantin were making music together in Hannover before the label formed—today, they are Kettenkarussell, a live act and production outfit whose bittersweet sound embodies Giegling's ineffable ethos. Perhaps even more than his label-mates, Legov's relationship with club music seems purely conditional—he'll follow its guidelines only when they happen to suit his creative impulses. With Kettenkarussell, he makes what could loosely be described as downtempo house. On his solo records, he offsets ambient sketches with somber hip-hop instrumentals. But his personal musical universe is still, for the most part, a mystery—aside from "Blush," an excellent one-off from 2009 he made as Robert Oh, his first solo release was Giegling's latest EP, Talk, which came out in February. Abstract and subdued, it's a record that points to Giegling's emotional depth and stylistic open-endedness.

Legov's RA Podcast is more committed to a 4/4 pulse, but it's still extraordinarily serene, ghosting through a sequence of vague and lovely cinematic images. Composed entirely of unreleased productions, it's a titillating glimpse of what Legov's got up his sleeve.

ELO - Here Is the News



Says the Wikipedia:

"Here Is the News" is a 1982 song written and performed by Electric Light Orchestra (ELO).
It is track ten on the album Time (1981) and was released as a double A-side along with "Ticket to the Moon" in January 1982, reaching number 24 in the UK charts.[1] The song makes heavy use of synthesizers but also includes guitar, bass guitar, piano, and a drum kit. The song is in Strophic form, lasts 3 minutes 43 seconds and ends with a fade out. The song is about the news programmes of 2095 and voices from news reports can be heard in the background during the song. A number of news reporters claim that their voices were used for this song, but Lynne said that the snippets featured the voices of band members.[citation needed]
  • UK progressive rock band Frost* has recorded a cover of this song. It was featured on their MySpace page.
  • The song was covered by the band Brave Saint Saturn on their album Anti-Meridian.
  • UK band Scarlet Blonde recorded a cover of "Here is the News" to be the first single from their 2009 album Acerbic.
  • Swedish metal band PAIN did a cover on their 2008 album Cynic Paradise bonus disc shipped with the limited edition version of the album.
  • Electronic dream pop trio Au Revoir Simone covered this song for Buffetlibre Rewind 2.
  • In 2008, a Dutch hip hop collective consisting of The Opposites, Sjaak, Dio, and P. Fabergé covered "Here is the News" as "100% Vooraan" on the mixtape Op Volle Toeren. 

The Dutch broadcasting company VPRO has been using the opening sequence of "Here Is the News" since 1981 at the start of their radio and television broadcasts. In October 1987, Maltese radio and TVM also used the song's opening to introduce news broadcasts.


Time is the tenth studio album by British rock band Electric Light Orchestra (credited only as ELO) released in 1981 through Jet Records. It is a concept album which tells a story of a man from the 1980s finding himself in the year 2095 and trying to come to terms with being unable to return and adjusting to his new surroundings.[citation needed]
In 2001, the album was remastered and reissued on CD with three additional bonus tracks, two of which ("Julie Don't Live Here" and "When Time Stood Still") had already been released as B-sides of singles ("Twilight" and "Hold On Tight" respectively) from the original album, while the other ("The Bouncer") was originally released as the UK B-side of the 1983 single "Four Little Diamonds" from the follow-up album Secret Messages.


martes, 5 de abril de 2016

DJ Bone: A lesson in keeping it real from a Detroit favourite



DJ Bone, AKA Eric Dulan, has been releasing music and DJing for over two decades, but ever since the Differ-ent EP arrived on Don't Be Afraid last year, the Detroit veteran has burst back onto the dance music scene—though the truth is, he's never been away. 

His DJing skills are superlative. Dulan uses three decks to turn loop-driven techno into startling new compounds, and no matter the functionality of his selections, he cuts linear drum tracks into unique and exciting shapes. He's been equally impressive behind the production desk. Riding The Thin Line from 1999 is an early example of a charging, funky style that's a joy to mix and dance to. But it wasn't until 2004 that Dulan kicked into gear by releasing a relentless string of EPs that have recently been reappearing in many DJs' bags. Over the years he's released more than 30 12-inches, but he's always careful to imbue his work with a sense of purpose, dealing with, among others, themes of death and racial equality. Talking to Carlos Hawthorn at Bloc. Festival, Dulan gave an insight into his mentality in the booth and the studio, and spoke out against the idea that he's on a comeback—Dulan has, after all, always been among Detroit's finest. 

viernes, 1 de abril de 2016

Damnation Alley



Damnation Alley is a 1977 post-apocalyptic film, directed by Jack Smight, loosely based on the novel of the same name by Roger Zelazny.

Damnation Alley 1977.jpg
Roger Zelazny's original story of Damnation Alley was changed considerably in the final script. Zelazny was quite pleased with the first script by Lukas Heller and expected it to be the shooting script. However, the studio had Alan Sharp write a different version that left out many of the elements of Zelazny's book. Zelazny did not realize this until he saw the movie in the theater. He disliked the movie, but assertions that he requested to have his name removed from the credits are completely unfounded, since he did not know there was a problem until after the movie had been released.[4]
Budgeted at US $17 million (a large budget at the time), Damnation Alley was helmed by veteran director Jack Smight, who had scored two consecutive box office hits in the previous two years (Airport 1975 and Midway). Filming began in July 1976 in the Imperial Valley of Southern California (near Glamis), as well as locations in Meteor Crater, ArizonaSalt Lake City, Utah, and the Mojave Desert in California.

jueves, 31 de marzo de 2016

A New Independent Radio Station Broadcasts from a Brooklyn Shipping Container



Claire Voon

A sliver of land lying on the Williamsburg-Greenpoint border, long a neighborhood mystery home to a lone and enigmatic RV, now hosts a tiny independent radio station broadcasting music to listeners around the world. Operating in half of a shipping container, the Lot Radio sprang up a little over a month ago in the triangular parcel of land at 17 Nassau Avenue. It aims to present those tuning in with a wide range of sounds spun by an ever-shifting roster of DJs.

“We try to be as varied as possible and show all the different scenes of New York,” founder Francois Vaxelaire told Hyperallergic. “We try our best to give room to everyone. We want DJs to come and feel excited and feel they’re at home — that they’re part of something totally different.”