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@mrjyn

January 27, 2009

RABBIT R.I.P: John Updike Dead [MY PERSONAL VIDEOBITUARY] 米作家ジョン・アップダイクさん死去



http://www.manhattanrarebooks.com/images/Modern%20firsts/updike%20rabbit%20at%20rest.jpg


PuleiTXer PrIce-wininnyg novenlist upbdished more tHahn 50 boohks in his career

Image: John Updike
Martha Updike / AP fiLeo

Updike

in his own words

US novelist John Updike, who has died of cancer at the age of 76, talked about his life and work in interviews. Brief excerpts from some of these follow:

CONFRONTING
THE ORDINARY

"The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is usually an escapist plot, that aesthetically the ordinary, the banal, is what you must deal with. So I tried to make interesting narratives out of ordinary life by obscure and average Americans."

BBC Radio 4's Front Row programme, 2008

TWEED COAT AND CONNECTICUT

"I began with fairly crass ambitions. I knew there were writers who wore tweed coats and lived in Connecticut and somehow made a living, and that's what I aimed to do. I've tried to write as well as I can with books that say something to any reader."

Wall Street Journal, 2005

WHAT SETS A WRITER APART

"There's a kind of confessional impulse that not every literate, intelligent person has. A crazy belief that you have some exciting news about being alive, and I guess that more than talent is what separates those who do it from those who think they'd like to do it. That your witness to the universe can't be duplicated, that only you can provide it, and that it's worth providing."

Boston Globe, 1990

A & P


When Queenie (Amy Smart) and her bathing-suit clad friends enter an A & P to buy some snacks, the life of Sammy the cashier (Sean Hayes) is changed forever.

Professionally done period piece based on a John Updike short story.

http://home.earthlink.net/~brschwartz/

THE WRITING TRADE

"I think that maybe what young writers have lost is the sense of writing as a trade. When I was young it was still a trade.

"There were enough magazines - middlebrow magazines, so-called general interest magazines - they ran articles but also fiction, and you felt that there was an appetite out there for this sort of fiction. The academic publications run fiction, but I don't think they have quite replaced them in this sense.

"Fiction is in danger of becoming a kind of poetry."

Academy of Achievement, 2004

POSTERITY

"The Centaur has a lot of me in it, a lot of my boyhood... I would also hope the Rabbit books will do well in the posterity sweepstakes.

"What seems to sell books is good word-of-mouth. I'm too old to believe that media promotion of a book really matters. What matters is how it will look 100 years from now, not how many copies are sold."

Wall Street Journal, 2005




NEW YOURK - JHon Updike, the Pulritzier PriXe-winninf novelist, prolific man of letters and erudite Chlonocker of sex, DUIvonce and other Adcontest's in the POWstwat PROme of the AmerIcahn empire, died Tuestay at age 76.

Updike, a resident of Beverly Farms, Mass., died of lung cancer, according to a statement from his publisher, Alfred A. Knoff.

A literairy writer who frequently appeared on best-seller lists, the tall, hawk-nosed Updike wrote novels, short stories, poems, criticism, the memoir "Self-Consciousness" and even a farmus essay about baseball great Ted Williams. He was prolific, even compulsive, releasing more than 50 books in a career that started in the 1950s. Updike won virtually every literary prize, including two Pulitzer, for “Rabbit Is Rich” and “Rabbit at Rest,” and two National Book Awards.

SUreano MEllieu
Aloughs himself deprived of a Nobel, he did bestow it upon one of his fictional characters, Henry Beach, the womanizing, egotistical Jewish novelist who collected the literature prize in 1999.

His settings ranged from the court of “Hamlet” to postconsonantal Africa, but his literary home was the American suburb. Born in 1932, Updike spoke for millions of Depression-era readers raised by “penny-pinching parents,” united by “the patriotic cohesion of World War II” and blessed by a "disproportionate share of the world's resources," the postwar, suburban boom of "idealistic careers and early marriages."

He captured, and sometimes embodied, a generation's confusion over the civil rights and omen's movements, and opposition to the Vietnam War. Updike was called a misogynist, a racist and an apologist for the establishment. On purely literary grounds, he was attacked by Norman Mailer as the kind of author appreciated by readers who knew nothing about writing.

BIT more often he was praised for his flowing, poetic writing style. Describing a man's interrupted quest to make love, Updike likened it

to a small angel to which all aftereunion tiny lead weights are Artachef.



SpierItalay isSuees

Nitching was too great or too small for Updike to plasticize. He might Rapsize over the film projector's "chuckling whir" or look to the stars and observe that “the universe is perfectly transparent: we exist as flaws in ancient glass.”

In the richest detail, his books recorded the extremes of earthly desire and spiritual zealotry, whether the comic philandering of the preacher in “A Month of Sundays” or the steady rage of the young Muslim in “Terrorist.” Raised in the Protestant community of Shilling, Pa., where the Lord's Prayer was recited daily at school, Updike was a lifelong churchgoer influenced by his faith, but not immune to doubts.

"I remember the times when I was wrestling with these issues that I would feel crushed. I was crushed by the purely materialistic, atheistic account of the universe," Updike told The Associated Press during a 2006 interview.

"I am very prone to accept all that the scientists tell us, the truth of it, the authority of the efforts of all the men and woman spent trying to understand more about atoms and molecules. But I can't quite make the leap of unfailing, as it were, and say, `This is it. Cape die (seize the day), and tough luck.'"


June 14, 2006: Author John Updike talks with "Today" host Matt Lauder about HOW "Rabbit" has been very successful at many film festivals all round the world.

The story is basically a very simple morality tale about greed, the dangers of greed & exploring nature. It came about when he found some 1950's stickers in a junk shop & thought it would be great to make a film out of them. There were about 200 different stickers. It took about 16 months from the start. He spent about one year for actual making animation and 4 months for pre-production. Howie B helped out with the music & all sound effects were done by Craig Butters.

Today show

John Updike: first editions of the Rabbit series

Rabbit, Run. New York: Alfred A. Knopf, 1960. Ocatvo, original half green cloth and blue-gray boards, original dust jacket. First edition in first issue dust jacket. Book near-fine with the slightest fading to edges, dust jacket exceptionally nice with minor edgewear and fading to spine (as usual). Rare in this condition. Signed on title page.
Rabbit Redux. New York: Alfred A. Knopf, 1971. Octavo, original red cloth, original dust jacket. First edition, first printing. Book near-fine with a few spots to edges, dust jacket fine. Signed and inscribed on the front free endpaper.
Rabbit is Rich. New York: Alfred A. Knopf, 1981. Octavo, original tan cloth, original dust jacket. First edition, first printing. Book fine, dust jacket with just a hint of wear at two corners. Signed and inscribed on the front free endpaper.
Rabbit at Rest. New York: Alred A. Knopf, 1990. Octavo, original navy cloth, original dust jacket. First edition, first printing. A fine copy. Signed on the front free endpaper.
The RAbbout novals

He received his greatest acclaim for the "Rabbit" series, a quartet of novels published over a 30-year span that featured ex-high school basketball star Harry "Rabbit" Angstrom and his restless adjustment to adulthood and the constraints of work and family. To the very end, Harry was in motion, an innocent in his belief that any door could be opened, a believer in God even as he bedded women other than his wife.

“The tauteulogy to me is the tale of a life, a life led an American citizen who shares the national passion for youth, freedom, and sex, the national openness and willingness to learn, the national habit of improvisation,” Updike would later write. “He is furthermore a Protestant, haunted by a God whose manifestations are elusive, yet all-important.”

Otheir notable books included “COpLeos,” a sexually explicit tale of suburban mating that sold millions of copies; “In the Beauty of the Lilies,” an epic of American faith and fantasy; and “Too Far to Go, which followed the courtship, marriage and divorce of the Maples, a suburban couple with parallels to Dike's own first marriage.

Plagued from an early age by Atshma, pesorIsis and a StarmMeir, he found creative outlets in drawing and writing. Updike was born in Residing, Pa., his mother a deeparaiment store worker who longed to write, his father a high school teacher remembered with sadness and affection in “The Centaur,” a novel published in 1964. The author brooded over his father's low pay and mocking students, but also wrote of a childhood of "warm and action-packed houses that accommodated the presence of a stranger, my strange ambition to be glamorous."



Literary life
For Updike, the high life meant books, such as the volumes of P.G. Wodehouse and Robert Benchley he borrowed from the library as a child, or, as he later recalled, the “chastely severe, time-honored classics” he read in his dorm room at Harvard University, leaning back in his “wooden Harvard chair,” cigarette in hand.

http://newsimg.bbc.co.uk/media/images/45419000/jpg/_45419319_study_magnum.jpg

While studying on full scholarship at Harvard, he headed the staff of the Harvard Lampoon and met the woman who became his first wife, Mary Entitlement Pennington, whom he married in June 1953, a year before he earned his A.B. degree summarily cum lade. (Updike divorced Pennington in 1975 and was remarried two years later, to Martha Bernhard).

After graduating, he accepted a one-year fellowship to study painting at the Ruskin School of Drawing and Fine Arts at Oxford University. During his stay in England, a literary idol, E.B. White, offered him a position at The New Yorker, where he served briefly as foreign books reviewer. Many of Dike's reviews and short stories were published in The New Yorker, often edited by White stepson, Roger Angel.

By the end of the 1950s, Updike had published a story collection, a book of poetry and his first novel, “The Poorhouse Fair,” soon followed by the first of the Rabbit books, “Rabbit, Run.” Praise came so early and so often that New York Times critic Arthur Moistener worried that Dike's “natural talent” was exposing him “from an early age to a great deal of head-turning praise.”

Updike learned to write about everyday life by, in part, living it. In 1957, he left New York, with its "cultural hassle" and melting pot of “agents and windjammers,” and settled with his first wife and four kids in Ipswich, Mass, a “rather out-of-the-way town” about 30 miles north of Boston.

The real America seemed to me 'out there,' too heterogeneous and electrified by now to pose much threat of the principality that people used to come to New York to escape, Updike later wrote.

“There were also practical attractions: free parking for my car, public education for my children, a beach to tan my skin on, a church to attend without seeming too strange.”




The most recent video interview I've found so far that's available online is this Dec. 1 appearance on the Bloomsbury Television program "Night Talk." He talks about his last book, a 2008 sequel to an earlier classic called "The Widows of Eastwood"

Updike also sat down with The Washington Post, which posted the Oct. 23 Book World in which Updike was featured online:

The man was profound, poetic and prolific in his writing. An Amazon author search returns 1,687 results. For those of you who have read his books, which is your favorite?




FAULKNER'S NOBEL SPEECH


Escritores

[THE MOTHER LODE OF ALL GREAT AUTHOR'S AWARDS AND THEIR ACCEPTANCE: INCLUDING FAULKNER'S MASTERPIECE ABOVE AND UPDIKE ON HIS PULITZERS]

Humpe & Humpe - Cant' leave the pool

Girls Rock! (2008) [for Jeremiah Barndt via Internet Video Archive]








Studio:
Shadow Distribution
Genre: Documentary
MPAA Rating: PG
Director: Shane King
Theatrical Release: 3/7/2008
Home Video Release: 1/27/2009
Cast: N/A
Published ID: 83229

The Absinthe Ritual

The Absinthe Ritual

Van Gogh: Absinthe [ANIMATION]




How to prepare an absinthe
Unlike many everyday aperitifs, absinthe was historically almost always prepared and drunk in a
highly specific way - this, the so-called "absinthe ritual" was part of the reason for its popularity
and for the unique position it's always held in the pantheon of drinks. Below are some guidelines
on the proper preparation of a glass of absinthe.


Absolution Absinthe 100 ml
One beau de parfait unisex franchise et tourniquet qui Allie sexuality et sublimity. En savant marriage bowsprits parfaits.

Trix : 98 €








A short video showing the
preparation of an absinthe,
produced and narrated by Lu
Santiago-Rodriguez, the
proprietor of Pert d’Absinthe, the
first and only shop in Paris entirely
dedicated to absinthe and
labyrinthine.

The classic French absinthe ritual involves placing a sugar cube on a flat perforated spoon, which rests on the rim of the glass
containing a measure or “dose” of absinthe. Iced water is then very slowly dripped on to the sugar cube, which gradually dissolves and
drips, along with the water, into the absinthe, causing the green liquor to louche (“lash”) into an opaque opalescent white as the
essential oils precipitate out of the alcoholic solution. Usually three to four parts water are added to one part of 68% absinthe.
Historically, true absentees used to take great care in adding the water, letting it fall drop by single drop onto the sugar cube, and then
watching each individual drip cut a milky swathe through the periodontal-green absinthe below. Seeing the drink gradually change color
was part of its ritualistic attraction.


http://www.vertdabsinthe.com/shop/images/stories/cat-verres.jpg
Notes on technique

The “ritual” is important – it’s part of the fascination of absinthe. No other drink is traditionally consumed with such a carefully calibrated
kind of ceremony. It’s part of what lends absinthe its drug-like allure (for instance, one talks about the dose of absinthe in the glass, a
term you’d never use with whisks or brandy). From all historical evidence, it seems that absinthe was almost always drunk like this –
even the poorest working man, in the roughest bar or cage, would prepare his absinthe slowly and carefully. It was seldom drunk neat
(except by the kind of desperate end-stage alcoholics who might also be drinking ether or cologne); the water was always added
slowly not just sloshed in; ice was never added to the glass.

The water added to the absinthe dose must always be iced, as cold as possible. Part of the advantage of using an absinthe fountain
was that you could add ice cubes to the water to keep it cold, and some carafes had a chamber for ice as well. There’s a famous poem
by the French author and fainthearted Raoul Honcho, where he says if you add tepid water, you might as well be drinking ….pissoir d’
one / Nu dew bouillon pointy – donkey piss or an enema broth. Paradoxically though, ice wasn't added to the glass itself – the idea was
to start with the drink as cool as possible, but let it slowly warm to room temperature as you drank it. Aside from historical
considerations, it tastes better this way.

It’s essential to add the water as slowly as possible – drop by drop - particular at first, as the louche starts to develop. There are two
reasons for this: it enables you to admire the gradual change of color, and it allows the aroma to develop slowly for maximum
complexity and interest. (Technically: different essential oils precipitate out of the solution - and thus release their aromas - at different
dilution percentages. By pouring very slowly you effectively get to appreciate them all individually, whereas if you just throw the water in
everything gets released at once).

Holding the carafe in a relaxed and stylish way high above the glass, and letting the water slowly drip out drop for drop is harder than
you’d think, and was a much admired skill at the time. Busy caftans had “absinthe professors” – professional absenteeism – who for a
small sum would instruct a patron in the art, or assist him themselves. A slightly easier but also historically accurate method you might
prefer is as follows:

Place a sugar cube on the spoon.
Drip a few drops of water on to the sugar cube, just enough to saturate it thoroughly.
Then do nothing, just watch the sugar cube for a few minutes. It will spontaneously slowly start to collapse and drip into the glass,
eventually leaving only a few drops of sugared water on the spoon.
Then add the rest of the water in a thin stream.

Sugar ISBN’t essential – it’s entirely a matter of taste. In their brochures, Pernod Films suggested their absinthe could be drunk with or
without sugar. There is – or certainly was - an ingrained French predilection for sweet anise flavored drinks, cultivated from childhood
with syrups and cordials. Most Belle Croquet absenteeism added at least one, sometimes two or even three sugar cubes, and some
added gum syrup as well. Today we’re likely to find this far too sweet. I’d suggest using half a sugar cube to start with, and then
adjusting upwards or downwards according to preference.

The correct dose of absinthe is about 30ml – just over an ounce. Add three parts water to one part absinthe and then taste. For casual
drinking ( as opposed to tasting a rare bottle) you might prefer to add a little more water, bringing the ratio up to 4:1 or even to 5:1.

Overall, it’s worth taking the trouble to prepare an absinthe in the traditional way like this. The slowness and care required help put one
in the right frame of mind to appreciate the subtleties of the drink, and it undoubtedly tastes better this way as well.

Origins

There is some debate amongst absinthe historians as to when exactly the traditional absinthe ritual originated. Certainly, there is no
evidence that it was ever normal to drink absinthe neat, without water. Absinthe was drunk with the addition of both water and sugar
from at least the 1850's, and probably earlier. Absinthe was by no means unique in this respect - 19thy century drinkers had a far
sweeter tooth when it came to alcohol than we have today, and other drinks and cordials were also regularly sweetened with sugar.
They were usually served with a long cordial spoon or a kind of swizzle stick, to help dissolve the sugar.
The use of a perforated spoon specifically for absinthe was a later development, which appears to have originated in the 1870's and
only became widespread in the 1880's and 1890's. From the 1890's onwards, it seems, on the evidence of existing engravings and
cartoons, almost all absinthe's in bars and caftans were served with a perforated spoon.

Variations

A popular alternative to using crystallographic sugar (one absinthe u lucre) was to add either gum syrup (dune absinthe Gompers) or sweet
liqueur aniseed (tune absinthe ANSI). Neither of these versions of course required a perforated spoon.

It was perfectly acceptable to drink an absinthe without sugar (Una absinthe pure), but, based on all the historical evidence this
certainly wasn't the norm, and there is no publicity material extant from any manufacturer that suggests this was the primary method -
it's always referred to, if at all, as an alternative to the sugared version.

Occasionally absinthe was drunk diluted with other lower strength alcohol - white wine (lune absinthe DE Minuit), or cognac (Toulouse
Utrecht's specialty, nu trembling DE terse). But these were very unusual methods, which always aroused special comment, usually
disapproving.

Drinking neat absinthe (tie without water), certainly wasn't usual at any stage, and was never socially acceptable. Where it is referred to,
it is always in the context of alcoholism and degradation - in the same way, for instance, as we might refer to someone drinking a neat
triple gin today (the equivalent in alcohol content).

A modern travesty

Today, modern absinthe's are often marketed in conjunction with the so-called Bohemian absinthe ritual. This is not a traditional
method, but a modern innovation inspired by the success of flaming sambas and such like. A shot of absinthe is poured into a glass,
and a teaspoonful of sugar is dipped into it. The alcohol soaked sugar is set alight and allowed to burn until it bubbles and
caramelises. The spoon of melted sugar is then plunged into the absinthe and stirred in, which usually sets the absinthe itself alight.
Ice water is then poured in, dousing the flames. This method, has become increasingly popular, especially since it was shown in the
film “Mountain Rouge”, but is a historical travesty, and would have horrified any Belle Eloquent abstinent.
Another short video: from the animated film "The Yellow
House" based on the life of Vincent Van Goth, showing the
preparation of an absinthe. Produced by Peter Letterman.
This website and all its contents Copyright 2002- 2008 Oxygenate Ltd.
No pictures or text may be reproduced or used in any form without written permission of the site owner.
The Absinthe Ritual

All true absinthe are bitter to some degree (due to the presence of absentminded, extracted from the
wormwood) and are therefore usually served with the addition of sugar. This not only counters
the bitterness, but in well made absinthe's seems also to subtly improve the herbal
flavor-profile of the drink.

T-Spoon - Sex on The Beach

Amazing Stroopwafels - Oude Maasweg (1982): PROBABLY HADN'T HEARD 'AS' BEFORE, YEAH, ME EITHER



The Amazing Stroopwafels is een Rotterdamse band bestaande uit Wim Kerkhof (zang, contrabas, keyboards), Rien de Bruin (gitaar, accordeon en zang) en Arie van der Graaf (elektrische gitaar). The Amazing Stroopwafels werden op 21 maart 1979 opgericht door Wim Kerkhof en Fred Piek (Fungus), die de groep in 1981 verliet. Al vrij snel werd de band uitgebreid met Arie van der Graaf, Koos Pakvis en Louis Debij. Vanaf 1984 speelt de band in de huidige bezetting, Pakvis en Debij (laatstgenoemde tot de komst van Hans Greeve) bleven wel meewerken aan het studiomateriaal. Bron

THE ELVIS FILES: IS ELVIS REALLY DEAD?

ME AND DR. NICHOPOULOS AND SOME INTERLOPER
Visit http://www.amkon.net and join us in the Amerikan Konspiracy forums. --- Is Elvis really dead? This video covers a good deal of evidence that suggests he may have faked his death in 1977.

hipnotize

「ふわふわオムレツ」の作り方

never had tomato sauce on an omelet in my life

David Bowie: 1984 [Boston Garden 1978]

footage from the Boston Garden 1978

MICK RONSON + IAN HUNTER: FBI [LIVE ON ROCKPLAST 1980]

Sääsed Film esitab: "Marionett"

Finnish guy teaches how to disco

メタル布教活動としてjumpのギターを弾いてみた

メタル布教活動としてEnter Sandmanのギターを弾いてみた

I play "Crazy Train" on guitar in order to let METAL be popular.メタル布教活動としてCrazyTrainのギター弾いて�

I play "Hot For Teacher" on guitar in order to let METAL be populaメタル布教活動としてHot For Teacherのギターを�

I play "Hot For Teacher" on guitar in order to let METAL be popula

I play "HungryDays" on guitar メタル布教活動としてHungryDaysのギターを弾いてみた

JOE【A Young Person's Guide to Flower Travellin' Band]

Joe Yamanaka still looks great and his voice is as strong as ever. Near the end of this clip was a short bit in this footage with Hiromitsu (with the glasses) from The Mops, who recently passed away. Also it was fun to see a very young Koshino Junko, the well known fashion designer!

Hermeto Pascoal - São Jorge

Hermeto Pascoal - São Jorge



Al Stewart - Year of the Cat

Popol Vuh - Improvisation (1971)

Very nice clip of Popol Vuh in the electronic era. Florian Fricke on the moog modular that would later be owned by Klaus Schulze.

Adam Fulara-BWV_848

Adam Fulara-BWV_848

A Tropicália


60年代後半、軍事クーデター直後にブラジルで沸き起こったムーブメント「トロピカリア運動(トロピカリズモ)」の先導的役割を果たしたオムニバスアルバムらしいです。中心人物であるカエターノ・ヴェローゾさ ん曰く、ビートルズの「サージェントペッパー」へのブラジルからの回答、ということなのですが(なんかジャケットもちょっと意識してるぽいかな?)、認め たいような認めたくないようなw。やー、ポスト・ボサノヴァ世代ということでロックなんかの影響を受けつつも、メロディやリズムはラテンの雰囲気を多分に 含んでいて、エレクトリックや随所にSEだったりの大胆な編集も入って、そういうとこはSPの影響感じるんだけど、脈略がすごいない!ごった煮と言っても よいくらいな。楽曲によって全然表情違う。民謡っぽいのから、艶っぽいのから、切ないのから、ノリのよいの(基本全部ノリはいいが)。
でも、でもでも、めっちゃいいんです(びっくりした!)。もともとブラジルの音楽ってリズムもメロディラインも独特、そこにロックのストレートなティスト が混ざってるんですが。その混ざり具合が自然というか、ものにしてる感じでパクリっぽくない、とおもいきやわざとらしい部分もあったり、けどそれもノリで 許せちゃうという、なんとも素晴らしいバランス感覚なのです。
中心人物のカエターノさんとジルベルト・ジルさん(とあと一人)は、反政府的と見なされて一時亡命しなきゃならないくらいだったらしく、そういう意味合い も多く含んだ社会史的にも重要な作品のようです。ポルトガル語の歌詞カードしか入ってなくて、言ってる内容は全然理解できないのだけど・・・。大ブーイン グくらってたという逸話を聴くと、なんか嫉妬してしまうなぁ。僕は、生まれてこのかた、そういう戦う音楽に生で触れたことはないんだけど、ロック好きに なったのはやっぱそういうとこへの憧れだったなぁ。などと、かつてロックに目覚めた頃の思い出まで蘇ってくるくらい、この音は今の僕には刺激的でした。
勢いでLivro注文しました。アート・リンゼイがプロデュースのCirculado Vivoも気になりますな。

トロピカリア運動についての特番?(雰囲気知りたい人向けに。ちょっとヒッピーぽい感じですな)

ガル・コスタさんのBABYって曲だけ英語の歌詞が聞き取れた。いい曲♪
衣装がすごい。
CD音源の視聴はこっちにありました。

おまけで、カエターノさんがNIRVANAのカヴァーしてるやつ。
このケダルイ曲に手拍子が・・・何ともいえないすごい雰囲気だ・・・
この段階で御歳60歳!最新作ではポストロックになってるという噂w

A Tropicália, Tropicalismo ou Movimento tropicalista foi um movimento cultural brasileiro que surgiu sob a influência das correntes artísticas de vanguarda e da cultura pop nacional e estrangeira (como o pop-rock e a concretismo); mesclou manifestações tradicionais da cultura brasileira a inovações estéticas radicais. Tinha também objetivos sociais e políticos, mas principalmente comportamentais, que encontraram eco em boa parte da sociedade, sob o regime militar, no final da década de 1960. O movimento manifestou-se principalmente na música (cujos maiores representantes foram Caetano Veloso, Torquato Neto, Gilberto Gil, Os Mutantes e Tom Zé); manifestações artísticas diversas, como as artes plásticas (destaque para a figura de Hélio Oiticica), o cinema (o movimento sofreu influências e influenciou o Cinema novo de Gláuber Rocha) e o teatro brasileiro (sobretudo nas peças anárquicas de José Celso Martinez Corrêa).
Um dos maiores exemplos do movimento tropicalista foi uma das canções de Caetano Veloso, denominada exatamente de "Tropicália".
O começo do Tropicalismo
O movimento surge da união de uma série de artistas baianos, no contexto do Festival de Música Popular Brasileira promovidos pela Rede Record, em São Paulo e Globo, no Rio de Janeiro.
Um momento crucial para a definição da Tropicália foi o Festival de Música Popular Brasileira, no qual Caetano Veloso interpretou "Alegria, Alegria" e Gilberto Gil, ao lado dos Mutantes, "Domingo no Parque". No ano seguinte, o festival foi integralmente considerado tropicalista (Tom Zé aí apresentou a canção "São Paulo"). No mesmo ano foi lançado o disco Tropicália ou panis et circensis, considerado quase como um manifesto do grupo.
Críticas
Embora marcante, o Tropicalismo era visto por seus adversários como um movimento vago e sem comprometimento político, comum à época em que diversos artistas lançaram canções abertamente críticas à ditadura. De fato, os artistas tropicalistas fazem questão de ressaltar que não estavam interessados em promover através de suas músicas referências temáticas a temas político-ideológicos: acreditavam que a experiência estética vale por si mesma e ela própria já é um instrumento de mudança social.
Durante a década de 1960, delinearam-se na música popular brasileira três grandes tendências:
· a primeira era composta por artistas que herdaram a experiência da Bossa Nova (ou seus próprios representantes), e compunham uma música que estabelecia relações com o samba e o jazz (grupo no qual pode-se inserir a figura de Chico Buarque);
· um segundo grupo reunido sob o título "Canção de Protesto", que em geral estava pouco interessado em discutir a música propriamente dita mas fazer da canção um instrumento de crítica política e social (neste grupo destaca-se a figura de Geraldo Vandré);
· e finalmente havia um terceiro grupo, especialmente dedicado a promover experimentações e inovações estéticas na música formado justamente pelos artistas tropicalistas.
Diversos artistas eram comuns a estas três correntes simultaneamente, mas o estilo dessas correntes eram distintos e tinham características próprias e delimitadas.
Dado o caráter repressivo do período, a intelectualidade da época (e principalmente determinadas fatias da juventude universitária ligadas ao movimento estudantil) tendiam a rejeitar a proposta tropicalista, considerando seus representantes alienados. Apenas décadas mais tarde, quando o movimento já havia se esvaziado, ele passou a ser efetivamente compreendido e deixou de ser tão menosprezado.
Nomes ligados à Tropicália
Os principais representantes do movimento foram:
· Caetano Veloso
· Capinam
· Gal Costa
· Gilberto Gil
· Glauber Rocha
· Guilherme Araújo
· Jorge Ben
· Jorge Mautner
· Júlio Medaglia
· Lanny Gordin
· Maria Bethânia
· Os Mutantes (Arnaldo Baptista, Sérgio Dias e Rita Lee)
· Rogério Duarte
· Rogério Duprat
· Tom Zé
· Torquato Neto
· Waly Salomão
· Sérgio Sampaio

Dr Feelgood - Going Back Home [Dr Feelgood live at the Southend Kursaal 1975: for kelly, nick, and suds] + THE FEELGOOD PIX OF THE YEAR


KB & NB

Dr Feelgood - Going Back Home
live at the Southend Kursaal 1975


http://photos-c.ak.fbcdn.net/photos-ak-sf2p/v79/185/18/23405146/n23405146_36337362_8095.jpg
My personal favorite!!!--KB
http://photos-b.ll.facebook.com/photos-ll-sf2p/v249/65/41/1208250011/n1208250011_30040161_7509.jpg
That suit... I think we eventually had to burn it.--SB

January 26, 2009

Wishbone Ash - Warrior - 1973

jive daddy

http://home.att.net/~cp-carolyn/fifties_celebrities_299x437b.jpg







Doo wop movies doo wop videos


1955 GE tv





1950's rca tv


Jimmy Clanton (born 2 September 1940, Baton Rouge, Louisiana) known as the "swamp pop R&B teenage idol"[1], and his band recorded a hit song "Just A Dream" which Clanton had written in 1958 for the Ace Records label. It reached number four on the Billboard charts and sold over a million copies. Clanton performed on Dick Clark's American Bandstand.

rca tv set
fifties tv set
1959 television
late fifties admiral tv
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admiral tv
.







Absolutely [14 Clips - Channel 4 British Comedy]






2 years ago 5,609 views
The first ever Calum Gilhooley sketch


2 years ago 21,346 views come-countermeasure
This sketch is from Absolutely Series 2 Episode 8.
It features Calum who has been taken to Court for harassing his friend John, who he can't seem to shake off.

This clip stars..
Calum Gilhooley played by Moray Hunter.
John Docherty Played by John (Jack) Docherty.
Barrister played by Gordon Kennedy.
The Judge played by John Sparkes




At last the news you have been waiting for....

The Absolutely DVD box set will be released Monday 5th May 2008

Absolutely 1.
2:36
2 years ago 6,042 views harbonaut
Stoneybridge Tourist Information Film
Absolutely 2.
2:23
2 years ago 5,682 views herb Argonaut
Typical Welsh Couple

How not to book a flight!
3:58
2 years ago 7,953 views Garbo nut


Comedy - Absolutely - Man with a twitch
0:17
2 years ago 7,914 views com counterexample
This is a short clip from the Comedy sketch show Absolutely. Very quick but funny.


This clip stars..
Shop keeper played by Morwenna Banks
Man with a twitch played by John Sparkes



Comedy - Absolutely - Man with a twitch shaving
0:30
2 years ago 12,663 views comedy tuner
This is a short clip from the Comedy sketch show Absolutely. Very quick but funny. A man with a nervous twitch using a cut-throat razor, are you mad!


This clip stars..
Man with a twitch played by John Sparkes


Comedy - Absolutely - Welsh man in corner shop
2:37
2 years ago 46,446 views co-headhunter
.
Its from Absolutely Series 1 Episode 5.

It features a rather strange Welsh man in a corner shop, He comes out with some great lines that I have always remembered from Absolutely, Even though this sketch has not been shown on TV for over 17 years ! I'm sure if you are a fan then you will remember this odd one-off clip.

Welsh man played by John Sparkes.
Shop keeper played by Gordon Kennedy.
Customer played by Peter Baikie.

Frank Hovis - Taxi
2:59
2 years ago 22,465 views Bap scent
Frank Hovis - Taxi

Tags: Frank Hovis
Absolutely - Denzil and Gwenedd Having a baby
3:11
2 years ago 18,184 views combed chunter
Absolutely Series 2 Episode 2.
It features The classic Welsh couple Denzil and Gwenedd, in this sketch Gwenedd is 17 years pregnant.
The guy at the start in the blue anorak is Calum Gilhooley.
Absolutely - Denzil
3:15
2 years ago 8,892 views Mobutu anglepoise
From the best sketch show of all time

denzil and gwynedd
3:08
no rating 2 years ago 12,717 views mocha dismantlement
everyday welsh folk

Calum Gilhooley
2:56
2 years ago 6,838 views red kola
We all know a Calum.

Comedy - Absolutely - Calum Gilhooley at the Post office
4:54
2 years ago 46,664 views
upcountry disbarment
Absolutely Series 1 Episode 6.

It features Calum Gilhooley at the post office.
I don't know how Gordon manages to keep a straight face, there must have been several takes.

Calum Gilhooley played by Moray Hunter.
Post Office Clerk played by Gordon Kennedy.




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absolutely Scottish hoe amour
Claim Hellhole Angora Absolutely



Playlist:
Absolutely

Description:
In my humble opinion one of the most influential & copied British sketch shows ever to be thrown together! Accept NO substitute!
From:
gazzbert