#georg lehn

[rwpohl]

tatort 58: kurzschluß, wolfgang petersen 1975

fox searchlight pictures, 20th century fox

[diabolimeservavit666]

His name is killing me.

Can you just imagine an alternate universe where these two are Fred and George? I can and, frankly, it'd be funny as Hell.

One of my personal favorite Supernatural actors who I've seen in a few things. Personally, I believe Edward Mars (Lost) would be Fred and Azazel (Supernatural) would be George. Why? Because Fred is lightly less chaotic and more logical than George (as I've noticed while reading the Harry Potter books). I'd love to see a fic for this.

[dailyanarchistposts]

Bibliography for FAQ

Anarchist and Libertarian Works

Aberdeen Solidarity, Spartakism to National Bolshevism: The K.P.D. 1918–1924, Solidarity, Aberdeen, 1970.

ACF, Marxism and Its Failures, ACE Editions, London, 1990.

Ackelsberg, Martha A., Free Women of Spain: anarchism and the struggle for the emancipation of women, AK Press, Oakland/Edinburgh, 2005.

Free Women of Spain: anarchism and the struggle for the emancipation of women, Indiana University Press, Bloomington, 1991.

Anarchist Federation, The Role of the Revolutionary Organisation, Anarchist Communist Editions, London, 2008.

Anderson, Andy, Hungary ’56, Phoenix Press, London, date unknown.

Anonymous, “Community Organising in Southern Italy”, Black Flag, no. 210, pp. 16–19.

Anonymous, Fighting the Revolution (2 volumes), Freedom Press, London, 1985.

Anonymous, Red Years Black Years: Anarchist Resistance to Fascism in Italy, ASP, London, 1989.

Anonymous, “Trotskyism, Lies and Anarchism”, Black Flag, no. 211, pp. 24–5.

Anger, Max, “The Spartacist School of Falsification”, Anarchy: A Journal of Desire Armed, no, 43, Spring/Summer 1997, pp. 50–2.

Arshinov, Peter, The History of the Makhnovist Movement, Freedom Press, London, 1987.

The Two Octobers available at: http://flag.blackened.net/revolt/russia/arshinov_2_oct.html

Avrich, Paul, An American Anarchist: The Life of Voltairine de Cleyre,Princeton University Press, Princeton, 1978.

Anarchist Voices: An Oral History of Anarchism in America, AK Press, Edinburgh/Oakland, 2005 Kronstadt 1921, W.W. Norton and Company Inc., New York,1970. The Russian Anarchists, W.W. Norton & Company, New York, 1978. Anarchist Portraits, Princeton University Press, Princeton, 1988. The Haymarket Tragedy, Princeton University Press, Princeton, 1984. “Bolshevik Opposition To Lenin: G. Miasnikov and the Workers Group”, pp. 1–29, Russian Review, vol. 43, no. 1.

Bakunin, Micheal, The Basic Bakunin, Robert M. Cutler (trans. and ed.),Promethus Books, Buffalo, N.Y., 1994.

Bakunin on Anarchism, 2nd Edition, Sam Dolgoff (ed.),Black Rose Books, Montreal, 1980. The Political Philosophy of Bakunin, G.P. Maximov (ed.),The Free Press, New York, 1953. Michael Bakunin: Selected Writings, Arthur Lehning (ed.),Jonathan Cape, London, 1973. Statism and Anarchy, Cambridge University Press, Cambridge,1990. God and the State, Dover, New York, 1970. Marxism, Freedom and the State, K.J. Kenafick (ed.), Freedom Press, London, 1984.

Barclay, Harold, The State, Freedom Press, London, 2003.

Barrett, George, “The Anarchist Revolution” contained in The Last War, Pirate Press, Sheffield, 1990.

“Objections to Anarchism”, The Raven: AnarchistQuarterly, no. 12 (Vol. 3, No. 4), Oct-Dec 1990, Freedom Press, pp. 339–364. Objections to Anarchism available at http://www.spunk.org/library/intro/sp000146.txt

Bennello, George, “The Challenge of Mondragon” in Reinventing Anarchy, Again, Howard Ehrlich (ed.), AK Press, Edinburgh/San Francisco, 1996.

Bennello, George C., From the Ground Up, Black Rose Books, Montreal, 1992.

Berkman, Alexander, What is Anarchism?, AK Press, Edinburgh/London/Oakland, 2003.

The ABC of Anarchism, Freedom Press, London, 1977. What is Communist Anarchism?, Phoenix Press, London, 1989. The Russian Tragedy, Phoenix Press, London, 1986. The Bolshevik Myth, Pluto Press, London, 1989. Life of an Anarchist: The Alexander Berkman reader,Gene Fellner (ed.), Four Walls Eight Windows, New York,1992.

Berkman, Alexander (ed.), The Blast, AK Press, Edinburgh/Oakland, 2005.

Berneri, Camillo, “Peter Kropotkin: His Federalist Ideas”, The Raven: Anarchist Quarterly, no. 31 (Vol. 8, No. 3), Autumn 1993, Freedom Press, pp. 268–82

Berneri, Marie-Louise, Neither East Nor West: Selected Writings 1939–48, Freedom Press, London, 1988.

Journey Through Utopia, Freedom Press, London, 1982.

Berry, David, A History of the French Anarchist Movement, 1917–1945, Greenwood Press, Westport, 2002.

Black, Bob, The Abolition of Work and other essays, Loompanics Unlimited, Port Townsend, 1986.

Friendly Fire, Autonomedia, New York, 1992. Anarchy After Leftism, CAL Press, Columbia, 1997. The Abolition of Work, available at http://www.spunk.org/library/writers/black/sp000156.txt The Libertarian as Conservative, available at http://www.applicom.com/pnews/libertarian.html Smokestack Lighting, available at http://www.geocities.com/CapitolHill/Lobby/3998/smokestack.html

Bonanno, Alfredo M., Anarchism and the National Liberation Struggle, Bratach Dubh Editions, Catania, 1981.

Bookchin, Murray, Post Scarcity Anarchism, 3rd Edition, AK Press, Edinburgh/Oakland, 2004.

Post Scarcity Anarchism, Wildwood House, London, 1971. The Spanish Anarchists: The Heroic Years 1868–1936, AK Press, Edinburgh/San Francisco, 1998. The Third Revolution: Popular Movements in the Revolutionary Era, Volume 1, Cassel, London, 1996. The Third Revolution: Popular Movements in the Revolutionary Era, Volume 2, Cassel, London, 1998. Toward an Ecological Society, Black Rose, Montreal, 1980. Remaking Society: Pathways to a Green Future, South End Press, Boston, MA., 1990. Social Anarchism and Lifestyle Anarchism, AK Press, Edinburgh/San Francisco, 1995. The Modern Crisis, New Society Publishers, Philadelphia, 1986. The Ecology of Freedom: The Emergence and Dissolution of Hierarchy, AK Press, Edinburgh/Oakland, 2005 The Ecology of Freedom: The Emergence and Dissolution of Hierarchy, Cheshire Books, Palo Alto, California, 1982. “Communalism: The Democratic Dimension of Anarchism”, Democracy and Nature, No. 8 (vol. 3, no. 2), pp. 1–12. Which Way for the Ecology Movement?, AK Press, Edinburgh/San Francisco, 1994. The Philosophy of Social Ecology, Black Rose Books, Montreal/New York, 1990. From Urbanisation to Cities: Toward a New Politics of Citizenship, Cassell, London, 1995. “Nationality and the ‘National Question’”, Society and Nature, no. 5, vol. 2, no. 2, pp. 8–36. The Communist Manifesto: Insights and Problems, available at: http://dwardmac.pitzer.edu/anarchist_archives/bookchin/comman.html “Looking Back at Spain,” The Radical Papers, pp. 53–96, Dimitrios I. Roussopoulos (ed.), Black Rose Books, Montreal/New York, 1987 The Murray Bookchin Reader, Janet Biehl (ed.), Cassell, London, 1997. Anarchism, Marxism, and the Future of the Left: Interviews and Essays, 1993–1998, AK Press, Edinburgh/San Francisco, 1999. To Remember Spain: The Anarchist and Syndicalist Revolution of 1936, AK Press, Edinburgh/San Francisco, 1994.

Bookchin, Murray and Dave Foreman, Defending the Earth: A Dialogue between Murray Bookchin and Dave Foreman, Black Rose Books, Montreal/New York.

Bradford, George, How Deep is Deep Ecology?, Times Change Press, California, 1989.

“Woman’s Freedom: Key to the Population Question”, pp. 65–84, How Deep is Deep Ecology?, Times Change Press, California, 1989.

Bricianer, SergePannekoek and the Workers’ Councils, Telos Press, Saint Louis, 1978.

Brinton, Maurice, For Workers’ Power: The Selected Writings of Maurice Brinton, David Goodway (ed.), AK Press, Edinburgh/Oakland, 2004.

The Bolsheviks and Workers’ Control 1917 to 1921: the State and Counter-Revolution, Solidarity and Black and Red, London and Detroit, 1975. The Irrational in Politics, Soldarity (London), London, 1975.

Brown, L. Susan, The Politics of Individualism: Liberalism, Liberal Feminism and Anarchism, Black Rose, Montreal/New York, 1993.

Brown, Tom, Syndicalism, Phoenix Press, London, 1990.

Buber, Martin, Paths in Utopia, Beacon Press, Boston, 1958.

Cardan, Paul, Modern Capitalism and Revolution, 2nd edition, Solidarity,London, 1974.

Carson, Kevin A., The Iron Fist Behind the Invisible Hand, available at: http://www.mutualist.org/id4.html

Studies in Mutualist Political Economy, available at: http://www.mutualist.org/id47.html

Carter, Alan, Marx: A Radical Critique, Wheatsheaf Books, Brighton, 1988.

Casa, Juan Gomez, Anarchist Organisation: The History of the FAI, Black Rose Books, Montreal, 1986.

Castoriadis, Cornelius, Workers’ Councils and the Economics of a Self-Managed Society, Wooden Shoe Pamphlet, Philadelphia, 1984.

Political and Social Writings, vol. 1, translated and edited by David Ames Curtis, University of Minnesota Press, Minneapolis, 1988. Political and Social Writings, vol. 2, translated and edited by David Ames Curtis, University of Minnesota Press, Minneapolis, 1988. Political and Social Writings, vol. 3, translated and edited by David Ames Curtis, University of Minnesota Press, Minneapolis, 1993. The Meaning of Socialism, Philadelphia Solidarity, Philadelphia, 1994. “The Role of Bolshevik Ideology in the Birth of the Bureaucracy”, contained in Political and Social Writings, vol. 3, pp. 89–105

Chomsky, Noam, Chronicles of Dissent: Interviews with David Barsamian, Common Courage and AK Press, Monroe, 1992.

Deterring Democracy, Vintage, London, 1992. Keeping the Rabble in Line: Interviews with David Barsamian, AK Press, Edinburgh, 1994. Noam Chomsky on Anarchism, available at: http://www.zmag.org/chomsky/interviews/9612-anarchism.html Language and Politics, Expanded Second Edition,C.P. Otero (ed.), AK Press, Edinburgh/London/Oakland, 2004. “Marxism, Anarchism, and Alternative Futures”, pp. 775–785, Language and Politics, Expanded Second Edition. Preface to Rudolf Rocker’s Anarcho-Syndicalism, Pluto Press, London, 1989. World Orders, Old and New, Pluto Press, London, 1994. Radical Priorities, Black Rose Books, Montreal, 1981. Year 501: The Conquest Continues, Verso, London, 1993. Necessary Illusions: Thought Control in Democratic Societies, Pluto Press, London, 1991. Expanding the Floor of the Cage, available at: http://www.chomsky.info/interviews/199704--.htm Rollback Parts I to IV, Z Magazine, January to May 1995available at: http://www.chomsky.info/articles/199505--.htm Interview on Pozner/Donahue in 1992, available at http://flag.blackened.net/liberty/chomskydon.html For Reasons of State, Fontana/Collins, Suffolk, 1973. The Umbrella of US Power: The Universal Declaration of Human Rights and the Contradictions of US Policy, Open Media Pamphlet, Seven Stories Press, New York, 1999. The Chomsky Reader, James Peck (ed.), Pantheon Books, New York, 1987. Turning the Tide: US Intervention in Central America and the Struggle for Peace, Pluto Press, 1985. Language and Politics, Black Rose Books, Montreal, 1999. Rogue States: The Rule of Force in World Affairs, Pluto Press, London, 2000. Understanding Power: The Indispensable Chomsky, Peter R. Mitchell and John Schoeffel (eds.), The New Press, New York, 2002. Problems of Knowledge and Freedom: The Russell Lectures, The New Press, New York/London, 2003. Hegemony or Survival: America’s Quest for Global Dominance, Hamish Hamilton, London, 2003. Powers and Prospects: Reflections on Human Nature and the Social Order, Pluto Press, London, 1996. Class Warfare: Interviews with David Barsamian, Pluto Press, London, 1996. American Power and the New Mandarins, Penguin Books, London, 1969. Anarchism Interview: Noam Chomsky interviewed by Ziga Vodovnik, available at: http://www.chomsky.info/interviews/20040714.htm Letters from Lexington: Reflections on Propaganda, Common Courage Press/AK Press, Monroe/Edinburgh, 1993. Chomsky on Anarchism, AK Press, Edinburgh/Oakland, 2005. Government in the Future, Seven Stories Press, New York, 2005. Propaganda and the Public Mind: Conversations with Noam Chomsky, Pluto Press, London, 2001. Failed States: The Abuse of Power and the Assault on Democracy, Hamish Hamilton, London, 2006. The Culture of Terrorism, Pluto Press, London, 1989. Imperial Ambitions: Conversations with Noam Chomsky on the post-9/11 World, Penguin Books, London, 2005. Manufacturing Consent: Noam Chomsky and the Media, Mark Achbar (ed.), Black Rose Books, Quebec/New York, 1994. Reluctant Icon: Noam Chomsky interviewed by Tim Halle available at http://www.chomsky.info/interviews/1999----.htm

Christie, Stuart, We, the Anarchists! A Study of the Iberian Anarchist Federation (FAI) 1927–1927, The Meltzer Press and Jura Media, Hastings/Petersham, 2000.

My Granny made me an Anarchist (The Christie File part 1, 1946–1964), Christie Books, Hastings, 2002.

Christie, Stuart and Meltzer, Albert, The Floodgates of Anarchy, Kahn & Averill, Southampton, 1984.

Ciliga, Ante, The Russian Enigma, Ink Links Ltd, London, 1979.

Clark, John, The Anarchist Moment: Reflections on Culture, Nature and Power, Black Rose Books, Montreal, 1984.

Clark, John P., Max Stirner’s Egoism, Freedom Press, London, 1976.

Clark, John P and Martin, Camille (eds.), Anarchy, Geography, Modernity: The Radical Social Thought of Elisée Reclus, Lexington Books, Lanham, 2004.

Cleaver, Harry, Reading Capital Politically, AK Press/Anti-theses, London, 2000.

Cohn-Bendit, Daniel & Gabriel, Obsolete Communism: The Left-Wing Alternative, AK Press, Edinburgh, London & San Franciso, 2000.

Cole, G.D.H., Guild Socialism Restated, Transaction Books, New Brunswick, 1980.

Self-Government in Industry, Hutchinson Educational, London,1972.

Comfort, Alex, Authority and Delinquency in the Modern State: A Criminological Approach to the Problem of Power, Routledge and Kegan Paul, 1950.

Writings against Power and Death: The Anarchist articles and Pamphlets of Alex Comfort, David Goodway (ed.), Freedom Press, London, 1994.

Crump, John, Hatta Shuzo and Pure Anarchism in Interwar Japan, St. Martin’s Press, Inc., New York, 1993.

Dana, Charles A., Proudhon and his “Bank of the People”, Charles H. Kerr Publishing Co., Chicago, 1984.

de Cleyre, Voltairine, The Voltairine de Cleyre Reader, A.J. Brigati (ed.), AK Press, Oakland/Edinburgh, 2004.

Exquisite Rebel: The Essays of Voltairine de Cleyre — Anarchist, Feminist, Genius, Sharon Presley and Crispin Sartwell (eds.), State University of New York Press, New York, 2005. “Anarchism��, pp. 30–34, Man!, M. Graham (ed.), Cienfuegos Press, London, 1974. Direct Action, available at http://www.etext.org/Politics/Spunk/library/writers/decleyre/sp001334.html The Economic Tendency of Freethought, available at http://alumni.umbc.edu/~akoont1/tmh/voltair.html Anarchism and American Traditions, available at http://alumni.umbc.edu/~akoont1/tmh/vdc.html The First Mayday: The Haymarket Speeches 1895–1910, Cienfuegos Press, Libertarian Book Club and Soil of liberty, Orkney/ Minneapolis, 1980

de Ligt, Bart, The Conquest of Violence, Pluto Press, London, 1989.

de Llorens, Ignaio, The CNT and the Russian Revolution, The Kate Sharpley Library, unknown, undated.

de Santillan, D. A., After the Revolution: Economic Reconstruction in Spain Today, Greenberg, New York, 1937 (facsimile edition by Jura Media, Petersham, 1996).

Debord, Guy, Society of the Spectacle, Rebel Press/Aim Publications, Exeter, 1987.

Dielo Trouda, The Organisational Platform of the Libertarian Communists, Workers Solidarity Movement, Dublin, 1989.

Direct Action Movement, Winning the Class War: An Anarcho-Syndicalist Strategy, Direct Action Movement-IWA, Manchester/Glasgow, 1991.

Direct Action in Industry, available at: http://www.spunk.org/texts/intro/practice/sp001703.html

Dobson, V.G., Bringing the Economy Home from the Market, Black Rose Books, Montreal, 1993.

Dolgoff, Sam, The Cuban Revolution: A Critical Perspective, Black Rose Books, Montreal, 1976.

The American Labour Movement: A New Beginning, Resurgence, Champaign, Il., 1980. A Critique of Marxism, Soil of Liberty, Minneapolis, unknown.

Draughn, Jeff, Between Anarchism and Libertarianism: Defining a New Movement, available at http://flag.blackened.net/liberty/between.html

Ervin, Lorenzo Kom’boa, Anarchism and the Black Revolution, Monkeywrench Press and the Workers Self-Education Foundation, Philadelphia, 1994.

Fabbri, Luigi, Bourgeois Influences on Anarchism, Acrata Press, San Francisco, 1987.

“Anarchy and ‘Scientific’ Communism”, in The Poverty of Statism, pp. 13–49, Albert Meltzer (ed.), Cienfuegos Press, Sanday, 1981.

Fernandez, Frank, Cuban Anarchism: The History of a Movement, See Sharp Press, Tucson, 2001.

Fernandez, Neil C., Capitalism and Class Struggle in the USSR: A Marxist Theory, Ashgate, Aldershot, 1997.

Fleming, Marie, The Geography of Freedom: The Odyssey of Elisée Reclus, Black Rose Books, Montreal/New York, 1988.

Foner, Philip S. (ed.), The Autobiographies of the Haymarket Martyrs, Monad Press, New York, 1977.

Fontenis, Georges, Manifesto of Libertarian Communism,Anarchist Communist Editions, London, 1989.

For Ourselves, The Right to Be Greedy: Thesis on the Practical Necessity of Demanding Everything, Loompanics Unlimited, Port Townsend, Washington, 1983.

Fotopoulos, Takis, “The Economic Foundations of an Ecological Society”,Society and Nature, No. 3 (vol. 1 no. 3), pp. 1–40.

“The Nation-state and the Market,” Society and Nature, No. 5 (vol. 2, no. 2), pp. 37–80. Towards an Inclusive Democracy: The crisis of the growth economy and the need for a new liberatory Project, Cassell, London/New York, 1997.

Ford, Earl C. and Foster, William Z., Syndicalism, Charles H. Keer Publishing Co., Chicago, 1990.

Franks, Benjamin, Rebel Alliances: The means and ends of contemporary British anarchisms, AK Press and Dark Star, Edinburgh/Oakland, 2006.

Friends of Durruti, Towards a Fresh Revolution, Zabalaza Books, Johannesburg, 2003.

Fromm, Erich, To Have Or To Be?, Abacus, London, 1993.

Man for Himself: An Enquiry into the Psychology of Ethics, Ark Paperbacks, London, 1986. The Sane Society, Kegan Paul, 1959. The Fear of Freedom, Ark Paperbacks, London, 1989.

Galleani, Luigi, The End of Anarchism?, Cienfuegos Press, Orkney, 1982.

Godwin, William, The Anarchist Writings of William Godwin, Peter Marshall (ed.), Freedom Press, London, 1986.

An Enquiry concerning Political Justice, Penguin, Harmondsworth, 1976

Goldman, Emma, Red Emma Speaks: An Emma Goldman Reader, 3rd Edition, Alix Kates Shulman (ed.), Humanity Books, New York, 1998.

Red Emma Speaks, Alix Kates Shulman (ed.), Wildwood House, London, 1979. Anarchism and Other Essays, Dover Publications Ltd., New York, 1969. Vision on Fire: Emma Goldman on the Spanish Revolution, Commonground Press, New Paltz New York, 1985. My Disillusionment in Russia, Thomas Y. Crowell Company, New York, 1970. Living My Life (in 2 volumes), Dover Publications, New York, 1970. Emma Goldman: A Documentary History of the American Years volume 1: Made for America, 1890–1901, Candace Falk (ed.), University of California Press, Berkeley/Los Angeles/London, 2003. Emma Goldman: A Documentary History of the American Years volume 2: Making Speech Free, 1902–1909, Candace Falk (ed.), University of California Press, Berkeley/Los Angeles/London, 2005. Writings of Emma Goldman: Essays on Anarchism, Feminism, Socialism, and Communism, Red and Black Publishers, St. Petersburg, Florida, 2013

Goodway, David, Anarchist Seeds Beneath the Snow: Left-Libertarian Thought and British Writers from William Morris to Colin Ward, Liverpool University Press, Liverpool, 2006.

Goodway, David (ed.), For Anarchism: History, Theory and Practice, Routledge, London, 1989.

Gorter, Herman, Open Letter to Comrade Lenin, Wildcat, 1989.

Graeber, David, Fragments of an Anarchist Anthropology, Prickly Paradigm Press, Chicago, 2004.

Possibilities: Essays on Hierarchy, Rebellion, and Desire,AK Press, Edinburgh/Oakland, 2007.

Green Anarchy, Against Mass Society, available at: http://www.primitivism.com/mass-society.htm

Greene, William B., Mutual Banking, West Brookfield, 1850.

Guerin, Daniel, Anarchism: From Theory to Practice, Monthly Review Press, New York/London, 1970.

Class Struggle in the First French Republic: Bourgeois and Bras Nus 1793–1795, Pluto Press, London, 1977.

Harper, Clifford, Anarchy: A Graphic Guide, Camden Press, London, 1987.

Hoffman, Robert L., Revolutionary Justice: The Social and Political Theory of P.J. Proudhon, University of Illinois Press, Urbana, 1972.

International Workers Association, Principles, Aims and Statutes of the International Workers Association, Monty Millar Press, Broadway, 1983.

Industrial Workers of the World, How to fire your boss, available at: http://fletcher.iww.org/direct_action/title.html

Kelman, James, Some Recent Attacks: Essays Cultural and Political, AK Press, Stirling, 1992.

Kelsey, Graham A., Anarchosyndicalism, libertarian communism and the state: the CNT in Zaragoza and Aragon 1930–1937, International Institute of Social History, Dordrecht, London, 1991.

“Anarchism in Aragon,” in Spain in Conflict 1931–1939: democracy and its enemies, Martin Blinkhorn (ed.), pp. 60–82, Sage, London, 1986.

Kenafick, K.J., Michael Bakunin and Karl Marx, Melbourne, 1948.

Klafta, Lance, “Ayn Rand and the Perversion of Libertarianism”, Anarchy: A Journal of Desire Armed, no. 34, pp. 59–62.

Knabb, Ken, Public Secrets, Bureau of Public Secrets, Berkeley, 1997.

The Poverty of Primitivism, available at http://www.slip.net/~knabb/CF/primitivism.htm

Knabb, Ken (ed.), Situationist International Anthology, Bureau of Public Secrets, Berkeley, 1981.

Kropotkin, Peter, Anarchism: A Collection of Revolutionary Writings, Roger N. Baldwin (ed.), Dover Press, New York, 2002.

Act for Yourselves: articles from Freedom 1886–1907,N. Walter and H. Becker (eds), Freedom Press, London, 1988. Ethics: Origin and Development, Blom, 1968. Mutual Aid, Freedom Press, London, 1987. The Conquest of Bread, Elephant Editions, Catania, 1985. The State: Its Historic Role, Freedom Press, London, 1987. Anarchism and Anarchist Communism: Its Basis and Principles, Freedom Press, London, 1987. The Great French Revolution (in two volumes), Elephant Editions, Catania, 1986. Words of a Rebel, Black Rose Books, Montreal, 1992. Evolution and Environment, Black Rose Books, Montreal, 1995. Fields, Factories and Workshops Tomorrow, Colin Ward (ed.), Freedom Press, London, 1985. Direct Struggle Against Capital: A Peter Kropotkin Anthology, Iain McKay (ed.), AK Press, Edinburgh, Oakland, Baltimore, 2014. Modern Science and Anarchy, Iain McKay (ed.), AK Press, Edinburgh, Oakland, Chico, 2018. Small Communal Experiments and Why They Fail, Jura Media, Sydney, 1997. The Place of Anarchism in Socialistic Evolution, Practical Parasite Publications, Cymru, 1990. Selected Writings on Anarchism and Revolution, Martin A. Miller (ed.), MIT Press, Cambridge, 1970. Memiors of a Revolutionist, Black Rose Books, Montreal/New York, 1989. The Conquest of Bread and Other Writings, Unversity Press, Cambridge, 1995. Kropotkin’s Revolutionary Pamphlets, R.N. Baldwin (ed.),Dover Press, New York, 1970. “Syndicalism and Anarchism”, Black Flag, no. 211, pp. 16–19. The Commune of Paris, available at: http://dwardmac.pitzer.edu/anarchist_archives/kropotkin/pcommune.html

Labadie, Joseph A., Anarchism: What It Is and What It Is Not, available at: http://alumni.umbc.edu/~akoont1/tmh/anar_jal.html

Different Phases of the Labour Question, available at: http://members.aol.com/labadiejo/page11.html What is Socialism?, available at: http://members.aol.com/labadiejo/page7.html

Landauer, Gustav, For Socialism, Telos Press, St. Louis, 1978.

Law, Larry, Spectacular Times: Bigger Cages, Longer Chains, A-Distribution/Dark Star Press, London, 1991.

Le Guin, Ursula K., The Dispossessed, Grafton Books, London, 1986.

Leier, Mark, Bakunin: The Creative Passion, Thomas Dunne Books, New York, 2006.

Leval Gaston, Collectives in the Spanish Revolution, Freedom Press, London, 1975.

Levy, Carl, Gramsci and the Anarchists, Berg, Oxford, 1999.

Magón, Ricardo Flores, Dreams of Freedom: A Ricardo Flores Magón Reader, AK Press, Edinburgh/Oakland, 2005.

Land and Liberty: Anarchist influences in the Mexican Revolution, David Poole (ed.), Cienfuegos Press, Sanday, 1977.

Mailer, Phil, Portugal: The Impossible Revolution, Solidarity, London,1977.

Makhno, Nestor, The Struggle Against the State and other Essays, AK Press, Edinburgh/San Francisco, 1996.

My Visit to the Kremlin, Kate Sharpley Library, London, 1993.

Makhno, Nestor, Ida Mett, Piotr Archinov, Valevsky, Linsky, The Organisational Platform of the Libertarian Communists, Workers Solidarity Movement, Dublin, 1989.

Malatesta, Errico, Anarchy, Freedom Press, London, 2001.

Anarchy, Freedom Press, London, 1974. Errico Malatesta: His Life and Ideas, 3rd Edition, Vernon Richards (ed.), Freedom Press, London, 1993. Life and Ideas, Vernon Richards (ed.), Freedom Press, London, 1965. The Anarchist Revolution, Vernon Richards (ed.), Freedom Press, London, 1995. Fra Contadini: A Dialogue on Anarchy, Bratach Dudh Editions, Catena, 1981. At the Cafe: Conversations on Anarchism, Freedom Press, London, 2005. A Talk about Anarchist Communism, Freedom Press, London, 1894. “Towards Anarchism”, pp. 73–78, Man!, M. Graham (ed.), Cienfuegos Press, London, 1974. “Anarchism and Syndicalism”, pp. 146–52, Geoffrey Ostergaard, The Tradition of Workers’ Control, Freedom Press, London, 1997. Anarchistes, Socialistes et Communistes, Group 1er Mai, Annecy, 1982.

Malet, Michael, Nestor Makhno in the Russian Civil War, MacMillan Press, London, 1982.

Martin, James J., Men Against the State: The Expositors of Individualist Anarchism in America, 1827–1908, Ralph Myles Publisher Inc., Colorado Springs, 1970.

Marshall, Peter, Demanding the Impossible: A History of Anarchism, Fontana, London, 1993.

Nature’s Web: An Exploration of Ecological Thinking, Simon & Schuster, London, 1992.

Marzocchi, Umberto, Remembering Spain: Italian Anarchist Volunteersthe Spanish Civil War, Kate Sharpley Library, London, 1991.

Mattick, Paul, Economic Crisis and Crisis Theory, M.E. Sharpe, White Plains, New York, 1981.

Economics, Politics, and the Age of Inflation, Merlin Press, London, 1978. Anti-Bolshevik Communism, Merlin Press, London, 1978. Marx and Keynes: The Limits of the Mixed Economy,Merlin Press, London, 1971. Marxism: The Last Refuge of the Bourgeoisie?,M. E. Sharpe, Inc./Merlin Press, Armonk/London, 1983.

Maximoff, G. P., Program of Anarcho-Syndicalism, Monty Miller Press, Sydney, 1985.

The Guillotine at Work: twenty years of terror in Russia (data and documents), Chicago Section of the Alexander Berkman Fund, Chicago, 1940.

Maximoff, G. P (ed.), Constructive Anarchism, Monty Miller Press, Sidney, 1988.

McKercher, William R., Freedom and Authority, Black Rose Books, Montreal/New York, 1989

Meltzer, Albert, I Couldn’t Paint Golden Angels, AK Press, Edinburgh, 1996.

Anarchism: Arguments for and against, 7th Revised Edition, AK Press, Edinbrugh/San Francisco, 2000. Anarchism: Arguments for and against, 3rd Edition,Black Flag, London, 1986. The Anarcho-Quiz Book, Simian Publications, Orkney, 1976.

Meltzer, Albert (ed.), The Poverty of Statism, Cienfuegos Press, Orkney, 1981.

Mett, Ida, The Kronstadt Uprising, Solidarity, London, date unknown.

Michel, Louise, The Red Virgin: Memoirs of Louise Michel, The University of Alabama Press, Alabama, 1981

Moorcock, Michael, Starship Stormtroopers, available at: http://www.geocities.com/CapitolHill/Lobby/3998/Moorcock.html

Moore, John, Primitivist Primer, available at: http://lemming.mahost.org/johnmoore/primer.htm

Morris, Brian, Bakunin: The Philosophy of Freedom, Black Rose Books, Montreal, 1993.

Ecology and Anarchism: Essays and Reviews on Contemporary Thought, Images Publishing (Malvern) Ltd, Malvern Wells, 1996. Kropotkin: The Politics of Community, Humanity Books, New York, 2004.

Morris, William, Political Writings: Contributions to Justice and Commonweal 1883–1890, Thoemmes Press, Bristol, 1994.

A Factory As it Might Be, Mushroom Bookshop, Nottingham, 1994.

Nettlau, Max, A Short History of Anarchism, Freedom Press, London, 1996.

Errico Malatesta: The Biography of an Anarchist, available at: http://dwardmac.pitzer.edu/anarchist_archives/malatesta/nettlau/nettlauonmalatesta.html

Nursey-Bray, Paul, Anarchist Thinkers and Thought: an annotated bibliography, Greenwood Press, New York, 1992.

Ostergaard, Geoffrey, The Tradition of Workers’ Control, Freedom Press, London, 1997.

Pannekeok, Anton, Workers’ Councils, AK Press, Oakland/Edinburgh, 2003.

Lenin as Philosopher: A Critical Examination of the Philosophical Basis of Leninism, Merlin Press, London, 1975.

Parsons, Albert R., Anarchism: Its Philosophy and Scientific Basis,University Press of the Pacific, Honolulu, 2003.

Parsons, Lucy, Freedom, Equality & Solidarity: Writings & Speeches, 1878–1937, Gale Ahrens (ed.), Charles H. Kerr, Chicago, 2004.

Pataud, Emile and Pouget, Emile, How we shall bring about the Revolution: Syndicalism and the Co-operative Commonwealth, Pluto Press, London, 1990.

Pateman, Carole, The Problem of Political Obligation: A Critique of Liberal Theory, Polity Press, Cambridge, 1985.

The Sexual Contract, Polity, Cambridge, 1988. Participation and Democratic Theory, Cambridge University Press, Cambridge, 1970. The Disorder of Women: Democracy, Feminism and Political theory, Polity, Cambridge, 1989.

Paz, Abel, Durruti: The People Armed, Black Rose Books, Montreal, 1976.

The Spanish Civil War, Pocket Archives, Hazan, Paris, 1997. Durruti in the Spanish Revolution, AK Press, Edinburgh/Oakland, 2007.

Peacott, Joe, Individualism and Inequality, available at: http://world.std.com/~bbrigade/TL anarchy and inequality.htm

Individualism Reconsidered, available at: http://world.std.com/~bbrigade/badpp3.htm

Peirats, Jose, Anarchists in the Spanish Revolution, Freedom Press, London, 1990.

The CNT in the Spanish Revolution, vol. 1, The Meltzer Press, Hastings, 2001. The CNT in the Spanish Revolution, vol. 2, ChristieBooks.com, Hastings, 2005.

Piercy, Marge, Woman on the Edge of Time, The Woman’s Press, London, 1995.

Pouget, Emile , Direct Action, Kate Sharpley Library, London, 2003.

The Party Of Labour, available at: http://www.anarchosyndicalism.net/archive/display/190/index.php

Proudhon, P-J, What is Property: an inquiry into the principle of right and of government, William Reeves Bookseller Ltd., London, 1969.

System of Economical Contradictions: or, the Philosophy ofMisery, Benjamin Tucker, Boston, 1888. The General Idea of the Revolution, Pluto Press, London, 1989. Interest and Principal: A Loan is a Service available at: http://www.pitzer.edu/~dward/Anarchist_Archives/proudhon/interestletter1.html Interest and Principal: The Circulation of Capital, Not Capital Itself, Gives Birth to Progress available at: http://www.pitzer.edu/~dward/Anarchist_Archives/proudhon/interestletter2.html Selected Writings of Pierre-Joseph Proudhon, Stewart Edwards (ed.), MacMillan, London, 1969. The Principle of Federation, University of Toronto Press, Canada, 1979. Proudhon’s Solution of the Social Problem, Henry Cohen (ed.), Vanguard Press, New York, 1927. Property is Theft! A Pierre-Joseph Proudhon Anthology, Iain McKay (ed.), AK Press, Edinburgh, Oakland, Baltimore, 2011. Du Principe Fédératif et de la Nécessité De Reconstituerle Parti de la Révolution, E. Dentu, Paris, 1863. Carnets, vol. 3, Marcel Riviere, Paris, 1968

Puente, Isaac, Libertarian Communism, Monty Miller Press, Sydney, 1985.

Purchase, Graham, Evolution and Revolution: An Introduction to the Life and Thought of Peter Kropotkin, Jura Books, Petersham, Australia, 1996.

Quail, John, The Slow Burning Fuse: The Lost History of the BritishAnarchists, Granada Publishing Ltd., London, 1978.

Read, Herbert, Anarchy and Order: essays in politics, Faber and Faber Ltd,London, 1954.

A One-Man Manifesto and other writings from Freedom Press, Freedom Press, London, 1994.

Richards, Vernon, Lessons of the Spanish Revolution, 3rd Edition, Freedom Press, London, 1983.

The Impossibilities of Social Democracy, Freedom Press, London, 1978.

Richards, Vernon (ed.), Neither Nationalisation nor Privatisation: Selections from the Anarchist Journal Freedom 1945–1950, Freedom Press, London, 1989.

Spain 1936–39 Social revolution and Counter Revolution: Selections from the Anarchist fortnightly Spain and the World, Freedom Press, London, 1990. Why Work? Arguments for the Leisure Society, Freedom Press, London, 1997. The May Days in Barcelona, Freedom Press, London, 1987. World War — Cold War: Selections from the Anarchist Journals War Commentary and Freedom, 1939–1950, Freedom Press, London, 1989. The Left and World War II: Selections from the Anarchist Journal War Commentary 1939–1943, Freedom Press, London, 1989.

Rocker, Rudolf, Anarcho-Syndicalism: Theory and Practice, AK Press, Edinburgh/Oakland, 2004.

Anarcho-Syndicalism, Phoenix Press, London, 1988. Nationalism and Culture, Michael E. Coughlin, Minnesota, 1978. The London Years, Five Leaves Publications/AK Press, Nottingham/Oakland, 2005. The Tragedy of Spain, ASP, London & Doncaster, 1986. Anarchism and Sovietism, available at: http://flag.blackened.net/rocker/soviet.htm Marx and Anarchism, available at: http://flag.blackened.net/rocker/marx.htm Pioneers of American Freedom: Origin of Liberal and Radical Thought in America, Rocker Publications Committee, Los Angeles, 1949.

Root & Branch (ed.), Root & Branch: The Rise of the Workers Movements, Fawcett Publications, Greenwich, Conn., 1975.

Rooum, Donald, What is Anarchism? An Introduction, Freedom Press, London, 1992.

Roussopoulos, Dimitrios I. (ed.), The Radical Papers, Black Rose Books, Montreal/New York, 1987.

The Anarchist Papers, Black Rose Books, Montreal/New York, 2002.

Russell, Bertrand, The Practice and Theory of Bolshevism, George Allen and Unwin Ltd., London, 1949.

Roads to Freedom: Socialism, Anarchism and Syndicalism, George Allen and Unwin Ltd., London, 1973.

Sabatini, Peter, “Libertarianism: Bogus Anarchy”, Anarchy: A Journal of Desire Armed, no. 41, Fall/Winter 1994–5

Sacco, Nicola and Vanzetti, Bartolomeo, The Letters of Sacco and Vanzetti, Penguin Books, New York, 1997.

Schmidt, Michael and Walt, Lucien van der, Black Flame: The Revolutionary Class Politics of Anarchism andSyndicalism, AK Press,Edinburgh/Oakland, 2009.

Scott, James C., Seeing like a State: How Certain Schemes to Improve theHuman Condition Have Failed, Yale University Press, New Haven and London, 1998.

Sheppard, Brian Oliver, Anarchism vs. Primitivism, See Sharpe Press, Tuscon, 2003.

Shipway, Mark A. S., Antiparliamentary Communism: The Movement for Workers’ Councils in Britain, 1917–45, Palgrave Macmillan, Basingstoke, 1988.

Sitrin, Marina (ed.), Horizontalism: Voices of Popular Power in Argentina, AK Press, Oakland/Edinburgh, 2006.

Skirda, Alexandre, Nestor Makhno Anarchy’s Cossack: The struggle for freesoviets in the Ukraine 1917–1921, AK Press,Edinburgh/Oakland, 2004

Facing the Enemy: A History of Anarchist Organisation from Proudhon to May 1968, AK Press, Edinburgh/Oakland, 2002. “The Rehabilitation of Makhno”, The Raven: Anarchist Quarterly, no. 8 (Vol. 2, No. 4), Oct. 1989, Freedom Press, pp. 338–352

Smart, D.A. (ed.), Pannekoek and Gorter’s Marxism, Pluto Press, London, 1978.

Spooner, Lysander, Natural Law, available at http://flag.blackened.net/liberty/spoonnat.html

No Treason: The Constitution of No Authority, Ralph Myles Publisher, Inc., Colorado Springs, 1973. An essay on the Trial by Jury, John P. Jewett and Co., Boston, 1852. A Letter to Grover Cleveland, Benjamin R. Tucker, Boston,1886. Revolution: The Only Remedy For The Oppressed Classes Of Ireland, England, And Other Parts Of The British Empire, available at: http://www.lysanderspooner.org/Revolution.htm Poverty: Its Illegal Causes and Legal Cure, Bela Marsh, Boston, 1846. The Law of Intellectual Property, or, An Essay on the Right of Authors and Inventors to a Perpetual Property in Their Ideas, Boston, 1885.

Starhawk, “Staying on the Streets,” contained in On Fire: The Battle of Genoa and the anti-capitalist movement, One Off Press, unknown, 2001.

Stirner, Max, The Ego and Its Own, Rebel Press, London, 1993.

Tolstoy, Leo, The Kingdom of God is Within You: Christianity Not as a MysticReligion but as a New Theory of Life, University of NebraskaPress, London, 1984.

The Slavery of Our Times, John Lawrence, London, 1972.

Trotwatch, Carry on Recruiting! Why the Socialist Workers Party dumped the ‘downturn’ in a ‘dash for growth’ and other party pieces, AK Press/Trotwatch, Glasgow, 1993.

Tucker, Benjamin R., Instead of a Book, by a man too busy to write one: a fragmentary exposition of philosophical anarchism culled from the writings of Benj. R. Tucker, Haskell House Publishers, New York, 1969.

Occupancy and Use verses the Single Tax available at: http://flag.blackened.net/daver/anarchism/tucker/tucker32.html “Why I am an Anarchist”, pp. 132–136, Man!, M. Graham (ed.), Cienfuegos Press, London, 1974.

Unofficial Reform Committee, The Miner’s Next Step: Being a suggested scheme for the reorganisation of the Federation, Germinal and Phoenix Press, London, 1991.

Vaneigem, Raoul, The Revolution of Everyday Life, Rebel Press/Left Bank Books,London, 1994.

Voline, The Unknown Revolution, Black & Red/Solidarity, Detroit/Chicago,1974.

Walter, Nicolas, About Anarchism, Freedom Press, London, 2002.

The Anarchist Past and other essays, Five Leaves Publications, Nottingham, 2007.

Ward, Colin, Anarchy in Action (2nd Edition), Freedom Press, London, 1982.

Social Policy: an anarchist response, Freedom Press, London, 2000. Talking Houses, Freedom Press, London, 1990. Housing: An Anarchist Approach, Freedom Press, London, 1983 Reflected in Water: A Crisis of Social Responsibility, Cassel, London, 1997. Freedom to go: after the motor age, Freedom Press, London, 1991. Anarchism: A Very Short Introduction, Oxford University Press, Oxford, 2004. Cotters and Squatters: Housing’s Hidden History, Five Leaves,Nottingham, 2005.

Ward, Colin (ed.), A Decade of Anarchy: Selections from the Monthly Journal Anarchy, Freedom , London, 1987.

Ward, Colin and Goodway, David, Talking Anarchy, Five Leaves, Nottingham,2003.

Watson, David, Beyond Bookchin: Preface for a Future Social Ecology, Autonomedia/Black and Red/Fifth Estate, USA, 1996.

Against the Megamachine: Essays on Empire and Its Enemies, Autonomedia/Fifth Estate, USA, 1997.

Weick, David, “Anarchist Justice”, pp. 215–36, Anarchism: Nomos XIX, J. Roland Pennock and John W. Chapman (eds.), New York University Press, New York, 1978.

Weil, Simone, Oppression and Liberty, Routledge, London, 2001.

Wetzel, Tom, The Origins of the Union Shop, available at:http://www.uncanny.net/~wsa/union3.html

Workers’ Power and the Spanish Revolution, available at: http://www.uncanny.net/~wsa/spain.html

Wildcat Group (ed.), Class War on the Home Front: Revolutionary Opposition to the Second World War, Wildcat Group, Manchester, 1986.

Wilde, Oscar, “The Soul of Man Under Socialism”, pp. 1174–1197, Completeworks of Oscar Wilde, HarperCollins Publishers, Glasgow, 1994.

Wilson, Charlotte, Three Essays on Anarchism, Drowned Rat Publications, Cambridge, 1985.

Anarchist Essays , Freedom Press, London, 2000.

Wilson, Robert Anton, Natural Law: or don’t put a rubber on your willy, Loompanics Ltd, Port Townsend, 1987.

Woodcock, George,Anarchism: A History of libertarian ideas and movements (2nd Edition), Penguin Books, England, 1986.

Pierre-Joseph Proudhon: A Biography, Black Rose Books, Montreal/New York, 1987. Anarchy or Chaos, Freedom Press, London, 1944.

Woodcock, G. and Avakumovic, I., The Anarchist Prince, Boardman, London, 1950.

Zerzan, John, Elements of Refusal, Left Bank Books, Seattle, 1988.

On the Transition: Postscript to Future Primitive, available at: http://www.insurgentdesire.org.uk/fp.htm

Zinn, Howard, A People’s History of the United States, 2nd Edition, Longman,Essex, 1996.

Failure to Quit: Reflections of an Optimistic Historian,Common Courage Press, Monroe Main, 1993. The Colorado Coal Strike, 1913–14, contained in Three Strikes: Miners, Musicians, Salesgirls, and the Fighting Spirit of Labor’s Last Century, Howard Zinn, Dana Frank, Robin D. G. Kelly, Beacon Press, Boston, 2001. The Zinn Reader: Writings on Disobedience and Democracy,Seven Stories Press, New York, 1997. An Interview with Howard Zinn on Anarchism: Rebels Against Tyranny,available at: http://www.revolutionbythebook.akpress.org/an-interview-with-howard-zinn-on-anarchism-rebels-against-tyranny/

Zinn, Howard and Arnove, Anthony (eds.), Voices of a People’s History of the United States, Seven Stories Press, New York, 2004.

[raybizzle]

"Brothers" (1977) is a biographical drama loosely based on the 1970-71 relationship of Angela Davis, George Jackson, and his brother Jonathan Jackson. Arthur Barron directed, and Edward and Mildred Lewis wrote the film produced by Warner Bros. The movie stars Bernie Casey, Vonetta McGee, Ron O'Neal, John Lehne, and Renny Roker. Taj Mahal is responsible for the soundtrack, an underrated classic from the blaxploitation era.

George Jackson was serving an indeterminate sentence for a gas station robbery in 1961. While in prison, Jackson became an activist and co-founded the Black Guerrilla Family. In 1970, Jackson, along with two other Soledad Brothers, was charged with the murder of correctional officer John Vincent Mills in the aftermath of a prison fight.

The movie addresses the complexity of Jackson's character and his activism to fight the corruption and racism in the prison system. Bernie Casey performed excellently as the lead, and Ron O'Neal was a welcoming supporting character. Vonetta McGee's screen presence is exquisite as she represents Davis' fictional character well.

Director: Arthur Barron Writers: Edward Lewis, Mildred Lewis

Starring Bernie Casey, Vonetta McGee, Ron O'Neal, John Lehne, Stu Gilliam, Renny Roke, Owen Pace, Dwan Smith, Martin St. Judge, Ricardo Brown, Susan Barrister

Storyline After being convicted of a robbery he didn't commit, David Thomas (Bernie Casey) serves an indeterminate sentence in a prison where corrupt guards and racism run amok. When guards murder his cellmate, Thomas turns to activism with the help of Paula Jones (Vonetta McGee) for prison reform. The film is loosely based on the 1970-71 relationship of Angela Davis, George Jackson, and his brother Jonathan Jackson.

Available on VHS and streaming services.

[bamboomusiclist]

10/24 おはようございます。Caliban / Digital Reggae MFM022等更新しました。

Cees Slinger Clifford Jordan / Sling Shot sjp225 Toon Roos / Attitudes sjp285 Oscar Peterson / The Lost Tapes 529096-1 Erwin Lehn / Color In Jazz 2121963-1 Jean Luc Ponty / Open Strings 2121288-2 Oscar Peterson Herb Ellis / Hello Herbie mps15262st Duke Pearson / It Could Only Happen with You Bnla317g Bill Nelson's Red Noise / Sound On Sound SHSP4095 Hannibal / in Berlin 15.496 George Russell Sextet Don Cherry / at the Beethoven Hall 2 sb15060 George Duke / the Inner Source 22 22725-1 Rolf & Joachim Kuhn / Transfiguration sb15118st Pyrymyd / Shake It Down P-4871 Notations / Judy Blue Eyes - I Can Testify 73933 Caliban / Digital Reggae MFM022

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[arsmusica]

Jazz und Blues - Fr, 10.05.2024, 19:30 Uhr

I GOTTA RIGHT TO SING THE BLUES - FABER/KUHN/BAZIJAN/GMELIN

Mitwirkende: Johannes Faber - Piano, Gesang, Trompete

Harald Kuhn - Trompete

Eugen Bazijan - Cello

Matthias Gmelin - Schlagzeug

Veranstalter: ars musica e.V.

Location: LUISE Kulturzentrum

Adresse: Ruppertstraße 5, 80337 München

Eintritt: € 20,- / erm. € 15,-

Tickets: https://www.ticketino.com/de/Event/Faber-Kuhn-Bazijan-Gmelin/190307

Beschreibung:

Der Blues ist die Urquelle des Jazz und der gesamten Popularmusik. Wir präsentieren mit unserem Programm ein Jazz-Kaleidoskop der unzähligen Schattierungen des Blues. "While the European tradition strives for regularity - of pitch, of time, of timbre and of vibrato - the African tradition strives precisley for the negation of these elements." (Ernest Borneman)

Der Blues ist die Begegnung von afrikanischer Pentatonik und europäischem Zwölftonsystem im Schmelztigel Amerika. Diese kraftvolle musikalische Synthese ist die Grundlage für den Jazz, Rock ́n Roll, Rock, Pop, Hip Hop, you name it.

Es gibt nur wenige Musiker in Europa, die den Blues in all seinen Höhen und Tiefen, seinen Spiel- und Leidensarten so erforscht haben, wie der Trompeter, Pianist, Sänger, Komponist und Arrangeur Johannes Faber.

Johannes Faber wurde 1952 in München geboren und studierte Trompete und Komposition in München, Graz und Boston. Er arbeitete in Erwin Lehns Südfunk-Tanzorchester Stuttgart(1980-90) und in der NDR-Bigband(1990-96), sowohl als Solotrompeter als auch als Komponist und Arrangeur. Johannes Faber komponierte die Filmmusik für „Rallye Paris-Dakar“ und gründete die Rockjazz-Formation CONSORTIUM mit Billy Cobham dr, Christof Lauer sax, Joerg Reiter p und Dave King b. Er hatte eine Professur an der Hochschule für Musik und Darstellende Kunst in Hamburg inne. Der Trompeter spielte u.a. mit Chaka Khan, Anthony Jackson, George Adams, Charlie Mariano, Dado Moroni, Konstantin Wecker, dem UNITED JAZZ & ROCK ENSEMBLE und Peter Herbolzheimer’s RHYTHM COMBINATION AND BRASS, komponierte für Michael Ende und wurde mit dem Jazz-Preis Baden-Württemberg ausgezeichnet(1985). Er war auf den großen Jazz-Festivals zu erleben, u.a. beim Jazzfest Berlin, in Montreux und beim Deutschen Jazz-Festival in Frankfurt.

1998 komponierte er die Musik für das Wilderer-Melodram HIAS und spielte die Hauptrolle in einer Produktion des Staatstheaters am Gärtnerplatz(München). Von 2000 – 2012 konzipiert und moderiert er die überaus erfolgreiche Reihe “Jazz im Gärtnerplatz”. Seit 2000 singt und spielt er den Sprecher (Staatstheater am Gärtrnerplatz) und den Sarastro (Opernfestspiele Gut Immling) in Mozarts Oper DIE ZAUBERFLÖTE. Er komponierte 2003 die Musik zu „4 – Ein Tanzevent“, das vom Balletttheater München und dem Orchester in der Choreographie von Philip Taylor mit Erfolg im Repertoire des Staatstheaters am Gärtnerplatz aufgeführt wird. 2006 unterrichtet er Jazzgeschichte am Conservatorio Nicolo Paganini in Genua.

2012 Professur am „Conservatorio Nicolò Paganini“.

Admin: Frank McLynn

[rosen-und-disteln]

HEIM

Noch einmal schau ich auf meiner wandrung im engen viereck die tiefgrünen vorhänge von denen zwei das licht umrahmen und zwei das dunkel: die türen. Eine (die dem licht gegenüber) zwischen zwei weissen götterbildern auf schwarzen säulen. An der vierten mauer die grossen sträusse trockner gräser rechts und links von dem bild · von der decke das hellgoldene kronenlicht mit drei händen deren jede mit drei fingern ... Ich lehne mich an den lauen thonofen und es klingt von unten her die gassenweise der orgel die wir so oft bespottet die aber am herzen nagt.

Stefan George (Tagebuch "Tage und Taten")

[korrektheiten]

Werte-Union als Partei gegründet

Die JF schreibt: »Hans-Georg Maaßen und weitere Mitglieder des Vereins Werte-Union gründen ihre gleichnamige Partei. Diese solle sich politisch zwischen CDU/CSU und AfD ansiedeln. Sie bekenne sich laut Programm zur Nato, lehne aber die Klimaneutralität ab und wolle den Grenzschutz stärken. Dieser Beitrag Werte-Union als Partei gegründet wurde veröffentlich auf JUNGE FREIHEIT. http://dlvr.it/T2vcDg «

[frequentlykit]

Supernatural actors who were on Criminal Minds *incomplete*

George Darrow DJ Qualls -  SPN: Garth CM: Richard Slessman (season 1 episode 1)

Timothy Omundson - SPN: Cain CM: Phillip Dowd (season 1 episode 6)

Dameon Clarke - SPN: Jack Montgomery (Rugaru) CM: Christopher Crawford (season 1 episode 7)

Jeff Kober - SPN: Randall CM: Leo (season 1 episode 9)

Mark Rolston - SPN: Alastair CM: Sheriff Hall (season 1 episode 11)

Michael Massee - SPN: Kubrick (Bad Day at Black Rock) CM: Jacob Dawes (season 1 episode 14)

Michael B. Silver - SPN: Martin Flagg (Movie Writer “Hollywood Babylon“) CM: Sam Shapiro (season 1 episode 14)

Roger Aaron Brown - SPN: Joshua (Angel) CM: Warden Charles Diehl  (season 1 episode 14)

Robert Curtis Brown - SPN: Father Gil (”Sin City”) CM: Peter Greisen (season 1 episode 16)

Eric Johnson - SPN: Brady (Sam’s college friend/demon) CM: Sean Hotchner (season 1 episode 16)

Jack Conley - SPN: Sheriff Al Britton (”Yellow Fever”) CM: Agent John Summers (season 1 episode 21)

Mary Page Keller SPN: Joyce Bicklebee (Leviathan Real Estate Agent) CM: Katie Cole (season 2 episode 2)

Nicki Aycox - SPN: Meg Masters (season 1) CM: Amber Canardo (season 2 episode 3)

Kayla Mae Maloney -  SPN: Leah Gideon (season 5 The Whore) CM: Polly Homefeldt (season 2 episode 7)

Andrew Rothenberg - SPN: Lukcy (Skinwalker “All Dogs Go to Heaven”) CM: Motel Manager (season 2 episode 7)

Samantha Smith - SPN: Mary Winchetsers CM: Helen Douglas (season 2 episode 14)

Jim Parrack - SPN: Agent Nick Munroe (Siren) CM: Paul Mulford (season 2 episode 21)

Steven Williams - SPN: Rufus Turner CM: Captain Al Wright (season 2 episode 22)

Alexander Gould - SPN: Cole Griffith (”Death Takes a Holiday“) CM: Jeremy (season 3 episode 5)

Jim Beaver - SPN: Bobby Singer CM: Sheriff Williams (season 3 episode 7)

John Lafayette - SPN: George Darrow (Crossroad Blues) CM: Dr. Lorenz (season 3 episode 8)

James Otis - SPN: Famine (My Bloody Valentine) CM: Dr. Nash (season 3 episode 8)

Fredric Lehne - SPN: Yellow Eyes/Azazel CM: Jack Vaughan (season 3 episode 12)

Scott Michael Campbell - SPN: Tim Janklow (hunter season 5) CM: Peter Redding (season 3 episode 15)

Dee Wallace - SPN: Mildred Baker (Banshee Episode) CM: Dr. Jan Mohikian (season 4 episode 7)

Courtney Ford - SPN: Kelly Kline (Jack’s mother) CM: Austin (season 4 episode 9)

Mark Pellegrino - SPN: Lucifer/Nick CM: Lieutenant Evans (season 4 episode 10)

Mitch Pileggi - SPN: Samuel Campbell CM: Norman Hill (season 4 episode 11)

Sierra McCormick - SPN: Lilith (Blonde Little Girl) CM: Lynn Robillard (season 4 episode 13)

Mercedes McNab - SPN: Lucy (Vampire "Fresh Blood") CM: Brooke Lombardini (season 4 episode 14)

Spencer Garrett - SPN: Edward Carrigan (God ”A Very Supernatural Christmas” CM: (season 4 episode 21)

Christopher Cousins - SPN: Dr. Garrison ("Bedtime Stories") CM: Tom Barton (season 5 episode 1)

Travis Aaron Wade - SPN: Cole Trenton CM: J. Turner (season 5 episode 4)

Gattlin Griffith - SPN: Jesse Turner (Cambion)   CM: Robert Brooks (season 6 episode 9)

Adrianne Palicki - SPN: Jessica Moore CM: Sydney Manning (season 6 episode 13)

Rachel Miner - SPN: Meg Masters (Last vessel) CM: Jane Gould (season 6 episode 15)

Sebastian Roché - SPN: Balthazar CM: Clyde Easter (seasons 6 & 7)

Chad Lindberg - SPN: Ash CM: Tony (season 6 episode 19)

Tricia Helfer - SPN: Molly McNamara (”Roadkill”) CM: Izzy Rogers (season 7)

Robert Englund - SPN: Dr. Robert (season 6 episode 11) CM: Detective Gassner (season 7 episode 19)

Jamie Luner - SPN: Annie Hawkins (hunter season 7) CM: Madison Riley (season 8 episode 13)

Jack Plotnick - SPN: Ian ("It's A Terrible Life") CM: Tanner Johnson (season 9 episode 7)

Jon Gries - SPN: Martin Creaser (crazy hunter) CM: Clifford Walsh (season 9 episode 13)

Tahmoh Penikett - SPN: Gadreel CM: Michael Hastings (season 9 episode 14)

Ashton Holmes - SPN: Ephraim (Rit Zien Angel) CM: Finn Bailey (season 9 episode 17)

Matt Cohen - SPN: Young John Winchester/Michael CM: John Franklin (season 10 episode 6)

Lex Medlin - SPN: Cupid ("My Bloody Valentine") CM: Allen Archer (season 10 episode 14)

Sterling K. Brown - SPN: Gordon Walker CM: Fitz (season 10 episode 19)

[materialsscienceandengineering]

New solvent-based recycling process could cut down on millions of tons of plastic waste

Multilayer plastic materials are ubiquitous in food and medical supply packaging, particularly since layering polymers can give those films specific properties, like heat resistance or oxygen and moisture control. But despite their utility, those ever-present plastics are impossible to recycle using conventional methods.

About 100 million tons of multilayer thermoplastics -- each composed of as many as 12 layers of varying polymers -- are produced globally every year. Forty percent of that total is waste from the manufacturing process itself, and because there has been no way to separate the polymers, almost all of that plastic ends up in landfills or incinerators.

Now, University of Wisconsin-Madison engineers have pioneered a method for reclaiming the polymers in these materials using solvents, a technique they've dubbed Solvent-Targeted Recovery and Precipitation (STRAP) processing. Their proof-of-concept is detailed today (Nov. 20, 2020) in the journal Science Advances.

By using a series of solvent washes guided by thermodynamic calculations of polymer solubility, UW-Madison professors of chemical and biological engineering George Huber and Reid Van Lehn and their students used the STRAP process to separate the polymers in a commercial plastic composed of common layering materials polyethylene, ethylene vinyl alcohol, and polyethylene terephthalate.

Read more.

[chiseler]

The Head -- It Just Won’t Stay Dead

In the early 1960s, the overwhelming majority of European horror films imported to the United States were either British or Italian, the British films being easily understood and the Italian ones frequently pretending to be of British origin. Examples of French horror were rare (odd for a country whose cinema was so rooted in the fantastique), reaching an early apex with Georges Franju’s Eyes Without a Face (1960), which came to the US in a well-done English dub called The Horror Chamber of Dr. Faustus during the Halloween season of 1962.

Seldom paid much attention in retrospectives of this fertile period in continental horror cinema is a rare German example, Die Nackte und der Satan (“The Naked and the Devil,” 1959), which came to the US retitled The Head almost exactly one year before the arrival of the Franju masterpiece. Critics like to refer to The Head as “odd” and “atmospheric,” words that seem to disregard deeper consideration, never really coming to terms with it as anything but a sleazy shock trifle. However, it was in fact the product of a remarkable and rarely equaled concentration of accomplished patrimonies.

Consider this: The Head starred the great Swiss actor Michel Simon, renowned for his roles in Jean Renoir’s La Chienne and Boudu Saved From Drowning; it was directed by the Russian-born Victor Trivas, returning to his adopted homeland for the first time since directing Niemandsland (1932, aka No Man’s Land or Hell On Earth), a potent anti-war statement that was all but obliterated off the face of the earth by the Nazis when he fled the country, and who furthermore had written the story upon which Orson Welles’ The Stranger (1946) was based; it was photographed by Georg Krause, whose numerous international credits include Stanley Kubrick’s Paths of Glory (1957); its sets were designed by Hermann Warm, the genius responsible for such German Expressionist masterpieces as Robert Weine’s The Cabinet of Dr. Caligari (1919), Fritz Lang’s Destiny (1921), as well as Carl Dreyer’s The Passion of Joan of Arc (1928) and Vampyr (1932), and its score is a wild patchwork of library tracks by Willy Mattes, the Erwin Lehn Orchestra, and a group of avant garde musicians known as Lasry-Baschet, who would subsequently lend their eerie, ethereal music to Jean Cocteau’s The Testament of Orpheus (1960). If all this were not enough, The Head was also filmed at the Munich studios of Arnold Richter, the co-founder of the Arri Group, innovators of the famous Arriflex cameras and lenses.  

Though made after the 1957 horror breakthroughs made in Britain and Italy (Terence Fisher’s The Curse of Frankenstein, and I vampiri, co-directed by Riccardo Freda and Mario Bava), The Head represented a virtual revolutionary act in postwar Germany, where horror was then considered a genre to avoid. The project was proposed to Trivas by a young film producer named Wolfgang C. Hartwig, head of Munich’s Rapid-Film, whose claim to fame was initiating a niche of exploitation cinema known as Sittenfilme – literally “moral movies” – which, like many American exploitation films of the 1930s, maintained a higher, judgmental moral tone while telling the stories of people who slipped into lives of vice (prostitution, blackmail, drug addiction), their sordid experiences always leading them to a happy or at least bittersweet outcome. Though it goes quite a bit further than either Britain or Italy had yet gone in terms of sexualizing horror, The Head nevertheless checked all the boxes required for Sittenfilme and was undertaken by Hartwig in early 1959 as Rapid-Film’s most prestigious production to date.

After the main titles are spelled out over an undulating nocturnal fog, the story begins with a lurker’s shadow passing along outside the gated property of Prof. Dr. Abel. With its round head and wide-brimmed hat, it looks like the planet Saturn from the neck up. When this marauder pauses to pay some gentle attention to a passing tortoise, we get our first look at the film’s real star - Horst Frank, just thirty at the time, his clammy asexual aura topped off with prematurely graying hair and large triangular eyebrows that seem carried over from the days of German Expressionism. More bizarre still, he later gives his name as Dr. Ood, whose explanation is still more bizarre: at the age of three months old, he was orphaned, the sole survivor of a cataclysmic shipwreck .

“That was the name of the wrecked ship,” he explains. “S.S. Ood.”

The ambiguous Ood takes cover as another late night visitor comes calling: a hunchbacked woman wearing a nurse’s habit as outsized as an oxygen tent. This is Sister Irene Sanders (the screen debut of Karin Kernke, later seen in the Edgar Wallace krimi The Terrible People, 1960). Though Irene cuts a figure as ambiguous and unusual as any Franju ever filmed, she owes her greatest debt to Jane Adams’ hunchbacked Nina in Erle C. Kenton’s House of Dracula (1945). As with Nina, Irene lives in the hope that her deformity can be eradicated by the skill of a brilliant surgeon.

When Irene leaves after meeting with Dr. Abel, Ood presents himself with the written recommendation of a colleague he previously, supposedly, assisted. A burly old walrus of a man, Abel (Michel Simon) already has two younger associates, Dr. Walter Burke (Kurt Müller-Graf, “a first class surgeon”) and the handsome, muscular Burt Jaeger (Helmut Schmid), who hasn’t been quite the same since an unexplained brain operation. Both associates share a creative streak; Burke is also “an excellent architect, [who] designed this house,” while Jaeger “designed my special operating table; it allows me to work without assistants.” (So why does he have two of them? With names that sound the same, no less!) Given the high caliber of Hermann Warm’s talent as a production designer, Burke and Burt together are every bit as skilled in architecture as was Boris Karloff’s Hjalmar Poelzig in Edgar G. Ulmer’s The Black Cat (1934). The main floor of Abel’s sprawling house is dominated by a vast spiral stairwell, striking low-backed furniture, a mobile of dancing palette shapes, and an overpowering wall reproducing Leonardo da Vinci’s “The Virtuvian Man.” Down in the lab, Burt’s robotic surgical assistant looks as if it might have been conceived by the brain responsible for the Sadean mind control device in Jess Franco’s The Diabolical Dr. Z (1965) - a film that, along with Franco’s earlier The Awful Dr. Orlof (1962), seems considerably more indebted to Trivas on renewed acquaintance than to Franju. The film was shot in black-and-white and at no point inside Abel’s abode do the silvery, ivory surfaces admit even the possibility of pigment.

Adding to its effect, the music heard whenever the film cuts back to Abel’s place is anything but homey. It consists of a single, sustained electric keyboard chord played in a nightmarish loop that seems to chill and vibrate, its predictable arc punctuated now and again with icy spikes of cornet. Though I don’t recall reading any extensive discussion of the film’s music, The Head represents what is surely the most important advance in electronic music in the wake of Louis & Bebe Barron’s work on Forbidden Planet (1956). Though the film’s music credits list bandleader Willy Mattes, Jacques Lasry and the Edwin Lehr Orchestra with its music, the most important musical credit is displaced. Further down the screen is the unexplained “Sound Structure, Lasry-Baschet.”

Lasry-Baschet was a musical combination of two partnerships – that of brothers Francois and Bernard Baschet, and the husband-and-wife team of Jacques and Yvonne Lasry. The two brothers were musicians who played astonishing instruments of their own invention, like the Crystal Baschet (played with moistened fingers on glass rods), the Aluminum Piano, the Inflatable Guitar, the Rotating Whistler, and the Polytonal Percussion. The Lasry couple, originally a pianist and organist, began performing with the Baschets on their unique devices in the mid 1950s. Some of the music they produced during this period is collected on the albums Sonata Exotique (credited to Structures for Sound, covering the years 1957-1959) and Structures For Sound (credited to the Baschet Brothers alone, 1963), a vinyl release by the Museum of Modern Art. These and other recorded works can be found on YouTube, as well; they are deeply moving ambient journeys but I cannot say with certainty that they include any of the music from The Head. That said, the music they do collect is very much in its macabre character and would have also fit very well into Last Year At Marienbad (1961) or any of Franju’s remarkable films.

When Ood meets with Abel and expresses his keen interest in experimental research, the good doctor mentions that he has had success copying “the recent Russian surgery” that succeeded in keeping the severed head of a dog alive – however, his moral code prevents him from taking such experimentation still further. After leaving Abel, Ood finds his way to the Tam-Tam Club, a nightspot where a life-sized placard promotes the nightly performances of “Tam-Tam Super Sex Star Lilly.” This visit initiates a parallel storyline involving Lilly (Christiane Maybach), who supplements her striptease work as an artist’s model, and is the particular muse of the brooding Paul Lerner (Dieter Eppler), a man of only artistic ambition, much to the annoyance of his father, a prominent judge who wants him to study law. Maybach reportedly won her role the day before she began filming. According to news reports of the day, the actress originally cast – the voluptuous redhead Kai Fischer – had signed on to play the part, after which producer Hartwig decided she must also appear nude. Fisher sued Hartwig for breach of contract in March 1959 and he was sentenced to pay out a compensatory fee of DM 4,000 – in currency today, the equivalent of about $35,000. As it happens, Christiane Maybach doesn’t appear nude in the film’s final cut either.    

The English version of The Head opens with a credit sequence played out over a shot of the full moon taken from near the climax of the picture. Unusually, the German Die Nackte und der Satan doesn’t present its title onscreen until Lilly is ready to go on. It’s superimposed with inverted commas on pleated velvet curtains that suddenly rise, revealing a stage adorned by a single suit of armor. Lilly dances out, stage right, garbed in a medieval conical hat, scarves, a bikini and a black mask, performing her dance of the seven veils around the impervious man of metal. She only strips down to her bikini but her dance ends with her in the arms of the armor we assumed empty, which tightly embraces her as its visor pops open, revealing a man’s face wearing skull makeup. Lilly screams, the lights go out, and the house goes wild with applause – a veritable blueprint for the striptease of Estella Blain’s Miss Death in Franco’s The Diabolical Dr. Z (1965).

The music heard during the film’s Tam-Tam Club sequences was recorded by the  Erwin Lehn Orchestra, evidently with Jacques Lasry on piano, though its emphasis on brass is its outstanding characteristic. Erwin Lehn was a German jazz musician and composer who established the first German Big Band Orchestra for South German Radio. Brass was a major component of his sound – indeed, he made pop instrumental recordings credited to The Erwin Lehn Beat-Brass. You can find their album Beat Flames on YouTube, as well.

Backstage, the beautiful Lilly is a nagging brat, drinking and flirting with patrons while berating Paul’s lax ambitions on the side. Dieter Eppler, a frequent player in the Edgar Wallace krimis and also the lead bloodsucker in Roberto Mauri’s Italian Slaughter of the Vampires (1964), makes for inspired casting; he looks like a beefier, if less dynamic Kirk Douglas at a time when Vincente Minnelli’s Lust For Life (1956) would have still been in the minds of audiences.

Once Ood joins the payroll, Dr. Abel confesses that his heart is failing rapidly. The only means of saving himself and perpetuating his brilliant research is by doing the impossible – that is, transplanting the heart from a donor’s body into his own, which he insists is possible given his innovation of “Serum X.” What Abel could not foresee was that his own body would die during the procedure. Ood tells Burke that the only way to save Abel’s genius is to keep his head artificially alive, which his associate rejects uncatagorically, pushing Ood over the edge into murder. Then Ood proceeds with the operation,  working solo with Jaeger’s robo-assistant passing along surgical tools as he needs them. When Abel revives, Ood breaks his news of the procedure gently by holding up a mirror and exclaiming that he’d had “one last chance – to perform the dog operation on your head!” Abel screams in revulsion of what he has become. The conciliatory Ood gently cautions him, “Too much emotion can be extremely dangerous now.”

The severed head apparatus is a simple yet ingenious effect, shot entirely in-camera and credited to Theo Nischwitz. It utilizes what is generally known as a Schufftan shot, a technique made famous by spfx shots achieved by Eugen Schufftan for Fritz Lang’s Metropolis (1926). Essentially, Michel Simon was seated behind a pane of mirrored glass with all the apparatus seen from his neck up. The silvering on the reverse portion of the mirror was scraped away, allowing the camera to see through to Simon and the apparatus while reflecting the apparatus arrayed below his neck, in position for the camera to capture its reflection simultaneously. In at least one promotional photo issued for the film, Simon’s shoulders can be transparently glimpsed where they should not be.

Irene returns to meet with Dr. Abel and is surprised to find new employee Ood now alone and ruling the roost. When he offers to perform her operation himself, she instinctively distrusts and fears him – but is reassured after hearing Abel’s disembodied voice on the house’s sophisticated intercom.

After the killing and burial of Burke, whose body Bert Jaeger later finds thanks to the barking of Dr. Abel’s kenneled hounds (a detail that one imagines inspired Franju’s use of a kennel in Eyes Without a Face), the film introduces the dull but nevertheless compulsory police investigation, headed by Paul Dahlke as Police Commissioner Sturm. Sagging interest is buoyed by a surprise twist: when Dr. Ood returns to the Tam-Tam Club and asks the perpetually pissy Lilly to dance, he refers to her in passing as “Stella,” prompting her to recognize him as “Dr. Brandt” (the scorecard now reads Burke, Bert and Brandt), who has inside knowledge pertaining to her poisoning of her husband! Given that his  earlier writing projects include Orson Welles’ The Stranger and the bizarre Mexican-made Buster Keaton item Boom In the Moon (also 1946), in which an innocent shipwrecked sailor is rescued from his castaway existence only to find himself confused with a serial killer, Victor Trivas would seem partial to characters who live double lives.

Though Ood/Brandt’s aura is basically asexual through the first half of the film, the second half requires him to take an earthier interest in the female bodies finding their way into his hands. He takes the already tipsy Lilly/Stella home for a drink and some mischief.

“What’s in the glass?”

“Drink it and find out.”

“I hope it’s not poisoned.”

“That’s not my specialty, is it?”

Lilly/Stella becomes the necessary auto parts for Irene’s pending operation. In a nicely done montage, the film dissolves from Lilly’s unconscious body to a glint of light off the edge of Ood’s poised scalpel. It cuts to a curt zoom into Abel’s scream at being forced to watch a procedure he abhors, then a dissolve from his mouth to the spinning dials of a wall clock, followed by some time-lapse photography of cumulous clouds unfurling from an open sky, before Irene awakens in her recovery room with a decorative choker around her throat. She is able to gain her feet and covers her nude body in a sheet. She finds Ood lounging in Abel’s old office. He walks toward her as the sheet tumbles off her bare shoulders.

“How do you feel?” he asks.

“Well, I… I’ve a strange kind of feeling, as if my whole body were changed, as if my body didn’t want to do what I wished.”

Therefore, Ood has not only taken away her deformity but her responsibility for her actions, as well. Though she has never smoked before, she craves a cigarette. As Ood lights one for her,  her wrap falls further, undraping her entire bare back and thus exposing a birthmark on her left shoulder blade that becomes an important plot point. Ood confesses she’s been unconscious for 117 days, during which time he has passed the time by performing numerous enhancing procedures on her inert body. When he compliments her superb figure, she self-consciously covers her legs and recoils from him.

“Why run from everything you desire?” he asks. “You can’t run from yourself.”

He draws Irene into a surprising deep kiss, which – to her own apparent horror - she returns. Ood then tries to take things further but she refuses. After a brief (and surprisingly curtailed) attempt at abduction, he releases Irene, who dresses in a black cocktail dress and heels left behind by Lilly and returns to the humble apartment she kept in her previous life, where a full-length mirror stands covered. In a scene considerably shortened by the US version, she rips the cover away in a movement evocative of a symbolic self-rape, and glories in her new reflection.  The score turns torrid, brassy, and trashy as she admires her shapely terrain, fondling the curves of her breasts and hips in a prelude to a gratifying personal striptease. She then goes to her bed, where she tries on an old pair of slippers; she laughs and kicks them away, delighted at how small her feet now are. When she wakes the next morning, she finds a pamphlet for the Tam-Tam Club in Lilly’s old purse, which leads her body back to its former place of employ. When she arrives, another striptease artist is working onstage with a bed. This performance appears to burlesque Irene’s own motions from the night before; she kicks off one of her shoes as Irene had done.  

From the moment she walks into the club, still wearing Lilly’s clinging black dress, Irene evokes a black widow, a kind of Alraune – the femme fatale of Hanns Heinz Ewers’ novel, filmed in 1930 with Brigitte Helm and in 1952 by Hildegarde Knef. Like Alraune, she’s the beautiful creation of a mad scientist’s laboratory, but unnatural. In this case, she’s not really a soulless artificial being out to destroy men; on the contrary, she is soulful, starving for some insight into who she is, what she is. In this way, she particularly foreshadows Christina, the schizophrenic subject of Baron Frankenstein’s “soul transplant” played by Susan Denberg in Terence Fisher’s Frankenstein Created Woman (1966).

She quickly attracts Paul’s artist’s eye, just as the now-topless dancer onstage swirls into a swoon on a prop bed – unconsciously mimicking Lilly at the only time she ever saw her, when Ood gave her a sneak peek at the unconscious woman on his living room couch. She asks about Lilly, whom Paul mentions has been dead now for three months, her body (in fact, Irene’s former body) found maimed beyond recognition on some railroad tracks. He asks her to dance, but Irene refuses, as she has never danced, never been asked to dance before. But he insists and they both discover that she can: “You must be a born dancer!”

Beautiful and irresponsible, she allows herself to follow Paul back to his studio, where drawings of Lilly are displayed. Paul asks to draw her, and when she turns her back to bare her shoulders, he recognizes Lilly’s beauty mark. She flees from the apartment and confronts the unflappable Ood.

“You must have grafted her skin on my body!”

In the movie’s most hilarious line, he fires back, “You have a poor imagination!”

She rejects his true account of the procedure and demands to see Dr. Abel, so Ood takes her down to the lab for a personal confirmation from the man himself. Ashamed to be seen this way, Abel pleads with Irene to disconnect him from the apparatus. She is driven away before she can accomplish this, and tries to shut away the horror of the truth that’s been revealed by losing herself in her new relationship with Paul – but the old question arises: Does he love her for her body or her mind? There seems to be one answer when he first kisses her, and another and his lips venture further down her front.  

I should leave some things to be discovered by your own viewing of the film, but it demands to be mentioned that Irene – the triumphant climax of Ood’s genius, so to speak – actually survives at the end of the film to live happily ever after. Think about this. This is something that would have been considered unacceptable in any of Hammer’s Frankenstein films at the time – indeed, through the following decade. So, although Ood is ultimately destroyed (you’ll need to see it to find out how), the mad science he propounds is actually borne out. It’s left up to Paul and Irene, as they walk off together toward a new tomorrow, how they will manage to live with the fact that the two of them are in fact a ménage à trois. Will they keep the details of her existence a secret? Will medical science remain ignorant? Should they ever have any, what will they tell their kids?  

The Head was hardly the first word on severed heads in horror entertainment. In his own admiring coverage of the film, Euro Gothic author Jonathan Rigby likens the film to the story of Rene Berton’s 1928 Grand Guignol play L’Homme qui à tue la mort (“The Man Who Killed Death”): “There, Professor Fargus revived the guillotined head of a supposed murderer and the prosecutor lost his mind when the head continued to plead his innocence.” Earlier such films would include Universal’s Inner Sanctum thriller Strange Confession (1945, in which a never-seen severed head is a main plot point), The Man Without a Body (1957) and The Thing That Couldn’t Die (1958), the latter two proving that the concept was actually trending at the time The Head was made. Also parenthetically relevant would be She Demons (1958), which involves the nasty experiments of a renegade Nazi scientist living on an uncharted tropical island, who removes the “beauty glands” of native girls to periodically restore his wife’s good looks. Though The Head wasn’t the first of its kind, many of the traits it introduced would surface in similar films that followed – not only in Franju’s Eyes Without A Face or Franco’s The Awful Dr. Orlof and The Diabolical Dr. Z, but also in Anton Giulio Majano’s Italian Atom Age Vampire (1960), Chano Urueta’s The Living Head (1963), and most conspicuously in Joseph Green’s The Brain That Wouldn’t Die, not released until 1962 though filmed in 1959, some six months after The Head.

It must be mentioned that the film’s unusual quality did not go unrecognized by its American distributor. Trans-Lux Distributing Corporation advertised the film that took a most unusual approach to selling a horror picture. The ads did not promise blood, or that your companion would jump into your lap, or shock after shock after shock. Instead, Trans-Lux promised that “At The Head of All Masterpieces of Horror [my italics] That You’ve Ever Seen… You Must Place… The Head.”

Of course it was an overstatement, but the size of its overstatement would seem to have narrowed appreciably with time.

So why has The Head, with its rich pooling of so much European talent, been so neglected?

A key reason may be that horror fans like their actors and directors to maintain a certain consistency, a certain fidelity to the genre. Horst Frank (who died in 1999) would appear in other horror films, but never again played a lead; he pursued his career as a character actor and singer, maintaining a career on the stage and keeping close to home, never making films off the continent or appearing in productions originating from England or America. After The Head, Victor Trivas made no more horror films. The other four features he made had been produced a quarter century earlier and the majority are impossible to see in English countries. Those who remembered him for Niemandsland would have considered The Head an embarrassment, an unfortunate last act. It wasn’t quite a last act, however. The following year, he returned to America, where he sold his final script to the Warner Bros. television series The Roaring 20s, starring Dorothy Provine. Though the show avoided fantasy subjects, it was a voodoo-themed episode entitled “The Fifth Pin,” directed by Robert Spaar and televised during the series’ first season on April 8, 1961. The guest stars included John Dehner, Rex Reason, Patricia O’Neal and, surprisingly, beloved Roger Corman repertory player Dick Miller. Trivas died in New York City in 1970, at the age of 73.

The English version of The Head is considered to be a public domain title and has been available from Alpha Video, Sinister Cinema and other PD sources. This version was modestly recut to create a new main title sequence and to remove certain erotic elements unwelcome to its target audience in 1961. Happily, a hybrid edition – which, in a fitting fate, grafts the English dub onto the original uncut version from Germany – was recently made available for viewing on YouTube.

In the immediate wake of The Head, producer Wolf C. Hartwig pushed another erotic horror film into production, Ein Töter hing in Netz (“A Corpse Hangs in the Web,” 1960). Scripted and directed by Fritz Böttger, the film (Böttger’s last as a director) was first released in America as It’s Hot In Paradise (1962), sold as a girlie picture with absolutely no indication of its horror content. It was later reissued in 1965 as Horrors of Spider Island (1965). Under any of its titles, the film is notably lacking all of the artistic and aesthetic pedigree that made its predecessor so special and, indeed, influential.

Sixty years further on, The Head warrants fuller recognition as a spearhead of that magic moment on the threshold of the 1960s when so-called “art cinema” began to be fused with so-called “trash cinema,” leading to a broader, wilder, more adult fantastique.  

by Tim Lucas

[1] Victor Trivas’ Niemandsland may be viewed online at https://www.youtube.com/watch?v=S-4XhNMWoyw

[2] Rapid-Film’s later successes would include the German film that was subsequently converted into Francis Ford Coppola’s directorial debut (The Bellboy and the Playgirls, 1962), Ernst Hofbauer’s Schoolgirl Report film series (1970-80), and Sam Peckinpah’s Cross of Iron (1977).

[3] You can see Lasry-Baschet perform and be interviewed in a French newsreel from January 1961 on YouTube: https://www.youtube.com/watch?v=awaFd6gArLg&t=46s.

[4] Well, as “recent” as 1940, when footage of a supposedly successful Soviet resuscitation of a dog’s severed head was included in the grisly 20m documentary Experiments In the Revival of Organisms. The operation was performed (and repeated) by Doctors Sergei Brukhonenko and Boris Levinskovsky, making use of their “autojektor,” an artificial heart/lung machine not unlike the contraption seen in The Head. A close look at Experiments reveals that it really shows nothing that could not have been faked through means of special effects. (When George Bernard Shaw learned of the Soviet experiment, he’s said to have remarked, “"I am tempted to have my own head cut off so that I can continue to dictate plays and books without being bothered by illness, without having to dress and undress, without having to eat, without having anything else to do other than to produce masterpieces of dramatic art and literature.") Experiments In The Revival of Organisms has been uploaded to YouTube: https://www.youtube.com/watch?v=ap1co5ZZHYE.

[5] Rigby, Jonathan. Euro Horror: Classics of Continental Horror Cinema (London: Signum Books, 2017), p. 79.

[6] Joseph Green also worked in motion picture distribution and later formed Joseph Green Pictures, which specialized in spicy imported pictures, some from Germany. It’s possible that he saw the Trivas picture when it was still seeking distribution in the States. When Ostalgica Film released The Head on DVD in Germany under its Belgian reissue title Des Satans nackte Sklavin (“The Devil’s Naked Slave”), the disc included The Brain That Wouldn’t Die as a bonus co-feature.

[7] A fine quality homemade experiment, it runs 91 minutes 47 seconds and can be found at: The Head (Die Nackte und der Satan) 1959 Sci-Fi / Horror HQ version!.

[anarquismoenpdf]

Arthur Lehning (ed.) - Conversaciones con Bakunin

En esta obra, el eminente historiador Arthur Lehning, el máximo especialista de Bakunin y compilador de sus obras completas, Archives Bakounine, nos ofrece unos materiales inapreciables para la comprensión de la vida y obra de Bakunin. De forma similar  las extraordinarias Conversaciones con Marx y Engels de Hans Magnus Enzensberger (publicadas también en esta colección), Lehning reúne una serie de textos —cartas, artículos, memorias, documentos, informes de la policía, etc.— relacionados con la persona de Bakunin. Estos textos, muchos de ellos inéditos hasta ahora en castellano, están escritos por contemporáneos suyos —Herzen, Turgenev, Engels, Ruge, Weitling, George Sand, Wagner, Proudhon, Michelet, Marx, Malatesta, Kropotkin, etc.— a los que se agregan algunos significativos textos en los que Bakunin habla de sí mismo. Nos hallamos, pues, ante un libro indispensable tanto para la biografía de Bakunin como para el análisis de su imagen histórica o incluso de la leyenda tejida en torno suyo.

Nota de AEP: Hemos intentado mejorar un escaneo previo para aligerar el peso del archivo y añadir el OCR, pero el resultado no es muy bueno. Hemos añadido, eso sí, la portada y contraportada a buena resolución. Enlace [PDF]: Arthur Lehining (ed.) - Conversaciones con Bakunin

[jazzzzaj]

070220 JazzaJ / Diffraction (US/H): Cox Cremaschi Shelton Miklós

DIFFRACTION: Krisztofer Cox - pozan, trombita (piccolo), fafurulyák, zurna George Cremaschi - nagybőgő, elektronika Aram Shelton - szaxofon Miklós Szilveszter - dobok „Amikor belátjuk, hogy a Föld többé már sosem lesz olyan, amilyennek ismerjük – az felszabadító érzés is lehet. Ugyanakkor elfog bennünket egy egzisztenciális rettegés. Olyan zenei nyelvet keresünk, amely úgy képes ötvözni ezt a két állapotot, hogy ezáltal megtestesíti azt, ami a „jazz” valójában: a lázadást a modern civilizáció narratíváival szemben.” – K. Cox belépő: 2000.- _________________________________________________________ DIFFRACTION: Krisztofer Cox - trombone, pocket trumpet, wooden flutes, zurna George Cremaschi - double bass, electronics Aram Shelton - saxophone Miklós Szilveszter - drums „When we learn that there is no turning back, that the Earth as we know it will never be the same, a kind of freedom arises, a composting of ideas happens. Also, there is an existential dread. We will seek to play music that accompanies and interwines both of those emotions, and in doing so, will embody what the meaning of „jazz” really is: to rebel against the master narratives of modern civilization.” – K. Cox Krisztofer Cox: A trombone player who has always defied easy categorization, but has always identified as a jazz musician, even though he would rather die than play another rendition of ’All the Things you Are’. He’s played with an exhaustingly diverse array of musicians spanning creative improvised music, blues, swing and even hip-hop. During his formative years, he was an active participant in the San Francisco Bay Area creative music scene, including performances with internationally known stalwarts like Glenn Spearman, Marco Eneidi, Michael Ray and Cecil Taylor. Ha has accompanied the Merce Cunningham Dance Company and poets Amiri Baraka, E.G. Bailey and J. Otis Powell. Now he lives full-time in Budapest. This project marks his return to the world of creative improvised music after a long absence. George Cremaschi: Cremaschi works with a variety of approaches and strategies in the areas overlapping music, sound art and noise. In thirty years as a composer and performer ha has a long and diverse history of working with musicians, filmmakers, dancers and choreographers, visual artists and writers. As an improviser he has worked with many people including Liz Allbee, Mats Gustafsson, Marshall Allen, Han Bennink, Greg Goodman, Joelle Leandre, Thomas Lehn, Paul Lovens, Louis Moholo, Butch Morris, Evan Parker, the Rova Quartet and Cecil Taylor. entry: 2000.-

[uneminuteparseconde]

Des concerts à Paris et alentour en gras : les derniers ajouts :-: in bold: the last news 2020 Janvier 11. Last Night + Euromilliard + Kumusta – Gibus 11. Le Villejuif Underground + Bryan's Magic Tears + Solal Roubine – La Maroquinerie 11. ANDCL + Bare-TT + SQ17O – DOC 11. Sean Canty + Myako + Sainte Rita + Berenice's Hair – Le Klub 12. Deltanik + Romaric Sobac + Kutafon + Wapaii + Clap 42 + Class of 69 + Chouki (dj) + Désiré B & A friend + Leandro Barzabal  – Les Nautes 13. Vincent Segal – Pan Piper 14. Lispector + Ventre de biche + La Punta Bianca – Point FMR 15. Xavier Garcia & Lionel Marchetti + Les Hôpitaux + Das Os + Minifer – Les Nautes 16. Dolores + NW "RiR1009" + Somaticae + Les Conférences bunker – Les Nautes 16. Black Midi – Le Carreau du Temple ||ANNULÉ|| 17. Scratch Massive + Lokier + Cassie Raptor + Faast + Kiddo – Badaboum 17. Dafne Vicente-Sandoval + Ji Youn Kang + Thomas Lehn : « Occam VI » d’Éliane Radigue + Tiziana Bertoncini, Antonin Gerbal, David Grubbs, Ji Youn Kang, Thomas Lehn, eRikm & Dafne Vicente-Sandoval : « Et tournent les sons dans la garrigue » de Luc Ferrari – Le 104 17. Pleasure Principle + Techno Thriller + It's Sunday + Armand Bultheel + Bernardino Femminielli (dj) – La Station 17. Warum Joe + Rikkha + The Flug – Le Cirque électrique 17. Lee Fraser + Forces + Renaud Bajeux + Kazehito Seki – Espace B 17. Club Sieste + Louvet & Schultz + Chicaloyoh – Instants chavirés (Montreuil) 17. Edith Nylon – Petit Bain ||COMPLET|| 18. Bracco + Portron Portron Lopez – La Lingerie|Les Grands Voisins (gratuit) 18. Laurent Pernice : accompagnement musical de la lecture d’Alain Damasio – Médiathèque Françoise-Sagan (gratuit sur résa) 18. Lee Ranaldo & Raül Refree – Le 104 18. Cluster Lizard + Monolog (Mads Lindgren) + Blakk Harbor – Espace B 18. Bagarre + Pauline (Fils de Vénus) (dj) + De Vedelly (dj) + Cheetah (dj) + Leslie Barbara Butch (dj) – Le Klub 18. Franck Vigroux : "Flesh" (Biennale Nemo) – Maison des arts et de la culture (Créteil) 18. Samuel Kerridge + CRAVE + Pratos – Petit Bain 18. VSK & Michal Jablonski + Scalameryia + Neri J + NN + Paul Mørk + Heart Peaks – tba 18. Wallis + Sina XX + Foltz + Marum (dj) + Herr Mike (dj) + F/cken Chipotle + Front de crypte – La Station 18. The Horrorist + Alienata + Thomas Delecroix + Ekors + Opäk + Tomar – Dehors brut 19. The Pleasure Principle – Carmen 22. Dick Voodoo + Bile – L’International 22. Eloise Decazes et Eric Chenaux jouent "La Bride" + Pauline Drand +Nick Wheeldon (fest. Au fond de l’hiver) – Espace B 23. Common Holly + Raoul Vignal Music + Viktor's Joy (fest. Au fond de l’hiver) – Espace B 23. The Pharcyde – Petit Bain 23. Lansiné Kouyate & David Neerman (fest. MOFO) – tbc (Saint-Ouen) 23. Phase fatale + Justine Perry + Munsiger – Rex Club 24. De Ambassade – (La Machine a 10 ans) – La Machine (gratuit) 24. Richard Dawson + Eric Chenaux (fest. Au fond de l’hiver) – Petit Bain 24. Penguin Cafe + Lubomyr Melnyk + Peter Broderick + Anne Müller + Hatis Noit + Janus Rasmussen – La Gaîté lyrique 24. Kode9 + Teki Latex + Cem + Barker + Crystallmess + Carin Kelly b2b Bob Sleigh + Christian Coiffure (La Machine a 10 ans) – La Machine 24. Balladur + Dr Drone + Ellah a. Thaun + Humbros + Karel + Marble Arch (fest. MOFO) – Le Sultan (Saint-Ouen) 25. Tamagawa + Drone à clochettes – À la ville d'Épinal 25. Litovsk + Litige + Catisfaction + Turquoise – Espace B 25. DJ Marcelle + Stellar OM Source + Ploy + Clara! Y Maoupa + Black Zone Myth Chant + Theo Muller + Promesses + Gista (La Machine a 10 ans) – La Machine 25. Apollo Noir + Cesar Palace + Discovery Zone + Fiesta En El Vacio + Hyperculte + Lyra Valenza + Sacrifice seul + Tarek X + Tropical Horses (fest. MOFO) – La Station 25. Airod + Ki/Ki + Kobosil + Parfait + Shlømo – tba 25. I Hate Models – T7 26. The Fat (cinéconcert pour enfants) – La Gaîté lyrique 26. Beak> + Vox Low + Abschaum + Maria Violenza (La Machine a 10 ans) – La Machine 29. Rendez-Vous + The KVB – La Cigale 30. Editors – Salle Pleyel 31. Tindersticks – Salle Pleyel 31. It It Anita + Mss Frnce + Flowers + Angle mort et clignotant + Casse Gueule + La Jungle – Petit Bain 31. Mhysa + Teto Preto + Lavascar (fest. Closer Music) – Lafayette Anticipations 31. L’autopsie a révélé que la mort était due à l’autopsie + Peür + Solitude Club – Instants chavirés (Montreuil) 31. Courtesy + Anetha + Corbeille Dallas – Rex Club Février 01. Tom of England & Bobbie Marie + Nicolas Godin (fest. Closer Music) – Lafayette Anticipations 01. Noir Boy George + OKO DJ b2b Nosedrip + As Longitude + Christophe Clébard + Laura Palmer + Weird Dust + Boochie (Listen fest.) – La Station 01. Badbad + Toro/Azor – Café de Paris 01. Jean-Louis Costes – Jardin Denfert 02. Sunn o))) – La Gaîté lyrique 02. Alessandro Cortini + Not Waving + Dark Mark + Jean-Luc (fest. Closer Music) – Lafayette Anticipations 06. Rouge Gorge + Arne Vinzon – Petit Bain 06. Rakta + Disorientations – Supersonic (gratuit) 06. Mnemotechnic + Radiant + Rvptvres – Le Cirque électrique 06. Nahawa Doumbia – Instants chavirés (Montreuil) 07. Andy Moor – Chair de poule 07. Choolers Division + Devil's Cum + Bothlane – Le Cirque électrique 08. Infecticide + Mr Marcaille + Luci + Adolf Hibou – La Lingerie|Les Grands Voisins (gratuit) 08. Hots Pants :  The Songs of Rowland S. Howard – La Maroquinerie 08. Richard Dawson + Eric Chenaux – Petit Bain 08. Emily Jane White + Floh – Les Cuizines (Chelles) 09. Explosions in the Sky – La Cigale 10. The Murder Capital – Café de la danse 10. ...And You Will Know Us By The Trail Of Dead – Petit Bain 11. Moor Mother + NSDOS + Badbad (fest. How To Love) – Petit Bain 12. Tristesse Contemporaine + Nova Materia + ToutEstBeau (fest. How To Love) – Petit Bain 13. Mondkopf + Rafael Anton Irisarri + Tomaga + Tern (fest. How To Love) – Petit Bain 13. Ride – Le Trianon 14. Fils de Vénus + TSHA + dj Vegyn + MegaWax + Pauline Forte (fest. How To Love) – Petit Bain 15. The Raincoat – Centre Pompidou 15. Drive with a Dead Girl + Nursery + Shrouded and the Dinner – Instants chavirés (Montreuil) 16. Ropoporose : cinéconcert sur “ Dark Star” de John Carpenter (fest. How To Love) – Petit Bain 16. Orchestral Manoeuvre in the Dark – La Cigale 18. Biliana Voutchkova + Judith Hamann – Instants chavirés (Montreuil) 21. Pop. 1280 + Dune Messiah + Private Word – Supersonic (gratuit) 21. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain : "Détroit" + Molécule – Le 104 21. TG Gondard + Belmont Witch – Café de Paris 21. Eszaid + Magda Drozd + Delmore FX (fest. Oto Nove Swiss) – Instants chavirés (Montreuil) 22. Tomoko Sauvage + Julie Semoroz (fest. Oto Nove Swiss) – Centre culturel suisse 22. Cent Ans de Solitude & Flint Glass : cinéconcert sur “Sprengbagger 1010” de Carl Ludwig Achaz-Duisberg – Club de l’Étoile 22. Low Jack b2b King Doudou + Ｓ Ｓ Ｓ Ｓ + StaStava  + Laura Not (fest. Oto Nove Swiss) – Petit Bain 23. Félicia Atkinson + Tujiko Noriko + Manuel Troller (fest. Oto Nove Swiss) – Lafayette Anticipations 24. Sleater Kinney – Le Trianon 24. The Legendary Pink Dots + Mellano Soyoc – Petit Bain 27. Zombie Zombie + Kreidler – Petit Bain 27. Deeat Palace + Elek Ember + Philémon – Instants chavirés (Montreuil) 29. SPFDJ b2b VTSS + Dax J + Hadone + Stranger – tba Mars 02. DIIV – La Gaîté lyrique ||COMPLET|| 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound – La Machine 03/04. The Mission – Petit Bain 05. Dorian Pimpernel + Mooon – Supersonic (gratuit) 05. Orange Blossom : “Sharing” avec les machines de François Delarozière – Élysée Montmartre 05. King Dude – La Boule noire 06. Frustration – Le Trianon 06. Electric Fire + Fantazio et les Turbulents (Sonic Protest) – Les Voûtes 07. L’atelier d’éveil musical du centre social Raymond-Poulidor + Foudre rockeur (Sonic Protest) – Les Voûtes 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie 07. Alcest + Birds In Row + Kælan Mikla – La Machine 10. Tempers – Supersonic (gratuit) 10. Jerusalem in my Heart + Méryll Ampe et les élèves de l’Ensapc + Lucrétia Dalt (Sonic Protest) – La Dynamo (Pantin) 10. Arnaud Rebotini : live pour “Fix Me” d’Alban Richard – Centre des Arts (Enghien-les-Bains) 11. Nada Surf – La Cigale 11. Mopcut + F-Space + We Use Cookies + Astra Zenecan (Sonic Protest) – La Station 12 Thomas Bégin + JD Zazie (Sonic Protest) – La Muse en circuit (Alfortville) 13. Russian Circle + Torche – Bataclan 13. Emptyset + Hair Stylistics + Méryll Ampe (Sonic Protest) – L’Échangeur (Bagnolet) 14. Why The Eye + WAqWAq Kingdom + Maria Violenza + Fleuves noirs + Jean-Marc Foussat + Julia Hanadi Al Abed + Pierre Gordeeff (Sonic Protest) – L’Échangeur (Bagnolet) 16. Hällas + La Secte du Futur + Meurtrières – La Maroquinerie 17. Chelsea Wolf – La Gaîté lyrique 18. Pelada – Petit Bain 18. Lee Scratch Perry & Adrian Sherwood + 2Decks + Zaraz Wam Zagram (Sonic Protest) – Église Saint-Merry 19. HP (Haswell & Powell) + Inga Huld Hakonadrottir & Yann Legay + Asmus Tietchens + Regreb “2 Cymbals” (Sonic Protest) – Église Saint-Merry 20. Ensemble Dedalus : "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie 20. Bleib Modern + Order 89 + Blind Delon + IV Horsemen + Paulie Jan + Codex Empire + Opale + Panzer + DJ Varsovie (fest. des souvenirs brisés) – Petit Bain 20. Senyawa + Bonne humeur provisoire + Black Trumpets (Sonic Protest) – La Marbrerie (Montreuil) 21. Mind/Matter + Die Orangen + Mitra Mitra + Qual + Rendered + Verset Zero + Years of Denial (fest. des souvenirs brisés) – Petit Bain 21. Front 242 + She Past Away – Élysée Montmartre 21. Container + Muqata’a + OD Bongo + Diatribes & Horns + Jealousy Party + Urge + Wirklich Pipit + Me Donner + Cancelled + FLF + 2Mo (Sonic Protest) – Le Générateur (Gentilly) 21. GZA – La Marbrerie (Montreuil) 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie 22. Mike Cooper + Yann Legay + Will Guthrie & Ensemble Nist-Nah + Cheb Gero (Sonic Protest) – théâtre Berthelot (Montreuil) 24. Skemer + IV Horsemen + Silly Joy – Supersonic (gratuit) 24. Joe Gideon – Espace B 27. Lebanon Hanover – La Gaîté lyrique 27. Baston – L’International 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. Présences électronique) – Studio 104|Maison de la Radio 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. Présences électronique) – Studio 104|Maison de la Radio 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. Présences électronique) – Studio 104|Maison de la Radio Avril 03. CocoRosie – Le Trianon 04. Ash Code – Espace B 09. Will Samson + Northwest + Lyson Leclercq – Le vent se lève 09. The Chap + Rubin Steiner Live Band – Badaboum 14>17. Metronomy – La Cigale 18. Siglo XX – La Boule noire 23. Volkor X + ToutEstBeau + Aphélie – Supersonic (gratuit) 23. Health – Petit Bain 26. Pharmakon + Deeat Palace + Unas – Petit Bain 27. Caribou – L’Olympia 27. The Foals + The Murder Capital – Zénith Mai 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) – Le 104 10. Iannis Xenakis : « La Légende d’Eer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) – Le 104 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie 19. Swans + Norman Westberg – Le Trabendo 22. François Bayle : « Le Projet Ouïr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) – Studio 104|Maison de la Radio 23. Julien Négrier + Hans Tutschku : « Provenance-émergence » + Félicia Atkinson : « For Georgia O’Keefe » + Warren Burt + Michèle Bokanowski (fest. Akousma) – Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves Macé : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumière » (fest. Akousma) – Studio 104|Maison de la Radio 23. Damon Albarn – Salle Pierre Boulez|Philharmonie 24. Damon Albarn – Salle Pierre Boulez|Philharmonie ||COMPLET|| 26. Minimal Compact – La Machine 30/31. Paula Temple + Dave Clarke + Ben Klock + Len Faki + 999999999 + VTSS b2b Shlomo + DVS1 + François X… (Marvellous Island) – île de loisirs de Vaires-Torcy  Juin 03. Bambara – Espace B 06/07. Four Tet + Nils Frahm + Park Hie Jin + Modeselektor… (fest. We Love Green) – Bois de Vincennes 14. Nick Cave & The Bad Seeds – Bercy Arena 18. Acid Mothers Temple – Espace B

[dermontag]

"Köln betrifft uns alle" Fall Woelki macht Bischöfe sprachlos 10.03.2022, 18:23 Uhr Wie es mit dem umstrittenen Kölner Kardinal Woelki weitergeht, darauf weiß auch die Bischofskonferenz keine Antwort. Die Zweifel, ob eine Rehabilitierung in seinem Erzbistum gelingen kann, sind groß. Mit Blick auf den Ukraine-Krieg sprechen sich die deutschen Bischöfe für Waffenlieferungen aus. Nach der Rückkehr des umstrittenen Kardinals Rainer Maria Woelki ins Amt des Kölner Erzbischofs hat der Vorsitzende der katholischen Deutschen Bischofskonferenz, Georg Bätzing, eine Sprachlosigkeit der Bischofskonferenz angesichts der Lage in der größten deutschen Diözese eingeräumt. Ob die Rückkehr Woelkis gut gehe oder nicht, werde Auswirkungen auf die gesamte katholische Kirche in Deutschland haben, sagte der Limburger Bischof zum Abschluss der Frühjahrsvollversammlung der Bischöfe im Kloster Vierzehnheiligen in Bad Staffelstein. "Köln betrifft uns alle." Bätzing warb dafür, Woelki eine Chance zu geben. Gleichzeitig räumte er ein, dass es nicht einfach sein werde, noch "Brücken der Versöhnung" zu bauen. "Das ist jetzt eine erhebliche Aufgabe." Ob diese gelinge, hänge nicht zuletzt davon ab, mit welcher inneren Haltung der Kardinal auf die Gremien seines Erzbistums zugehe. Woelki war an Aschermittwoch aus einer seit Oktober andauernden Auszeit zurückgekehrt. In diese hatte er sich nach anhaltender Kritik an seiner Kommunikation und seinem Umgang mit dem Missbrauchsskandal im Erzbistum Köln begeben. Wie mittlerweile bekannt ist, bot Woelki Papst Franziskus während der Auszeit seinen Amtsverzicht an. Der Papst muss noch darüber entscheiden. "Papst würde sofort nach Moskau aufbrechen" Großes Thema der Bischofskonferenz war zudem der russische Angriff auf die Ukraine. Nach Einschätzung des Vorsitzenden Bätzing wäre Papst Franziskus sofort zu einer Friedensmission in Russland bereit. "Der Papst würde sofort nach Moskau aufbrechen", sagte er. Allerdings lehne die russisch-orthodoxe Kirche seit über 30 Jahren einen Besuch des Papsts ab. Es gebe hier wirkliche Barrieren, "die auch innerökumenisch belastend sind". Mehr zum Thema Die Bischöfe verabschiedeten eine Erklärung mit dem Titel "Der Aggression widerstehen, den Frieden gewinnen, die Opfer unterstützen". Darin rufen sie auch den Patriarchen Kirill dazu auf, sich "eindeutig" vom Krieg zu distanzieren. "Die Welt braucht das gemeinsame Zeugnis der Kirchen gerade in Zeiten der Not und der Verwerfungen - dies sind auch Zeiten der Entscheidung", sagte Bätzing mit Blick auf den Patriarchen, der jüngst ukrainische Soldaten "Kräfte des Bösen" genannt hatte. In der Erklärung sprach sich die Bischofskonferenz auch für Waffenlieferungen unter klar definierten Bedingungen an die Ukraine aus. Rüstungslieferungen, die dazu dienten, dass das angegriffene Land sein völkerrechtlich verbrieftes und auch von der kirchlichen Friedensethik bejahtes Recht auf Selbstverteidigung wahrnehmen könne, seien nach Auffassung der Bischöfe grundsätzlich legitim. "Es ist denjenigen, die die Entscheidung zu treffen haben, aber aufgetragen, präzise zu bedenken, was sie damit aus- und möglicherweise auch anrichten", hieß es. Dies gelte gleichermaßen für die Befürworter wie für die Gegner von Waffenlieferungen.

[jorgec1972]

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