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tatort 58: kurzschluĂ, wolfgang petersen 1975
fox searchlight pictures, 20th century fox
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Bibliography for FAQ
Anarchist and Libertarian Works
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Chomsky, Noam, Chronicles of Dissent: Interviews with David Barsamian, Common Courage and AK Press, Monroe, 1992.
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Christie, Stuart, We, the Anarchists! A Study of the Iberian Anarchist Federation (FAI) 1927â1927, The Meltzer Press and Jura Media, Hastings/Petersham, 2000.
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Christie, Stuart and Meltzer, Albert, The Floodgates of Anarchy, Kahn & Averill, Southampton, 1984.
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Clark, John, The Anarchist Moment: Reflections on Culture, Nature and Power, Black Rose Books, Montreal, 1984.
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Crump, John, Hatta Shuzo and Pure Anarchism in Interwar Japan, St. Martinâs Press, Inc., New York, 1993.
Dana, Charles A., Proudhon and his âBank of the Peopleâ, Charles H. Kerr Publishing Co., Chicago, 1984.
de Cleyre, Voltairine, The Voltairine de Cleyre Reader, A.J. Brigati (ed.), AK Press, Oakland/Edinburgh, 2004.
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Fabbri, Luigi, Bourgeois Influences on Anarchism, Acrata Press, San Francisco, 1987.
âAnarchy and âScientificâ Communismâ, in The Poverty of Statism, pp. 13â49, Albert Meltzer (ed.), Cienfuegos Press, Sanday, 1981.
Fernandez, Frank, Cuban Anarchism: The History of a Movement, See Sharp Press, Tucson, 2001.
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Levy, Carl, Gramsci and the Anarchists, Berg, Oxford, 1999.
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Makhno, Nestor, Ida Mett, Piotr Archinov, Valevsky, Linsky, The Organisational Platform of the Libertarian Communists, Workers Solidarity Movement, Dublin, 1989.
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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, 1827â1908, Ralph Myles Publisher Inc., Colorado Springs, 1970.
Marshall, Peter, Demanding the Impossible: A History of Anarchism, Fontana, London, 1993.
Natureâs 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.
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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 Workersâ Control, Freedom Press, London, 1997.
Pannekeok, Anton, Workersâ 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, 1878â1937, 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 Womanâs 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. Proudhonâs 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 FĂ©dĂ©ratif et de la NĂ©cessitĂ© De Reconstituerle Parti de la RĂ©volution, 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 1945â1950, Freedom Press, London, 1989.
Spain 1936â39 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 â Cold War: Selections from the Anarchist Journals War Commentary and Freedom, 1939â1950, Freedom Press, London, 1989. The Left and World War II: Selections from the Anarchist Journal War Commentary 1939â1943, 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, âLibertarianism: Bogus Anarchyâ, Anarchy: A Journal of Desire Armed, no. 41, Fall/Winter 1994â5
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 Workersâ Councils in Britain, 1917â45, Palgrave Macmillan, Basingstoke, 1988.
Sitrin, Marina (ed.), Horizontalism: Voices of Popular Power in Argentina, AK Press, Oakland/Edinburgh, 2006.
Skirda, Alexandre, Nestor Makhno Anarchyâs Cossack: The struggle for freesoviets in the Ukraine 1917â1921, AK Press,Edinburgh/Oakland, 2004
Facing the Enemy: A History of Anarchist Organisation from Proudhon to May 1968, AK Press, Edinburgh/Oakland, 2002. âThe Rehabilitation of Makhnoâ, The Raven: Anarchist Quarterly, no. 8 (Vol. 2, No. 4), Oct. 1989, Freedom Press, pp. 338â352
Smart, D.A. (ed.), Pannekoek and Gorterâs 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, âStaying on the Streets,â 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 âdownturnâ in a âdash for growthâ 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 âWhy I am an Anarchistâ, pp. 132â136, Man!, M. Graham (ed.), Cienfuegos Press, London, 1974.
Unofficial Reform Committee, The Minerâs 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: Housingâs 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, âAnarchist Justiceâ, pp. 215â36, 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
Workersâ 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, âThe Soul of Man Under Socialismâ, pp. 1174â1197, 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 donât 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 Peopleâs 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, 1913â14, contained in Three Strikes: Miners, Musicians, Salesgirls, and the Fighting Spirit of Laborâs 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 Peopleâs History of the United States, Seven Stories Press, New York, 2004.
#reading lists#book recs#book lists#community building#practical anarchy#practical anarchism#anarchist society#practical#faq#anarchy faq#revolution#anarchism#daily posts#communism#anti capitalist#anti capitalism#late stage capitalism#organization#grassroots#grass roots#anarchists#libraries#leftism#social issues#economy#economics#climate change#climate crisis#climate#ecology
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"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.
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10/24 ăăŻăăăăăăŸăăCaliban / Digital Reggae MFM022çæŽæ°ăăŸăăă
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~
530-0028 性éȘćžććșäžæłçș3-41 ă·ăăăă«104ć·
06-6363-2700
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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: RuppertstraĂe 5, 80337 MĂŒnchen
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 prÀsentieren mit unserem Programm ein Jazz-Kaleidoskop der unzÀhligen 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 europĂ€ischem Zwölftonsystem im Schmelztigel Amerika. Diese kraftvolle musikalische Synthese ist die Grundlage fĂŒr den Jazz, Rock Ìn 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, SÀnger, Komponist und Arrangeur Johannes Faber.
Johannes Faber wurde 1952 in MĂŒnchen geboren und studierte Trompete und Komposition in MĂŒnchen, Graz und Boston. Er arbeitete in Erwin Lehns SĂŒdfunk-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 fĂŒr âRallye Paris-Dakarâ und grĂŒndete 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 fĂŒr 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 Herbolzheimerâs RHYTHM COMBINATION AND BRASS, komponierte fĂŒr Michael Ende und wurde mit dem Jazz-Preis Baden-WĂŒrttemberg ausgezeichnet(1985). Er war auf den groĂen Jazz-Festivals zu erleben, u.a. beim Jazzfest Berlin, in Montreux und beim Deutschen Jazz-Festival in Frankfurt.
1998 komponierte er die Musik fĂŒr das Wilderer-Melodram HIAS und spielte die Hauptrolle in einer Produktion des Staatstheaters am GĂ€rtnerplatz(MĂŒnchen). Von 2000 â 2012 konzipiert und moderiert er die ĂŒberaus erfolgreiche Reihe âJazz im GĂ€rtnerplatzâ. Seit 2000 singt und spielt er den Sprecher (Staatstheater am GĂ€rtrnerplatz) und den Sarastro (Opernfestspiele Gut Immling) in Mozarts Oper DIE ZAUBERFLĂTE. Er komponierte 2003 die Musik zu â4 â Ein Tanzeventâ, das vom Balletttheater MĂŒnchen und dem Orchester in der Choreographie von Philip Taylor mit Erfolg im Repertoire des Staatstheaters am GĂ€rtnerplatz aufgefĂŒhrt wird. 2006 unterrichtet er Jazzgeschichte am Conservatorio Nicolo Paganini in Genua.
2012 Professur am âConservatorio NicolĂČ Paganiniâ.
Admin: Frank McLynn
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HEIM
Noch einmal schau ich auf meiner wandrung im engen viereck die tiefgrĂŒnen vorhĂ€nge von denen zwei das licht umrahmen und zwei das dunkel: die tĂŒren. Eine (die dem licht gegenĂŒber) zwischen zwei weissen götterbildern auf schwarzen sĂ€ulen. An der vierten mauer die grossen strĂ€usse trockner grĂ€ser rechts und links von dem bild · von der decke das hellgoldene kronenlicht mit drei hĂ€nden 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")
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Werte-Union als Partei gegrĂŒndet
Die JF schreibt: »Hans-Georg MaaĂen und weitere Mitglieder des Vereins Werte-Union grĂŒnden ihre gleichnamige Partei. Diese solle sich politisch zwischen CDU/CSU und AfD ansiedeln. Sie bekenne sich laut Programm zur Nato, lehne aber die KlimaneutralitĂ€t ab und wolle den Grenzschutz stĂ€rken. Dieser Beitrag Werte-Union als Partei gegrĂŒndet wurde veröffentlich auf JUNGE FREIHEIT. http://dlvr.it/T2vcDg «
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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.
#the only question is#whos the rest of the weasley family#that will have to be decided#at some point#anyway moving on#fredric lehne#fredric george lehne#spn hp crossover#spn parallels#hp parallels#supernatural#abc lost#harry potter#azazel#princes of hell#edward mars#federal marshall#fred and george#weasley family#fred weasley#george weasley#alternate universe#fun celebrity facts#his name is just#it kills me#if he weren't older than the hp franchise#i would wonder what his parents were thinking
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Supernatural actors who were on Criminal Minds *incomplete*
George Darrow DJ Qualls -Â SPN: Garth CM:Â Richard Slessman (season 1 episode 1)
Timothy Omundson - SPN: Cain CM:Â Phillip Dowd (season 1 episode 6)
Dameon Clarke - SPN:Â Jack Montgomery (Rugaru) CM:Â 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 âHollywood Babylonâ) 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 (âSin Cityâ) CM:Â Peter Greisen (season 1 episode 16)
Eric Johnson - SPN:Â Brady (Samâs college friend/demon) CM:Â Sean Hotchner (season 1 episode 16)
Jack Conley - SPN: Sheriff Al Britton (âYellow Feverâ) CM: Agent John Summers (season 1 episode 21)
Mary Page Keller SPN:Â Joyce Bicklebee (Leviathan Real Estate Agent) CM:Â Katie Cole (season 2 episode 2)
Nicki Aycox - SPN: Meg Masters (season 1) CM: Amber Canardo (season 2 episode 3)
Kayla Mae Maloney -Â SPN:Â Leah Gideon (season 5 The Whore) CM:Â Polly Homefeldt (season 2 episode 7)
Andrew Rothenberg - SPN: Lukcy (Skinwalker âAll Dogs Go to Heavenâ) 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 (âDeath Takes a Holidayâ) CM: Jeremy (season 3 episode 5)
Jim Beaver - SPN: Bobby Singer CM: Sheriff Williams (season 3 episode 7)
John Lafayette - SPN:Â George Darrow (Crossroad Blues) CM:Â Dr. Lorenz (season 3 episode 8)
James Otis - SPN:Â Famine (My Bloody Valentine) CM:Â 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:Â Mildred Baker (Banshee Episode) CM:Â Dr. Jan Mohikian (season 4 episode 7)
Courtney Ford - SPN:Â Kelly Kline (Jackâs 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:Â Edward Carrigan (God âA Very Supernatural Christmasâ 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) Â 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 (âRoadkillâ) CM: Izzy Rogers (season 7)
Robert Englund - SPN:Â Dr. Robert (season 6 episode 11) CM:Â 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)
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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.
#Materials Science#Science#Recycling#Plastics#Polymers#Waste#Thermoplastics#Reactions#Materials processing#University of Wisconsin
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The Head -- It Just Wonât 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 Franjuâs 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 (âThe Naked and the Devil,â 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 âoddâ and âatmospheric,â 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 Renoirâs 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 Manâs 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 Wellesâ The Stranger (1946) was based; it was photographed by Georg Krause, whose numerous international credits include Stanley Kubrickâs Paths of Glory (1957); its sets were designed by Hermann Warm, the genius responsible for such German Expressionist masterpieces as Robert Weineâs The Cabinet of Dr. Caligari (1919), Fritz Langâs Destiny (1921), as well as Carl Dreyerâs 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 Cocteauâs 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. Â
Though made after the 1957 horror breakthroughs made in Britain and Italy (Terence Fisherâs 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 Munichâs Rapid-Film, whose claim to fame was initiating a niche of exploitation cinema known as Sittenfilme â literally âmoral moviesâ â 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-Filmâs most prestigious production to date.
After the main titles are spelled out over an undulating nocturnal fog, the story begins with a lurkerâs 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 filmâs 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 .
âThat was the name of the wrecked ship,â he explains. âS.S. Ood.â
The ambiguous Ood takes cover as another late night visitor comes calling: a hunchbacked woman wearing a nurseâs 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 Adamsâ hunchbacked Nina in Erle C. Kentonâs 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 MĂŒller-Graf, âa first class surgeonâ) and the handsome, muscular Burt Jaeger (Helmut Schmid), who hasnât been quite the same since an unexplained brain operation. Both associates share a creative streak; Burke is also âan excellent architect, [who] designed this house,â while Jaeger âdesigned my special operating table; it allows me to work without assistants.â (So why does he have two of them? With names that sound the same, no less!) Given the high caliber of Hermann Warmâs talent as a production designer, Burke and Burt together are every bit as skilled in architecture as was Boris Karloffâs Hjalmar Poelzig in Edgar G. Ulmerâs The Black Cat (1934). The main floor of Abelâs 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 Vinciâs âThe Virtuvian Man.â Down in the lab, Burtâs robotic surgical assistant looks as if it might have been conceived by the brain responsible for the Sadean mind control device in Jess Francoâs The Diabolical Dr. Z (1965) - a film that, along with Francoâs 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 Abelâs 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 Abelâs 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 donât recall reading any extensive discussion of the filmâs music, The Head represents what is surely the most important advance in electronic music in the wake of Louis & Bebe Barronâs work on Forbidden Planet (1956). Though the filmâs 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 âSound Structure, Lasry-Baschet.â
Lasry-Baschet was a musical combination of two partnerships â 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 Franjuâs 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 âthe recent Russian surgeryâ that succeeded in keeping the severed head of a dog alive â 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 âTam-Tam Super Sex Star Lilly.â This visit initiates a parallel storyline involving Lilly (Christiane Maybach), who supplements her striptease work as an artistâs 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 â the voluptuous redhead Kai Fischer â 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 â in currency today, the equivalent of about $35,000. As it happens, Christiane Maybach doesnât appear nude in the filmâs final cut either. Â Â
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 doesnât present its title onscreen until Lilly is ready to go on. Itâs 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 manâs face wearing skull makeup. Lilly screams, the lights go out, and the house goes wild with applause â a veritable blueprint for the striptease of Estella Blainâs Miss Death in Francoâs The Diabolical Dr. Z (1965).
The music heard during the filmâs 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 â 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 Paulâs lax ambitions on the side. Dieter Eppler, a frequent player in the Edgar Wallace krimis and also the lead bloodsucker in Roberto Mauriâs 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 Minnelliâs 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 â that is, transplanting the heart from a donorâs body into his own, which he insists is possible given his innovation of âSerum X.â What Abel could not foresee was that his own body would die during the procedure. Ood tells Burke that the only way to save Abelâs 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, Â working solo with Jaegerâs 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 heâd had âone last chance â to perform the dog operation on your head!â Abel screams in revulsion of what he has become. The conciliatory Ood gently cautions him, âToo much emotion can be extremely dangerous now.â
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 Langâs 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, Simonâs 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 â but is reassured after hearing Abelâs disembodied voice on the houseâs sophisticated intercom.
After the killing and burial of Burke, whose body Bert Jaeger later finds thanks to the barking of Dr. Abelâs kenneled hounds (a detail that one imagines inspired Franjuâs 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 âStella,â prompting her to recognize him as âDr. Brandtâ (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 Wellesâ 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/Brandtâs 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.
âWhatâs in the glass?â
âDrink it and find out.â
âI hope itâs not poisoned.â
âThatâs not my specialty, is it?â
Lilly/Stella becomes the necessary auto parts for Ireneâs pending operation. In a nicely done montage, the film dissolves from Lillyâs unconscious body to a glint of light off the edge of Oodâs poised scalpel. It cuts to a curt zoom into Abelâs 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 Abelâs old office. He walks toward her as the sheet tumbles off her bare shoulders.
âHow do you feel?â he asks.
âWell, I⊠Iâve a strange kind of feeling, as if my whole body were changed, as if my body didnât want to do what I wished.â
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, Â 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 sheâs 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.
âWhy run from everything you desire?â he asks. âYou canât run from yourself.â
He draws Irene into a surprising deep kiss, which â 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. Â 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 Lillyâs 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 Ireneâs own motions from the night before; she kicks off one of her shoes as Irene had done. Â
From the moment she walks into the club, still wearing Lillyâs clinging black dress, Irene evokes a black widow, a kind of Alraune â the femme fatale of Hanns Heinz Ewersâ novel, filmed in 1930 with Brigitte Helm and in 1952 by Hildegarde Knef. Like Alraune, sheâs the beautiful creation of a mad scientistâs laboratory, but unnatural. In this case, sheâs 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 Frankensteinâs âsoul transplantâ played by Susan Denberg in Terence Fisherâs Frankenstein Created Woman (1966).
She quickly attracts Paulâs artistâs eye, just as the now-topless dancer onstage swirls into a swoon on a prop bed â 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, Ireneâs 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: âYou must be a born dancer!â
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 Lillyâs beauty mark. She flees from the apartment and confronts the unflappable Ood.
âYou must have grafted her skin on my body!â
In the movieâs most hilarious line, he fires back, âYou have a poor imagination!â
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 thatâs been revealed by losing herself in her new relationship with Paul â 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. Â
I should leave some things to be discovered by your own viewing of the film, but it demands to be mentioned that Irene â the triumphant climax of Oodâs genius, so to speak â 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 Hammerâs Frankenstein films at the time â indeed, through the following decade. So, although Ood is ultimately destroyed (youâll need to see it to find out how), the mad science he propounds is actually borne out. Itâs 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 mĂ©nage Ă 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? Â
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 Bertonâs 1928 Grand Guignol play LâHomme qui Ă tue la mort (âThe Man Who Killed Deathâ): âThere, Professor Fargus revived the guillotined head of a supposed murderer and the prosecutor lost his mind when the head continued to plead his innocence.â Earlier such films would include Universalâs 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 Couldnât 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 âbeauty glandsâ of native girls to periodically restore his wifeâs good looks. Though The Head wasnât the first of its kind, many of the traits it introduced would surface in similar films that followed â not only in Franjuâs Eyes Without A Face or Francoâs The Awful Dr. Orlof and The Diabolical Dr. Z, but also in Anton Giulio Majanoâs Italian Atom Age Vampire (1960), Chano Uruetaâs The Living Head (1963), and most conspicuously in Joseph Greenâs The Brain That Wouldnât Die, not released until 1962 though filmed in 1959, some six months after The Head.
It must be mentioned that the filmâs 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 âAt The Head of All Masterpieces of Horror [my italics] That Youâve Ever Seen⊠You Must Place⊠The Head.â
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 wasnât 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 âThe Fifth Pin,â directed by Robert Spaar and televised during the seriesâ first season on April 8, 1961. The guest stars included John Dehner, Rex Reason, Patricia OâNeal 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 â which, in a fitting fate, grafts the English dub onto the original uncut version from Germany â 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 (âA Corpse Hangs in the Web,â 1960). Scripted and directed by Fritz Böttger, the film (Böttgerâs last as a director) was first released in America as Itâs 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 âart cinemaâ began to be fused with so-called âtrash cinema,â leading to a broader, wilder, more adult fantastique. Â
by Tim Lucas
[1] Victor Trivasâ Niemandsland may be viewed online at https://www.youtube.com/watch?v=S-4XhNMWoyw
[2] Rapid-Filmâs later successes would include the German film that was subsequently converted into Francis Ford Coppolaâs directorial debut (The Bellboy and the Playgirls, 1962), Ernst Hofbauerâs Schoolgirl Report film series (1970-80), and Sam Peckinpahâs 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 ârecentâ as 1940, when footage of a supposedly successful Soviet resuscitation of a dogâs 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 âautojektor,â 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, heâs said to have remarked, â"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. Itâs 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 (âThe Devilâs Naked Slaveâ), the disc included The Brain That Wouldnât 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!.
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Arthur Lehning (ed.) - Conversaciones con Bakunin
En esta obra, el eminente historiador Arthur Lehning, el mĂĄximo especialista de Bakunin y compilador de sus obras completas, Archives Bakounine, nos ofrece unos materiales inapreciables para la comprensiĂłn de la vida y obra de Bakunin. De forma similar las extraordinarias Conversaciones con Marx y Engels de Hans Magnus Enzensberger (publicadas tambiĂ©n en esta colecciĂłn), Lehning reĂșne una serie de textos âcartas, artĂculos, memorias, documentos, informes de la policĂa, etc.â relacionados con la persona de Bakunin. Estos textos, muchos de ellos inĂ©ditos hasta ahora en castellano, estĂĄn escritos por contemporĂĄneos suyos âHerzen, Turgenev, Engels, Ruge, Weitling, George Sand, Wagner, Proudhon, Michelet, Marx, Malatesta, Kropotkin, etc.â a los que se agregan algunos significativos textos en los que Bakunin habla de sĂ mismo. Nos hallamos, pues, ante un libro indispensable tanto para la biografĂa de Bakunin como para el anĂĄlisis de su imagen histĂłrica 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 sĂ, la portada y contraportada a buena resoluciĂłn. Enlace [PDF]: Arthur Lehining (ed.) - Conversaciones con Bakunin
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070220 JazzaJ / Diffraction (US/H): Cox Cremaschi Shelton MiklĂłs
DIFFRACTION: Krisztofer Cox - pozan, trombita (piccolo), fafurulyĂĄk, zurna George Cremaschi - nagybĆgĆ, elektronika Aram Shelton - szaxofon MiklĂłs Szilveszter - dobok âAmikor belĂĄtjuk, hogy a Föld többĂ© mĂĄr sosem lesz olyan, amilyennek ismerjĂŒk â az felszabadĂtĂł Ă©rzĂ©s is lehet. Ugyanakkor elfog bennĂŒnket egy egzisztenciĂĄlis rettegĂ©s. Olyan zenei nyelvet keresĂŒnk, amely Ășgy kĂ©pes ötvözni ezt a kĂ©t ĂĄllapotot, hogy ezĂĄltal megtestesĂti azt, ami a âjazzâ valĂłjĂĄban: a lĂĄzadĂĄst a modern civilizĂĄciĂł narratĂvĂĄival szemben.â â K. Cox belĂ©pĆ: 2000.- _________________________________________________________ DIFFRACTION: Krisztofer Cox - trombone, pocket trumpet, wooden flutes, zurna George Cremaschi - double bass, electronics Aram Shelton - saxophone MiklĂłs Szilveszter - drums âWhen 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 âjazzâ really is: to rebel against the master narratives of modern civilization.â â 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 âAll the Things you Areâ. Heâs 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.-
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Des concerts Ă Paris et alentour en gras : les derniers ajouts :-: in bold: the last news 2020 Janvier 11. Last Night + Euromilliard + Kumusta â Gibus 11. Le Villejuif Underground + Bryan's Magic Tears + Solal Roubine â La Maroquinerie 11. ANDCL + Bare-TT + SQ17O â DOC 11. Sean Canty + Myako + Sainte Rita + Berenice's Hair â Le Klub 12. Deltanik + Romaric Sobac + Kutafon + Wapaii + Clap 42 + Class of 69 + Chouki (dj) + DĂ©sirĂ© B & A friend + Leandro Barzabal â Les Nautes 13. Vincent Segal â Pan Piper 14. Lispector + Ventre de biche + La Punta Bianca â Point FMR 15. Xavier Garcia & Lionel Marchetti + Les HĂŽpitaux + Das Os + Minifer â Les Nautes 16. Dolores + NW "RiR1009" + Somaticae + Les ConfĂ©rences bunker â Les Nautes 16. Black Midi â Le Carreau du Temple ||ANNULĂ|| 17. Scratch Massive + Lokier + Cassie Raptor + Faast + Kiddo â Badaboum 17. Dafne Vicente-Sandoval + Ji Youn Kang + Thomas Lehn : « Occam VI » dâĂliane 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 â Le 104 17. Pleasure Principle + Techno Thriller + It's Sunday + Armand Bultheel + Bernardino Femminielli (dj) â La Station 17. Warum Joe + Rikkha + The Flug â Le Cirque Ă©lectrique 17. Lee Fraser + Forces + Renaud Bajeux + Kazehito Seki â Espace B 17. Club Sieste + Louvet & Schultz + Chicaloyoh â Instants chavirĂ©s (Montreuil) 17. Edith Nylon â Petit Bain ||COMPLET|| 18. Bracco + Portron Portron Lopez â La Lingerie|Les Grands Voisins (gratuit) 18. Laurent Pernice : accompagnement musical de la lecture dâAlain Damasio â MĂ©diathĂšque Françoise-Sagan (gratuit sur rĂ©sa) 18. Lee Ranaldo & RaĂŒl Refree â Le 104 18. Cluster Lizard + Monolog (Mads Lindgren) + Blakk Harbor â Espace B 18. Bagarre + Pauline (Fils de VĂ©nus) (dj) + De Vedelly (dj) + Cheetah (dj) + Leslie Barbara Butch (dj) â Le Klub 18. Franck Vigroux : "Flesh" (Biennale Nemo) â Maison des arts et de la culture (CrĂ©teil) 18. Samuel Kerridge + CRAVE + Pratos â Petit Bain 18. VSK & Michal Jablonski + Scalameryia + Neri J + NN + Paul MĂžrk + Heart Peaks â tba 18. Wallis + Sina XX + Foltz + Marum (dj) + Herr Mike (dj) + F/cken Chipotle + Front de crypte â La Station 18. The Horrorist + Alienata + Thomas Delecroix + Ekors + OpĂ€k + Tomar â Dehors brut 19. The Pleasure Principle â Carmen 22. Dick Voodoo + Bile â LâInternational 22. Eloise Decazes et Eric Chenaux jouent "La Bride" + Pauline Drand +Nick Wheeldon (fest. Au fond de lâhiver) â Espace B 23. Common Holly + Raoul Vignal Music + Viktor's Joy (fest. Au fond de lâhiver) â Espace B 23. The Pharcyde â Petit Bain 23. LansinĂ© Kouyate & David Neerman (fest. MOFO) â tbc (Saint-Ouen) 23. Phase fatale + Justine Perry + Munsiger â Rex Club 24. De Ambassade â (La Machine a 10 ans) â La Machine (gratuit) 24. Richard Dawson + Eric Chenaux (fest. Au fond de lâhiver) â Petit Bain 24. Penguin Cafe + Lubomyr Melnyk + Peter Broderick + Anne MĂŒller + Hatis Noit + Janus Rasmussen â La GaĂźtĂ© lyrique 24. Kode9 + Teki Latex + Cem + Barker + Crystallmess + Carin Kelly b2b Bob Sleigh + Christian Coiffure (La Machine a 10 ans) â La Machine 24. Balladur + Dr Drone + Ellah a. Thaun + Humbros + Karel + Marble Arch (fest. MOFO) â Le Sultan (Saint-Ouen) 25. Tamagawa + Drone Ă clochettes â Ă la ville d'Ăpinal 25. Litovsk + Litige + Catisfaction + Turquoise â 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) â La Machine 25. Apollo Noir + Cesar Palace + Discovery Zone + Fiesta En El Vacio + Hyperculte + Lyra Valenza + Sacrifice seul + Tarek X + Tropical Horses (fest. MOFO) â La Station 25. Airod + Ki/Ki + Kobosil + Parfait + ShlĂžmo â tba 25. I Hate Models â T7 26. The Fat (cinĂ©concert pour enfants) â La GaĂźtĂ© lyrique 26. Beak> + Vox Low + Abschaum + Maria Violenza (La Machine a 10 ans) â La Machine 29. Rendez-Vous + The KVB â La Cigale 30. Editors â Salle Pleyel 31. Tindersticks â Salle Pleyel 31. It It Anita + Mss Frnce + Flowers + Angle mort et clignotant + Casse Gueule + La Jungle â Petit Bain 31. Mhysa + Teto Preto + Lavascar (fest. Closer Music) â Lafayette Anticipations 31. Lâautopsie a rĂ©vĂ©lĂ© que la mort Ă©tait due Ă lâautopsie + PeĂŒr + Solitude Club â Instants chavirĂ©s (Montreuil) 31. Courtesy + Anetha + Corbeille Dallas â Rex Club FĂ©vrier 01. Tom of England & Bobbie Marie + Nicolas Godin (fest. Closer Music) â Lafayette Anticipations 01. Noir Boy George + OKO DJ b2b Nosedrip + As Longitude + Christophe ClĂ©bard + Laura Palmer + Weird Dust + Boochie (Listen fest.) â La Station 01. Badbad + Toro/Azor â CafĂ© de Paris 01. Jean-Louis Costes â Jardin Denfert 02. Sunn o))) â La GaĂźtĂ© lyrique 02. Alessandro Cortini + Not Waving + Dark Mark + Jean-Luc (fest. Closer Music) â Lafayette Anticipations 06. Rouge Gorge + Arne Vinzon â Petit Bain 06. Rakta + Disorientations â Supersonic (gratuit) 06. Mnemotechnic + Radiant + Rvptvres â Le Cirque Ă©lectrique 06. Nahawa Doumbia â Instants chavirĂ©s (Montreuil) 07. Andy Moor â Chair de poule 07. Choolers Division + Devil's Cum + Bothlane â Le Cirque Ă©lectrique 08. Infecticide + Mr Marcaille + Luci + Adolf Hibou â La Lingerie|Les Grands Voisins (gratuit) 08. Hots Pants :  The Songs of Rowland S. Howard â La Maroquinerie 08. Richard Dawson + Eric Chenaux â Petit Bain 08. Emily Jane White + Floh â Les Cuizines (Chelles) 09. Explosions in the Sky â La Cigale 10. The Murder Capital â CafĂ© de la danse 10. ...And You Will Know Us By The Trail Of Dead â Petit Bain 11. Moor Mother + NSDOS + Badbad (fest. How To Love) â Petit Bain 12. Tristesse Contemporaine + Nova Materia + ToutEstBeau (fest. How To Love) â Petit Bain 13. Mondkopf + Rafael Anton Irisarri + Tomaga + Tern (fest. How To Love) â Petit Bain 13. Ride â Le Trianon 14. Fils de VĂ©nus + TSHA + dj Vegyn + MegaWax + Pauline Forte (fest. How To Love) â Petit Bain 15. The Raincoat â Centre Pompidou 15. Drive with a Dead Girl + Nursery + Shrouded and the Dinner â Instants chavirĂ©s (Montreuil) 16. Ropoporose : cinĂ©concert sur â Dark Starâ de John Carpenter (fest. How To Love) â Petit Bain 16. Orchestral Manoeuvre in the Dark â La Cigale 18. Biliana Voutchkova + Judith Hamann â Instants chavirĂ©s (Montreuil) 21. Pop. 1280 + Dune Messiah + Private Word â Supersonic (gratuit) 21. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain : "DĂ©troit" + MolĂ©cule â Le 104 21. TG Gondard + Belmont Witch â CafĂ© de Paris 21. Eszaid + Magda Drozd + Delmore FX (fest. Oto Nove Swiss) â Instants chavirĂ©s (Montreuil) 22. Tomoko Sauvage + Julie Semoroz (fest. Oto Nove Swiss) â Centre culturel suisse 22. Cent Ans de Solitude & Flint Glass : cinĂ©concert sur âSprengbagger 1010â de Carl Ludwig Achaz-Duisberg â Club de lâĂtoile 22. Low Jack b2b King Doudou + ïŒł ïŒł ïŒł ïŒł + StaStava  + Laura Not (fest. Oto Nove Swiss) â Petit Bain 23. FĂ©licia Atkinson + Tujiko Noriko + Manuel Troller (fest. Oto Nove Swiss) â Lafayette Anticipations 24. Sleater Kinney â Le Trianon 24. The Legendary Pink Dots + Mellano Soyoc â Petit Bain 27. Zombie Zombie + Kreidler â Petit Bain 27. Deeat Palace + Elek Ember + PhilĂ©mon â Instants chavirĂ©s (Montreuil) 29. SPFDJ b2b VTSS + Dax J + Hadone + Stranger â tba Mars 02. DIIV â La GaĂźtĂ© lyrique ||COMPLET|| 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound â La Machine 03/04. The Mission â Petit Bain 05. Dorian Pimpernel + Mooon â Supersonic (gratuit) 05. Orange Blossom : âSharingâ avec les machines de François DelaroziĂšre â ĂlysĂ©e Montmartre 05. King Dude â La Boule noire 06. Frustration â Le Trianon 06. Electric Fire + Fantazio et les Turbulents (Sonic Protest) â Les VoĂ»tes 07. Lâatelier dâĂ©veil musical du centre social Raymond-Poulidor + Foudre rockeur (Sonic Protest) â Les VoĂ»tes 07. Ensemble intercontemporain joue Steve Reich : cinĂ©concert sur un film de Gerhard Richter â Salle Pierre Boulez|Philharmonie 07. Alcest + Birds In Row + KĂŠlan Mikla â La Machine 10. Tempers â Supersonic (gratuit) 10. Jerusalem in my Heart + MĂ©ryll Ampe et les Ă©lĂšves de lâEnsapc + LucrĂ©tia Dalt (Sonic Protest) â La Dynamo (Pantin) 10. Arnaud Rebotini : live pour âFix Meâ dâAlban Richard â Centre des Arts (Enghien-les-Bains) 11. Nada Surf â La Cigale 11. Mopcut + F-Space + We Use Cookies + Astra Zenecan (Sonic Protest) â La Station 12 Thomas BĂ©gin + JD Zazie (Sonic Protest) â La Muse en circuit (Alfortville) 13. Russian Circle + Torche â Bataclan 13. Emptyset + Hair Stylistics + MĂ©ryll Ampe (Sonic Protest) â LâĂchangeur (Bagnolet) 14. Why The Eye + WAqWAq Kingdom + Maria Violenza + Fleuves noirs + Jean-Marc Foussat + Julia Hanadi Al Abed + Pierre Gordeeff (Sonic Protest) â LâĂchangeur (Bagnolet) 16. HĂ€llas + La Secte du Futur + MeurtriĂšres â La Maroquinerie 17. Chelsea Wolf â La GaĂźtĂ© lyrique 18. Pelada â Petit Bain 18. Lee Scratch Perry & Adrian Sherwood + 2Decks + Zaraz Wam Zagram (Sonic Protest) â Ăglise Saint-Merry 19. HP (Haswell & Powell) + Inga Huld Hakonadrottir & Yann Legay + Asmus Tietchens + Regreb â2 Cymbalsâ (Sonic Protest) â Ăglise Saint-Merry 20. Ensemble Dedalus : "Occam Ocean" d'Ăliane Radigue â Le Studio|Philharmonie 20. Bleib Modern + Order 89 + Blind Delon + IV Horsemen + Paulie Jan + Codex Empire + Opale + Panzer + DJ Varsovie (fest. des souvenirs brisĂ©s) â Petit Bain 20. Senyawa + Bonne humeur provisoire + Black Trumpets (Sonic Protest) â La Marbrerie (Montreuil) 21. Mind/Matter + Die Orangen + Mitra Mitra + Qual + Rendered + Verset Zero + Years of Denial (fest. des souvenirs brisĂ©s) â Petit Bain 21. Front 242 + She Past Away â ĂlysĂ©e Montmartre 21. Container + Muqataâa + OD Bongo + Diatribes & Horns + Jealousy Party + Urge + Wirklich Pipit + Me Donner + Cancelled + FLF + 2Mo (Sonic Protest) â Le GĂ©nĂ©rateur (Gentilly) 21. GZA â La Marbrerie (Montreuil) 21/22. Laurie Anderson : "The Art of Falling" â CitĂ© de la musique|Philharmonie 22. Mike Cooper + Yann Legay + Will Guthrie & Ensemble Nist-Nah + Cheb Gero (Sonic Protest) â thĂ©Ăątre Berthelot (Montreuil) 24. Skemer + IV Horsemen + Silly Joy â Supersonic (gratuit) 24. Joe Gideon â Espace B 27. Lebanon Hanover â La GaĂźtĂ© lyrique 27. Baston â LâInternational 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. PrĂ©sences Ă©lectronique) â Studio 104|Maison de la Radio 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk â thĂ©Ăątre de la CitĂ© internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. PrĂ©sences Ă©lectronique) â Studio 104|Maison de la Radio 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. PrĂ©sences Ă©lectronique) â Studio 104|Maison de la Radio Avril 03. CocoRosie â Le Trianon 04. Ash Code â Espace B 09. Will Samson + Northwest + Lyson Leclercq â Le vent se lĂšve 09. The Chap + Rubin Steiner Live Band â Badaboum 14>17. Metronomy â La Cigale 18. Siglo XX â La Boule noire 23. Volkor X + ToutEstBeau + AphĂ©lie â Supersonic (gratuit) 23. Health â Petit Bain 26. Pharmakon + Deeat Palace + Unas â Petit Bain 27. Caribou â LâOlympia 27. The Foals + The Murder Capital â ZĂ©nith Mai 08. Max Richter : "Infra" + Jlin + Ian William Craig â CitĂ© de la musique|Philharmonie 09. Max Richter : "Voices" â Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) â Le 104 10. Iannis Xenakis : « La LĂ©gende dâEer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) â Le 104 10. Max Richter : "Recomposed" & "Three Worlds" â Salle Pierre Boulez|Philharmonie 19. Swans + Norman Westberg â Le Trabendo 22. François Bayle : « Le Projet OuĂŻr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) â Studio 104|Maison de la Radio 23. Julien NĂ©grier + Hans Tutschku : « Provenance-Ă©mergence » + FĂ©licia Atkinson : « For Georgia OâKeefe » + Warren Burt + MichĂšle Bokanowski (fest. Akousma) â Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves MacĂ©Â : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumiĂšre » (fest. Akousma) â Studio 104|Maison de la Radio 23. Damon Albarn â Salle Pierre Boulez|Philharmonie 24. Damon Albarn â Salle Pierre Boulez|Philharmonie ||COMPLET|| 26. Minimal Compact â La Machine 30/31. Paula Temple + Dave Clarke + Ben Klock + Len Faki + 999999999 + VTSS b2b Shlomo + DVS1 + François X⊠(Marvellous Island) â Ăźle de loisirs de Vaires-Torcy  Juin 03. Bambara â Espace B 06/07. Four Tet + Nils Frahm + Park Hie Jin + Modeselektor⊠(fest. We Love Green) â Bois de Vincennes 14. Nick Cave & The Bad Seeds â Bercy Arena 18. Acid Mothers Temple â Espace B
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"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 weiĂ auch die Bischofskonferenz keine Antwort. Die Zweifel, ob eine Rehabilitierung in seinem Erzbistum gelingen kann, sind groĂ. Mit Blick auf den Ukraine-Krieg sprechen sich die deutschen Bischöfe fĂŒr Waffenlieferungen aus. Nach der RĂŒckkehr des umstrittenen Kardinals Rainer Maria Woelki ins Amt des Kölner Erzbischofs hat der Vorsitzende der katholischen Deutschen Bischofskonferenz, Georg BĂ€tzing, eine Sprachlosigkeit der Bischofskonferenz angesichts der Lage in der gröĂten deutschen Diözese eingerĂ€umt. Ob die RĂŒckkehr Woelkis gut gehe oder nicht, werde Auswirkungen auf die gesamte katholische Kirche in Deutschland haben, sagte der Limburger Bischof zum Abschluss der FrĂŒhjahrsvollversammlung der Bischöfe im Kloster Vierzehnheiligen in Bad Staffelstein. "Köln betrifft uns alle." BĂ€tzing warb dafĂŒr, Woelki eine Chance zu geben. Gleichzeitig rĂ€umte er ein, dass es nicht einfach sein werde, noch "BrĂŒcken der Versöhnung" zu bauen. "Das ist jetzt eine erhebliche Aufgabe." Ob diese gelinge, hĂ€nge 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 zurĂŒckgekehrt. 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 wĂ€hrend der Auszeit seinen Amtsverzicht an. Der Papst muss noch darĂŒber entscheiden. "Papst wĂŒrde sofort nach Moskau aufbrechen" GroĂes Thema der Bischofskonferenz war zudem der russische Angriff auf die Ukraine. Nach EinschĂ€tzung des Vorsitzenden BĂ€tzing wĂ€re Papst Franziskus sofort zu einer Friedensmission in Russland bereit. "Der Papst wĂŒrde sofort nach Moskau aufbrechen", sagte er. Allerdings lehne die russisch-orthodoxe Kirche seit ĂŒber 30 Jahren einen Besuch des Papsts ab. Es gebe hier wirkliche Barrieren, "die auch innerökumenisch belastend sind". Mehr zum Thema Die Bischöfe verabschiedeten eine ErklĂ€rung mit dem Titel "Der Aggression widerstehen, den Frieden gewinnen, die Opfer unterstĂŒtzen". 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 BĂ€tzing mit Blick auf den Patriarchen, der jĂŒngst ukrainische Soldaten "KrĂ€fte des Bösen" genannt hatte. In der ErklĂ€rung sprach sich die Bischofskonferenz auch fĂŒr Waffenlieferungen unter klar definierten Bedingungen an die Ukraine aus. RĂŒstungslieferungen, 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 grundsĂ€tzlich legitim. "Es ist denjenigen, die die Entscheidung zu treffen haben, aber aufgetragen, prĂ€zise zu bedenken, was sie damit aus- und möglicherweise auch anrichten", hieĂ es. Dies gelte gleichermaĂen fĂŒr die BefĂŒrworter wie fĂŒr die Gegner von Waffenlieferungen.
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