Blueprints For Ball Python Cages

Experiments!



First official shot @ PRS accordion, two XY cardioid to hypercardioid on the stereo and two strumento.Un thanks to Alessandro Quattrini (IT -DE) for their valuable service!

First Squeeze Box @ PRS recording, thanks to Alessandro Quattrini (IT-DE) .2 XY cardioid mics plus two direct cardioids on the box.

Great Christian Phrases

Parnassus

It 'hard to get close to last film by Terry Gilliam maintaining a certain critical lucidity, or something like that. Why The Imaginarium of Doctor Parnassus as a work of cinematic art can not be "judged" without having in mind the events that have disrupted the production process. I write this almost feeling guilty: I saw the film almost two months ago and I did not like, or at least I'm not entirely convinced. I found it dull and heavy, not very successful as a story, just not up to its author. This morning to refresh my memory before beginning to write - in essence to say crap about the movie - I went to read the Wikipedia entry on The Imaginarium . And I discovered a lot of things that I did not know. I mean, I knew that this was the last film of Heath Ledger, but not much else, and reading I learned that Heath died at about one third of the shooting. The film was built around him, in the sense that the involvement of Ledger was a key factor in the financing of the project. Gilliam when he learned of the death of the actor in New York thought at first that the adventure is just over there, but then, determined to save the film, began looking for a way to continue shooting. Initially considered the idea of \u200b\u200busing computer graphics, but then had an idea that - seen from here and now - is pretty clever: If the character played by Heath Ledger, Tony, can travel within the mind of someone else, what prevents you from thinking that he can change every aspect of travel, according to many "internal variability" that characterize the inner each of us human beings? And so Gilliam called the court to his friend Johnny Depp, with whom he had already shared the disaster production of The Man Who Killed Don Quixote , and two other bigwig like Jude Law and Colin Farrell, Friends Ledger: All to play the role of Tony, the changing appearance of changing the mind of Dr. Parnassus (Christopher Plummer). And then the tragedy of death, and with it a production difficulties apparently insurmountable, is transfigured in the light of the fiction film.

I remain of the opinion that this is not to be counted among the highest levels of Gilliam's art: the script (which was not changed in any way despite the problems) is a bit ' weary, the story involves up to a certain point and the proverbial visionary author seems a bit 'blurred ... But the film deserves to be seen not only for the enormous effort that required for the affection and Heath Ledger which is soaked. At least the interpretations can not discuss it: we know who it was who the Ledger and its three supporting actors / substitutes; Plummer is a sacred monster and see it working is always good, and, last but by no means least , Tom Waits that is part of the Devil itself would be worth the entire film.

Peliculas En Espanol Free

The White Ribbon

Facing the blank page I see the black and white images of the sublime and terrible Das weisse Band . Needless to use the word masterpiece for film by Michael Haneke: each work is a summit, an extreme. I do not have adequate tools for the interpretation, but I have a fondness for certain irresistible to the cinema of the highest Austrian director, and if I want to write something sensible I must first ask what to feed my passion. What makes all of Haneke's films so fascinating to me?

Answer simple but not trivial: fear. The cinema of Haneke's scary, frightening, strike without mercy on the weak points of the soul, and it hurts. The filmmaker is a kind of Viennese philosopher torturer, who can speak with equal effect to the irrational and rational components the human spirit.

There are two other traits of Haneke's films that are being emphasized. The first is the cold, which is accompanied by total control of the form: Haneke has a supreme mastery of the film medium, a technique so lofty that it can be used against itself - as in Funny Games, Code Inconnu or Caché - or rendered almost invisible - like in Das weisse Band . In all cases, Haneke moves with surgical precision and without pathos, methodically.

The second essential element in the film is Haneke moral judgments. In apparent contrast with the glacial form, is not indifference but a clear ethical vision, a quiet but clear-cut critical and severe, such criticism does not want to teach anything and does not seek converts. Haneke shows the behavior of his characters without condemning them, almost fatalistic, yet it is far from being a mere observer. He shows no wish to prove: paradoxically, Haneke is one of Europe's most directors seem to have followed and put into practice the famous motto Fellini.

In fact there is nothing to show in the cinema of Haneke, if anything, the opposite is true: at the beginning everything seems more straightforward, almost no development, but basically whenever there is a trap, because the circle does not close, does not add up and the feeling never came. This is perhaps the style of Haneke, the most disturbing and alluring at the same time, resulting in a film always surprising, counterintuitive and hopeless, but thanks to these features come with another paradox, to imitate "reality".

Michael Haneke is a master in short, an outsider, one of the greatest directors of contemporary cinema. However, this is nothing new, so that the Palme d'Or won this year by Das weisse Band might at first be a recognition given consideration ex-post the entire work of the director, but not so simple. Haneke never makes a film like any other, despite the recurrence of the items was said previously, and although I have seen virtually none of the other films in competition at Cannes in 2009 are inclined to bet that is higher than that of Haneke all the others, my bet is worthless, of course, but there is no doubt that Das weisse Band would remain a milestone without Palma.

Opera enigmatic and gloomy, in which black and white photo of the milky unsaturated and has a substantial value, Das weisse Band is an ensemble film and headless: the voiceover of one of the protagonists of the story is really just a ruse, a diversionary ploy by which the directing deliberately impede the understanding of the viewer. What is expected from the voice over a character who took part in the events recounted and recalls them from the future? Definitely a help to the understanding of such events, or at least a privileged point of view on this story. In contrast, at the end of the film will be clear that the young elementary school teacher, one to whom belongs the narrator, may not be of any help in explanation of events and their causes, knowing nothing more than what was seen and known by the audience itself. The first image of the film, a real estate flat landscape of northern Germany, is slowly emerging from a fade, as the mirror image, the last shot fades to black, and at the end of a series of mysterious and disturbing events - when it seems that a labile trace has been left to the viewer to let him find even a simple causal link between the incidents to which he attended - all sinks back into thin air without explanation. Just before the narrator had reported the attack in Sarajevo, and the tragic fate of Germany and of Europe itself.

What is most striking in my opinion the way in which Haneke manages to maintain an obscure and almost imperceptible tension throughout the film. There is always the sense of an imminent threat, an explosion of fiction next, but also the most significant events in the story follow each other without obvious links consequential and the most atrocious episodes, with almost no link with what follows them and what before them, they lose significance. Something similar happens with the relationships between the characters: there are those initially presented to an atom with only a name and a location context, which explains why they initially appear "Pure" and clean, without smudges, but also without psychology, as if they were images of classical antiquity. With the passage of the film the relationship between the actants become more evident in their duplicity obscene: Each report has a dual face, depending on whether you look at from the point of view of the public or the private sector. Meanwhile, the psychological characteristics emerge revealing the inner monsters, madness, betrayal and every other kind of wickedness ...

I have already written more than decency permits. I refer those who want to form an opinion about the movie seriously at this link .

How Long Should I Leave Mineral Oil In My Ear?

Lebanon

Lebanon Samuel Maoz opens with a shot of a sunflower field, properties in the light of day. Nothing happens for a few moments in silence, and then, gradually, a sort of metallic hum, far, begins to be felt. While the noise, that of a tracked vehicle, it becomes gradually a looming din the wind begins to blow, shaking violently sunflowers. It seems the title of the film, and suffered a heavy detachment of mounted film plunges the picture into the dark interior of a tank. The door of the circular water tower property reflected on the bottom of the passenger compartment is opened, and a soldier enters: the action starts. A caption warns us that in 1982, June 6, at the dawn of the first day of the Israeli invasion of Lebanon, and the camera will remain for most of the rest of the movie within this vehicle from the war, in a suffocating darkness.

A well-defined mode of perception is the exact center of the beautiful film Maoz, who won the Golden Lion 2009: monocular vision. E 'dark reflection in the circle that just gives us a clue: the opening narrow and uncomfortable, the only passage between the interior and exterior of the car, it makes a pair with another circular aperture, the viewfinder hence the Young guns Shmulik (Yoav Donat), just entered the service, keep the movements outside of the car and identify the targets. There is another way of seeing what happens out there, and the forces directing the viewer over and over again in the eyes of the mutilated boy through the viewfinder: a kind of artificial subjective, a cage in which the human visual perception merges with that of the war machine - or, rather, remains captive. The dull circle of the viewfinder does not allow more than simple shifts in the lateral or overhead, and a very small range of magnification, with the rough visual aid Shmulik need to do their work, which is identify and eliminate threats from outside, without fail, when ordered. But the boy does not seem to be up to the task: Shmulik use the viewfinder as an instrument of vision, and nothing seems to escape what is happening outside, but when it's time to aim and fire the young man can not pull the trigger to kill, overwhelmed by their emotions. And that's how Lebanon says the absurdity of war: this desire to reduce the human stereoscopic, with its breadth and its depth and simplicity of a horrible one-eyed, or, metaphorically, to remove from their supporters any remaining humanity and emotion and individuality, turning them into mere machines squeezed into well-defined roles and tasks. Why the war to each other that does not require the maintenance of an assigned role, and with it a position, and then obedience to orders received. Claims, the war, to oppose all'imprendibile complexity of reality with a few simple rules, always equal to themselves in time and space. The result of this claim was not long, however, to be recognized in all its atrocities, inside that viewfinder: I am death, blood, dismembered bodies and the torment of the absurd consequences of mindless violence will simplistic.

E ' for this reason that the war can not triumph: his attempt to control the chaos, from the inside face of metal housings trucks, military uniforms or ranks only creates more chaos. And it is the basic condition of humanity? Disorder, such as emotions, you can not control a long time: soon in fact - while the rigid and impassive Gamil, commander of the platoon to which the wagon is to support, comes and goes through the turret or you hear from the radio board taking orders and giving directions to follow - the situation began to plummet. Both inside and outside the ranks of the wagon, like individual psychology, jump in the air the inability to withstand the pressure, or rather, the compression that war produces. The tension increases dramatically, partly because of a Syrian soldier who first on the outside hits the tank with a rocket launcher, damaging it severely, then captured and taken prisoner, is put in chains in the cockpit. And 'This is the most obvious and yet another sign confirming the presence of the enemy, invisible, hidden but powerful, it is increasingly becoming a threat looming over time, while the instructions from the Israeli command become increasingly vague and the presence of the officer Gamil becomes increasingly blurred, to vanish completely. Left to themselves, with their war machine damaged and isolated in a hostile area, the four Israeli soldiers, the crew can then only rely on his instinct, the most irrational and uncontrollable nature. Will Shmulik, who from the beginning had led to confusion and anxiety because of his irrepressible emotion, the only one to say something about themselves and their past history with his grotesque but deeply personal and sincere will temporarily relieve the boy in mates the unbearable weight of events, and the same Shmulik has proved bearer of relief and mercy even to the Syrian prisoner, finally able to rescue the wagon. After I opened the door of the tower and be released first by the war machine, the blue light of morning the young man will stop to watch the opening sequence of the sunflower field, back now to his property alone.

Western Thank You Sayings

Rachel

I was lucky enough to see this documentary by Simone Bitton's festival International Ferrara, almost two months ago. I do not think I had many other occasions, and it is sad that the film has not enjoyed more widespread because Rachel is a courageous and dignified.

We are told the last day Rachel Corrie's life , U.S. activist 's International Solidarity Movement in Rafah killed March 16, 2003 by a bulldozer while opposing the Israeli army demolished the home of Samir Nasrallah, a Palestinian pharmacist. Rachel was twenty-three and a couple of months was in the Gaza Strip with other ISM activists, committed as "human shields" during the second Intifada.

The French-Israeli has collected a large amount of material: there are the filmed testimonies of the young fellow Rachel, as the Israeli authorities and those of the Palestinian inhabitants of the houses that the activists of the ISM had gone to defend. We are the parents of the murdered girl, her teacher and then a number of film footage, read in voice over e-mail that Rachel sent to her mother from Palestine alternates the stories of those who knew and loved.

There are essentially two purposes of the film: the first is to reconstruct the identity of the girl and groped to explain the reason for his choices, the second is to show the absurdity of the Arab-Israeli conflict, but these goals are actually indistinguishable since the war appears to us through the eyes of Rachel and his companions, while the same blank look irretrievably with every passing day spent in the Gaza Strip. Similarly, the merit of the work is double: first, directing the show great sensitivity in telling the soul of a person "without" and the portrait of Rachel is deep and touching, though never in poor pathetic. The various pieces of evidence used in the film are made to order in a fully delineated character, which becomes very clear rationale and objectives: despite being the daughter of its original culture, individualism and welfare, Rachel is a figure Another is that the meaning of life all-encompassing experience of elsewhere. Experience irreversible, like guess the letters his mother, if death had not learned, Rachel would not have been able to return to a certain world view and a short-sighted, calm individualism, these traits that probably had never been his, but that feature in an increasingly stifling the contemporary West, wherever it is.

The other great talent in the film is its size: Rachel is deployed, yes, but by no means a fanatic. It 's a movie that asks questions, observing and not condemnation. Nevertheless, his opinion is clear in showing the folly of that war and any war because war does not require thought, but only action, and thus transforms the people still object before deciding conflicts between friends and enemies among us and their . Only in this way it becomes possible to shoot for fun and acceptable to the houses across the border to raze civilian homes as if they were dominoes, ignore all the attributes of humanity of the "other side". The testimony of the young and anonymous Israeli tank crewman is terrifying because it reveals that at the point where he is now all is lost in terms of subjectivity remains only the ranks and roles, and to follow orders, and no space remains to realize the lives of others, or much less to make a comparison of its existence and that of those who which happens to be considered, with a horrible simplification enemies. In this foul blindness, the same with which the Israeli army tries to prove that Rachel's death was an accident, the result of a simple chain of cause and effect set in motion by irresponsible actions, the film contrasts with the clear gaze of protagonist: a vision that has at its center the individual, takes the form of observation and understanding, and becomes finally chosen and concrete action - and heroic. Rachel Corrie was and will remain the occurrence of a different color, when the horror is overflowing and everything is almost as bleak, impossible to perceive and understand. And if the specter of the futility and oblivion still seems to scare some of those who were companions of the murdered girl, the film ends with the images, sad but full of light, graffiti with the name of Rachel on the walls of houses in Rafah: to show the loving memory of the population towards a girl coming from the opposite side of the world to find his house.

Is Waxing The Best Method

Inglourious Basterds

Enough! You better start talkin
to us, asshole, cause we got shit
we need to talk about.

Mr. White

Inglourious Basterds (sic) is amazing. Can not make it here all the honor it deserves, simply jot down some impressions, long after having seen (and reviewed) the film.

an indispensable premise of dubbing: the original version is almost entirely subtitled. That is, they speak four languages: English, French, German and Italian too - a step short and exhilarating, regularly worn in our local version. This dubbing may seem an insignificant detail, but I believe it is not trivial, since the multiplicity of languages \u200b\u200bin the script is an aesthetically important. The Italian version, the only one I've seen so far in full and that I can write clearly identifies English as the language "base", and it does coincide with the Italian, the problem is that some scenes that are not in the original version in English are dubbed in Italian, however, miserably distorted the spirit the film.

That said, I go with the first point: I do not think it makes much sense to speak of "quoting" the cinema of Tarantino. I'm not even certain that the word citation fits completely in our case: the way in which QT works references to the history of cinema or the rest of human knowledge is not exactly the meaning usually given to ' use of the quotation. I'm thinking of the simple gift, the vulgar display of erudition, but also to the instrumental to a former prestige in order to give greater luster to its creation. Basically I think that these uses are outside the intentions of the director, and I wonder: a citation, to be considered as such, needs to force recognition? Let us assume that the answer is yes. In that case we should also admit that it requires a relative isolation within the text: in other words, the quote seems to good old common sense - whatever that is - easily recognizable and distinct from any of its companions are in the same henhouse.

But what happens in Inglourious Basterds and around the QT film, perhaps for the first time in the history of cinema? That quotes, if you still want to call them, are so numerous and close together - even to each other - to be indistinguishable from each other and their surroundings. In short, the history of cinema, Tarantino then ever before him, began to close in on itself. And he did so so decided it can no longer go back to being what it was before: that a line, maybe not straight, but continued to proceed, including tear and impact of all kinds, in one sense. This line QT has given a new trend, apparently regressive: that of a spiral centered on nothing. At the center of that maelstrom, in the heart of the QT film appearance and common sense want is the absolute vacuum: no effect, neither moral nor hope in the films of Quentin. Nothing. Apparently, only an accumulation of obsessive copying, reflections, dialogues rooms and free from any "truth" or verisimilitude (as damn funny). The Last Fine no longer exists in its place is an avalanche of trash taken from somewhere, a cathedral that will never consecrated because it was built with the remains of monuments too heterogeneous, even with the decomposed waste past. We want to find evidence of this in Inglourious Basterds ? There problem here is the criptotesti The Dirty Dozen and The Inglorious Bastards (Enzo G. Castellari latter of which appears in the film of QT with the role of an unnamed German official) here are the statements of QT on the same desire to create a "spaghetti western with iconography from World War II" (Wikipedia already has a rich voice on film), or all references to the German cinema of the Third Reich ... More ? In the sequence inside the cinema in Paris, the panoramic display a party in perfect Woody Allen style, while in the final shootout, there are a lot of shots from the final copy of Godfather III (not to mention the hilarious imitation of Marlon Brando by Brad Pitt, just before) ... I could of course continue to 'Finally, if only I owned a bit' over the so-called film culture. But the relevant fact is the ignorance of the average spectator and his inability to recognize all the quotes ( 'to ridàje ) present in the film is clear as day, and there is no need to be DAMS for teachers to understand that Inglourious Basterds is filled with references more or less obvious all'Altrove film. So what?

Then you can definitely believe this story as the author of QT nihilistic never anything else, a proponent of a cinema but exciting (or perhaps because) empty. There are good reasons to do it and we can not say that it is wrong, please. I myself have been convinced for some time, I spoke very badly about this blog, at the time of Death Proof .

But today, with a few grams of wisdom in Moreover, all this seems like a pile of crap. Who, like me, you are entrusted with a vision of cinema tarantino literally superficial - especially appreciate the cynicism and cruelty (and quotes) - you lost the best part. In fact, all films are Quentin film of love, a boundless love for the cinema and fiction. Moreover, and here I open another way, what is left apart from the fiction? If anyone still has faith in the "reality" and the "real" come forward, we are going to drink with them. A couple of vodka-martini before dinner can certainly not that much harm, in those conditions, because the reality, even if there was any need to specify it, is dead and buried. Pasolini knew better and Baudrillard, el'hanno seen before many others, now that this death is under the eyes of all, how many of us to want to recognize? I do not know and I do not care that much, I'm the only one who likes to go to the movies. So I close my parentheses and return to that wonderful film subject that gives the title to my post and that really could be the masterpiece of our dear Quentin.

If Tarantino had only a cynic and a fetishist could possess all the technical skill? Maybe, but maybe not. I'll bet on the second hypothesis: if your vision is so simple, you do not need all that talent to do your job as a director, perhaps not even like to use. Then you need basic tools for your primary message (see, for example, the film director Eli Roth, film showing a wealth of directorial technique that is the wealth of technique shown by actor Eli Roth actor Inglourious Basterds ) . It 's just a personal opinion, however, who has seen the film can not fail to remember the sequence of the basement. It 's almost entirely spoken in German, and Italian and subtitled in the original version. Again, subtitles. The latter are usually quite harmful against the narrative tension, but not in this case, obviously. That sequence is technically perfect from beginning to end, it would own the film, and is not looking so tense that you can do is keep your eyes glued to the screen, you can not do anything almost, like blinking, move the chair or remember you're watching a movie. You can only watch and read the subtitles. Pure bravado, after all: it seems that the director wants to say: "I can keep you glued to the chair motionless with a scene in German, with subtitles." Very.

Tuto to reiterate that this QT with the camera is what he wants, even if there are no more doubts. Are already sufficient for its ability to camouflage certificate: Inglourious Basterds is a European film by an American author to the core, as madly in love with cinema overseas. Just compare it with other masterpieces of QT as Reservoir Dogs or Jackie Brown , USA works from the first frame to last, and not talking about actors or roles: the most fascinating parts of the film those in which the director is away from their culture of origin and then immersed in this atmosphere film for him totally "other" (I think the scene of the conversation between Hans and Shosanna, but also the parody of the German propaganda films in Pride of a Nation ).

Love, in short: Inglourious Basterds it oozes from almost every frame. It 's a slow film, composed almost entirely of dialogues and conversations: the slow and sweet in the director takes the time to follow his beloved characters and observe them closely, almost touches the faces (note the abundance of shots foreground, not at all then the last part of the film is titled "Revenge of the giant face"). This lovingly follow the characters to tell the truth is found in all the previous films, but love is a colder, more distant, perhaps more precisely American. It 's the most mature film to date QT? I do not know and I do not care, it is certain that it is more labor different than ours, perhaps because it has a history all its own: just remember that it took ten years to write the script (refer again Wikipedia for more tasty details.)

can not be Finally, forget another important gift of Inglourious Basterds . Tarantino has always worked with wonderful actors, it is undeniable, but their skills in the economy of the movies almost always finished in second place, perhaps because of the density of the script or dell'ingombrante stature of the author. Not that the recognition of Tarantino here is less, indeed, but we must recognize that acting Christoph Waltz (awarded Best Actor at Cannes 2009) is indeed formidable. The character of Hans Landa, who Tarantino said to be the best he ever created is perfect and memorable, the director also said that he feared Landa's role was impossible to play, but Waltz (which reads well in English and in French as well as his native German) has the "return" the film, to the delight of us and his audience. The cast also shine Mélanie Laurent (Shosanna, Revenge in person), Diane Kruger and Michael Fassbender.

I can not say more: welcome back Quentin, glorious, magnificent bastard!

What Do You Call A Monthly Anniversary

Shabla


Another session at the PRS, Shabla on the beat, Ask & Gue P. on the mic! Much love to the guys, it's a pressrewind thang baby!

Diy Wedding Guest Book Ideas

A faster life @ work ...


Gue Pequeno & homies laugh in the studio with the microphone for the final touches to the new mixtape-bomb: "Fast Life 2"
Keep your hoes in check;)
Photo courtesy of DJ Shabla

Famous Person With Turner's Syndrome

Caneda: "The Price"


New unreleased track dumplings aka Neda, a lyrical madness spitting directly on the OST of "Lord of the Rings." Only he could do it! Worth listening to check it out!


http://www.myspace.com/caneda16k

Black Hair Salons Winnipeg

New Maxi B.

Metrostars team never stops! Maxi B's new album "Envy" is already out, mixed & mastered @ Pressrewindstudios. I recommend it highly, while below a minipromo official!

Four Forces Act On A Hot-air Balloon

In the studio with Jack the Smoker

The album is coming, over and burned, in the meantime enjoy these moments in the studio along with Roc B aka Dj Shocked that produced one of the bombs LP!
pressrewind It's a thang, baby!

Second Hand Smoke Equals Cigarette

New works

I know I know I have not updated the blog but are now operational and I propose to you a little 'Made in output PressRewind!
Before the summer I turned a bit 'of work, mixing and mastering, including an emerging group of Sondrio that surely deserves your attention, Electrofants.
We link here the first single from the album "Scratch Music," supported the boys!

Bushnell Elite 4200 Vs Leupold Vxii

New stuff


Check it, has finally released the album C.dB. that contains the song "Math" produced by me, featuring TalibKweli and sorry if it is little;)) below the link is not official because of copyright and different but I cocks me fuck, download people!
http://www.limelinx.com/files/31c3035604114ffff8ee2dad52361c99

Earthquake Subwoofers How Good Are The

Winning is dominated the theme of the double: a reflection primarily, but also deformation. The film is divided chronologically into two already, and the youth of the relationship between Ida Dalser (Giovanna Mezzogiorno, good and intense as ever before) and Benito Mussolini (Filippo Timi, also excellent), and age of separation and loneliness. Stylistically, the first part has an almost dream-like pattern, reflecting the enchantment that Mussolini has on Ida: fascination, irrationality, falling in love, and photography dark and smoky and opaque Daniel Cyprus, often turning blue, is very effective in representing the bad magic that the future dictator exerts on the star. In the second hand, when Ida is abandoned and then interned in a mental hospital, the look of the film (and also of its main character) becomes more lucid, images are sharper but less saturated. Everything is more neutral, grayish.

There is then the contrast between the city, Milan (the film was actually filmed in Turin) and the province (Trento), and that between the two families of Mussolini (Ida Dalser on the one hand, Rachele Guidi other), but especially the frequent use of stock footage of the real Mussolini is another device for the creation of opposites: the "real" image Mussolini's first fiction in the reality of Fascism, in turn, is engaged in fiction film Bellocchio (based on events not completely cleared but the result of historical research, see http://it.wikipedia.org/ wiki / Ida_Dalser ) and contrasted the image of Benito Albino (always Filippo Timi) to turn a picture of a young father (Timi) ...

Here's the genius of the division of the Timi dual role of father and son, so the child becomes the mirror of his father, his first double-deformed imitation and then madness. And also the interpretation Mussolini's father is marked by hyperbole and distortion, and merciless mocking imitation of Mussolini's "official" and the mythology that the dictator had created around his figure. Even the permanence of Ida in various mental institutions where she was confined becomes a symbol: the woman is actually the only one who knew the truth about Mussolini and the hidden child, while all around her continue to deny reality and believe it crazy. She proudly polished, is one of the few people I know personally Mussolini: This also puts in a position to understand the nature of fascism, and thus be in conflict with its own system the terrible appearances. The madness has now infected the entire country and Ida, one of the few people bright and aware, is interned in a mental hospital.

short, it is difficult to escape from the labyrinth of mirrors Winning , but everything seems to suggest that the real Bellocchio's film is the personal story of Ida and Dalser Benito Albino Mussolini, nor the horrible disgrace made by the dictator in relation to their biological family: the story "small" and these people's personal history symbolizes "big" and miserable of a bigger family, the entire Italian population, fall into the crowds bewitching spell of Mussolini, deceived and betrayed, and then left to die just like Ida and Albino. And all this through the duplicity of the figure of Mussolini and fascism of all: a huge and terrible hoax, a deadly appearance in the bottom of which there are only madness and death.

Winning is a great movie, symbolic and full of humanity at the same time: the miracle which Marco Bellocchio, Italian director's largest in circulation, has now become accustomed, and yet after every movie still leaves the cinema hall as overwhelmed: by the sumptuous beauty of its images as the annihilating force of feelings and emotions told, you can not get rid of them, just like a spell.

Can You Sue If You Have Mold Symptoms

Jap & Paggio - Ill

I got to inaugurate the beginning of March in the new studio mixes classic design with a very well made by Jap and pages, rapper and beatmaker of Verona, assisted by altropianeta.com.L Boys' album "Ill Rap" is coming soon and I am attaching a preview with a couple of pieces to listen to.
Stay Tuned, PRS is rockin '!

http://www.zshare.net/audio/58598763045d4e4c/

Cute Volleyball Spandex

rap Coolio -

As I mentioned from now on I will post a series of dedicated sessions in the studio, with photos and preview the various lavori.Sono happy to be able to link the first official production output by PRS, a track for the new album by Coolio, I am attaching to download the version burned in mp3.Check it out!




You can listen to this link

http://www.zshare.net/audio/58527563615d88c8/

Elements Of Plot Alas, Babylon

new track It's Been a Long Time ...

Yes, the study is over a month or so abundant, why have not most had a second to update the blog with the completion of the work and the beginning of the sessions.
I come to you with this final session of the slam, the next event will begin with sessions and mix with the first samples!
Stay Tuned!
Bax

Lords here comes the big Yari, Yari also known as B.
Any comment on its superiority in the field is unnecessary ....

Here we are dealing with the first sound-absorbing panels

Pizza & cables

Dj T is the evergreen on the welder

... on the titolator

Here we have the legendary Goediman back in a double Ikea expedition. They call 'em friends ...

Here's the video of this traumatic experience:)

Finally, one last roundup of the panels that I have just finished applied in the recording room

The final touch, the patchbay ...

Bax we?

The first pictures of the royal!

What Happened To One Piece

Giulia Winning does not come out at night

Beautiful and moving the new film by Giuseppe Piccioni. The rivedrei now, tomorrow and the day after, and would always have something new to say. The theme is simple and intractable at the same time: the way in which people are in the world. It 'a non-judgmental gaze of the Pigeons, indeed, is full of something almost impossible to find nowadays, or the love for these people. Whoever they are, each has its own history, nobody should be thrown away or be condemned. Seem obviousness, written by me, but go to the cinema to see this beautiful film and you will find that there is nothing obvious in it: Julia does not go out at night has the magical gift of life as it is to join with the its dead spots, small deviations that change an entire life, the disappointments continue the search for something that may not even exist. Yet it is a perfect story, from which we can not remove even a moment.

What a story, and characters: everything is so unusual, airy, open ... How long have not seen a movie like this, small but very deep, so far from "having something to talk about" our, so-called cinema committed from morality, from the ugliness any other business of this country ... You do not choke, you breathe for once instead, in a large Italian film that could be anywhere, light years away from the province of mind of many other authors of our cinemas, good since we want.

Julia does not go out at night is the story of two prisoners who are part of the way along, without illusions. Yet one of his novels, lives, another of his passions: for this reason perhaps both are far away from the fullness of life. Each following their own inclinations, both believe (or pretend) to find the fullness in each other ... Who knows if it will not be in vain. Piccioni reminds us beautifully as I can not give life without pretense and without acting, but not without passion: these conditions can also lose everything, but otherwise can not be said to have - even for a short time - lived.

In terms of "technical" the film is all to admire, starting with recitations. I've never seen, for example, a Valerio Mastandrea (who is a true actor and full) so good, restrained and sad: I would say that this is now his best interpretation. Valeria Golino, who do not usually excites me, here's an intensity never seen before, and at the same time the control of their means of expression, also good evidence of Sonia Bergamasco, always a bit 'over the top here but very believable. If we want to mention the beautiful soundtrack Baustelle, or photography by Luca Bigazzi, impeccable as usual ... Needless to continue, you should see the movie, if you still want a bit 'of good.

Chicken Provencal Wiki

The Millionaire

Well done, Danny. Slumdog Millionaire is a film totally guessed it, without being just a good "product." Whether it's a technically perfect film and is intended to make lots of money have recognized the 8 Oscar awarded film, director, adapted screenplay, editing, cinematography (Anthony Dod Mantle), sound, soundtrack, original song. All these awards are well deserved, no doubt, but they are also, as always happens for the Academy Awards, more fuel for the economic success of the film. If then, recently, the Academy awards also really beautiful film, such as this the unreachable No Country For Old Men last year, this can mean many things, including perhaps the fact that viewers' tastes and expectations with respect to American movies have made a quantum leap, but it is a discourse that does not interest me much.

Returning to the film, the mark of authorial Boyle is clearly recognized: in violence, cynicism in exasperation, in constant desire to hit the audience in disgust or by highlighting the darker sides of human nature. At this point the film confirms the Scottish author's nihilistic vision, although one could argue that Boyle has lost a little 'bite than among friends Shallow Grave, Trainspotting or The Beach, actually Slumdog Millionaire continue and complete the work begun with the previous films. In the works cited is present in greater or lesser extent the issue of appearance, and the mass deception that the company puts into action against the individual: the pop culture of globalized communication, are RESPONSIBLE mirages that the protagonists Boyle's film of the chase at all costs, ready to commit the worst atrocities in order to meet the needs induced by the collective contemporary (in the case of drugs, easy wealth, fame, success, escape). In the latter film, deception is the final and definitive love, ' happy ending at all costs. No coincidence that the film ends with a surreal scene from the musical, on the rails of a railway station, and with the caption "It is written" that simulates the correct answer to a question in the original style, in fact, "Who Wants to Be a Millionaire" . For this film, Boyle chose the specific characteristics of the imaginary today, elements hopelessly pop, and mixed them to perfection: quizzes on TV, the gain easy, rampant individualism, the frantic search of love, the Third World becomes the first ... And went to shoot the film in Bollywood (duet with Loveleen Tandan), which represents the strength of the new world emerging, but also a focal point of creation of the imagination in the world. And who knows how many quotes from Bollywood movies are in Slumdog Millionaire ... In short, despite the appearance of nature that characterized most of his life, the film is fiction about fiction, not reality. It 's a movie that says everything about our time, because the fiction in our time and apparently have already swallowed the reality, and this is perhaps the most hard punch in the stomach we have ever received from Danny Boyle.

Ring Bearer Suits Cornflower

Appaloosa

Ed Harris and Viggo Mortensen performing together in a film directed by Harris. That is, two of my favorite actors - one of whom is also a good director - in a western. There was hope very well, at least in terms of fun, and instead Appaloosa left me cold. I'm not disappointed, but I have not even had a great time to see it. Come to think, though, I do not think this is an accident. In other words, if a film can make plans, I believe that the Appaloosa is not fun .

Ed Harris, again, is a good director, I also suspect that absolutely did not care anything about money or success. This is his second film as a writer (he also wrote the screenplay with Robert Knott, adapting a novel by Robert Parker) after the beautiful Pollock dating back to 2000. But Harris is first and foremost an actor, and when they want to make the author does (well), or no, this could already be suspected that the film does not aspire to be a blockbuster.

Appaloosa is actually a work cold and anti-spectacular. The settings and costumes are western styles, but the basic canons of the genre not stop there. Look at the shootings and duels: there is a minimum of tension in them, no suspense. Just someone kills someone else, and even of surprise. There are these two characters that live in symbiosis Beckett "professional" for years, but talking only the bare minimum, but that ultimately will separate suddenly without batting an eyelid. The recitation of Harris, Mortensen, Renée Zellweger and Jeremy Irons is forcibly expressionless, without pathos. The landscapes, usually a strong point of the western genre, there are great, but bleak and desolate ... I could go on and on with evidence and detail, but there is enough to suspect that Appaloosa is actually a portrait of desolation in reports of human feelings, in other words, are nothing more than a weight problem. Better not have any, to be lone rangers, rather than go and get mixed up in friendship or love, which are worse than quicksand, when one believes, will remain under humiliated and dejected, disappointed, cheated, in substance will always lose something. And so the form of cold and seemingly bleak film is actually the perfect mirror of his substance. Of course, then, is a film that leaves cold: what matters is that it actually Appaloosa is a good movie, and Ed Harris is always a big one.

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Frost / Nixon

Beautiful and exciting the last Ron Howard's work, half artisan half "big name" Hollywood industry. I do not know at the bottom of his filmography, but what I've seen has always struck me and left something to think about: Apollo 13, Ransom , the unforgettable A Beautiful Mind, Cinderella Man . Great performances, technically impeccable, joyfully mainstream. Yet in these films can be found from time to time a great psychological study, an unusual narrative choice, loving philology in the reconstruction period, above all, a questioning of the dominant ideology of the American dream is basically about: Howard from the exact center of the production system, persists in trying to be the author, and especially to show the false notes - often tragic - that characterize the society and history of your country (including the director loves to bring cinema events that actually happened, "true stories ").

latter Frost / Nixon , very nice, goes to the full path traced by the author with the films mentioned: it is a work technically impeccable, exciting and rhythmic, the subject is given by the famous interview with British journalist David Frost with Richard Nixon in 1977, Peter Morgan took out three years ago a play, starring Frank Langella and Michael Sheen, and the same Morgan, Langella and Sheen are found respectively in the film as a writer and actors. The script of course works perfectly, and the two actors are very good, especially Langella in the role of "Tricky Dick."

But Howard, as I said, not satisfied with the great show. His film is not at all comforting fact: there is a deep bitterness in the film, and a kind of tired distrust everyone and everything is perceived from the first scene. The clash between the former American president and the British journalist, now, is the exact opposite of a battle between good and evil, for no one will be saved from the moral point of view. Nixon, well aware of his misdeeds, just look for the latest interview opportunity to save face, while Frost, far from being a champion of justice or ethics, is acting only for personal success. On the other hand, you say, why should it be otherwise? These people are asked to be good professionals, to do their job well: it will be just the professionalism and the utmost faith in their work that Frost will lead to the triumph and the defeat of Nixon. Yet in the film there is really no winner: even the upright James Reston Jr. (Sam Rockwell), a sworn enemy of the former president will be forced to tighten up, disgusted, the hand of the latter, remains a word just given and reneging on its requirements more rooted. At the end of Nixon, for which the film shows at the bottom that they have no pity, will be defeated by his fellow, a person like him indifferent to morality and ethics: get out and destroyed not only the image of a former president but that of power in general, and perhaps even the entire America.

Brazillian Waxing Toronto

Someone to run

Mishehu Larutz Ito is the original title of this beautiful Israeli film, released in 2006 but only arrived in Italy late last year. Adapted from the novel by David Grossman (who appears for a few seconds to half of the film), shot in digital Oded Davidoff, the film tells the story of a chase in Jerusalem today. There are two narrative lines, two actors, great stories, exciting and compelling: it starts with a phone call in the middle of the night, and from there the mysterious elements are multiplied, taking the viewer bound well to the story.

Other major elements of interest in the film are the places and faces, among them stands out for its skill and beauty of the young protagonist Bar Belfer, one of the first, an unusual Jerusalem, far from the stereotypes on TV war and violence. A modern city, alive and pulsing, which takes root, as Obviously, even crime, in this case linked to drug trafficking. The short film is an exploration of a surface not far removed from contemporary Israel as it appears in the arena of mass communication, and the underworld is shown with exploited youth do not look "documentary", but raw and delicate at the same time, while you savor the daily life of a country for a time away from the war, in which residents can devote to each his own personal pursuit of happiness, even - perhaps especially - the wrong road. Neorealism almost magical, full of tenderness and light.

Motorcycle Engine Based Sand Rails Plans Built

The Curious Case of Benjamin Button The Reader

's not a masterpiece, the last David Fincher film, it is a great story, sometimes a bit 'pathetic, a bit more' surface, but almost always effective. For a story like this (the subject is taken from short story by F. Scott Fitzgerald, The Curious Case of Benjamin Button , but the film departs from them almost completely), with many aspects of morbid and abnormal, Fincher seems to me the ideal director. In fact, his style, which is very recognizable, can be heard in this work, however it is totally different from the previous films by the director of Denver. It 's his taste for the dark, the inexorable, and especially the "deformed" to bring this work to other, as in the penultimate Zodiac , even in Benjamin Button you feel a deep melancholy, resulting in my opinion on two factors: the perception of their own destiny against by the players and the inability to avoid this fate. It 'sad, perhaps, the figure not only this movie but all the work of David Fincher.

Onesta and nothing more than the acting of Brad Pitt, Fincher's favorite actor (this is their third film together, after the cult Seven and Fight Club ), Cate Blanchett, as always, is flawless, and the His presence adds a lot of the film, then delighted to find Julia Ormond in a marginal role, but well kept (the Ormond is an actress in my opinion great, the potential is still largely untapped). Eric Roth, the great Hollywood writer, author of many fine films and especially on long duration ( The Insider, Ali , Munich, The Good Shepherd and others) is very good at his job at this, and was not at all easy, nice choice to associate the concept of "time reversed" the disaster of Hurricane Katrina in New Orleans (a moment in American history when the world went upside down, in fact). Finally, praise to photography, Claudio Miranda.