Nash the Slash (8 Albums+2 with FM)

Jeff Plewman (March 26, 1948 – May 12, 2014), better known by his stage name Nash the Slash, was a Canadian musician. A multi-instrumentalist, he was known primarily for playing electric violin and mandolin, as well as harmonica, keyboards, glockenspiel, and other instruments (sometimes described as "devices" on album notes.
Nash worked as a solo artist beginning in 1975; founding the progressive rock band FM in 1976. Soon after releasing the band's first album, Black Noise, in 1977, he left the band; resuming his solo career in 1978 (It was not until after Nash's departure that the album was widely promoted; eventually charting and receiving a gold record award. He rejoined FM from 1983 to 1996, concurrent with his solo work.
Nash's music covers an eclectic range, varying from instrumental—mood-setting music, to rock and pop music with vocals. In addition to giving concert performances, he has composed and performed soundtrack music for silent films, presenting these works live in movie theatres to accompany screenings of the films. Another venue for his music is in performances to accompany the viewing of paintings by surrealist painter Robert Vanderhorst, an audiovisual collaboration which took place in 1978, and again in 2004.

Nash has performed with surgical bandages covering his face since 1979. "During a gig at The Edge in the late '70s to raise awareness of the threat from the Three Mile Island disaster, he walked on stage wearing bandages dipped in phosphorus paint and exclaimed: 'Look, this is what happens to you.' The bandages became his trademark." Prior to 1979, Nash performed three times on TV Ontario's Nightmusic Concert, first as a solo artist (a live broadcast which was never re-aired), then with FM (Nash and Cameron Hawkins), and again as a solo artist. In all of these appearances Nash wore his typical black tuxedo, top hat, and dark sunglasses, but not his signature bandages. He was also photographed in this attire for a profile in the Toronto Star, published April 28, 1978.
In later years, he attempted to keep his true identity the subject of some speculation, although the Star profile of 1978 had already matter-of-factly revealed his real name. Nevertheless, in a 1981 interview with the UK magazine Smash Hits, Nash was questioned about his real name, and replied with "Nashville Thebodiah Slasher". By being coy about his name, some fans came to believe that the Nash persona was an alter-ego of Ben Mink, who replaced him as FM's violinist in 1978. This is a common misconception, but he has been photographed onstage with Mink.

The "Nash the Slash" persona was born of silent film, and the name "Nash the Slash" comes from that of a killer butler encountered by Laurel and Hardy in their first film Do Detectives Think? (1927), for which he has composed a soundtrack score.
Images of Nash the Slash are featured in a variety of murals painted by artist Jungle Ling, in Toronto. These images are located in the Leslieville district, next to a TD Bank at Queen St. East and Logan Avenue, and below Queen St. E. on Cannaught Ave., as part of a neighborhood beautification project conducted by the Toronto Transit Commission.
http://en.wikipedia.org/wiki/Nash_the_Slash
-
                 
-

Download the following albums via torrent from here

Bedside Companion
Dreams & Nightmares
Children of the Night (2000 CD Reissue)
Decomposing (at all 4 speeds)
And You Thought You Were Normal (2002 CD Reissue)
American Bandages (2002 CD Reissue)
The Million Year Picnic
Blind Windows

+2 albums with his band FM 

FM - Black Noise [1977][320 KBPS][Remastered] here

FM - Tonight 1987 [FLAC] here

Alain Resnais (1922–2014) + 8 movies

Alain Resnais (French: [alɛ̃ ʁɛnɛ]; 3 June 1922 – 1 March 2014) was a French film director whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1955), an influential documentary about the Nazi concentration camps.
Resnais began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers usually unconnected with the cinema, such as Marguerite Duras, Alain Robbe-Grillet and Jorge Semprún.
In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song.
His films frequently explored the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies.

Resnais was often linked with the group of French filmmakers who made their breakthrough as the New Wave or nouvelle vague in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films. He defined his own relationship by saying: "Although I was not fully part of the New Wave because of my age, there was some mutual sympathy and respect between myself and Rivette, Bazin, Demy, Truffaut... So I felt friendly with that team." He nevertheless acknowledged his debt to the New Wave because it created the conditions of production, and particularly the financial conditions, which allowed him to make a film like Hiroshima mon amour, his first feature film.
Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included Agnès Varda, Chris Marker, Jean Cayrol, Marguerite Duras and Alain Robbe-Grillet (with all of whom he collaborated in the earlier part of his career). They were distinguished by their interests in documentary, left-wing politics, and the literary experiments of the nouveau roman. At the same time, Resnais was also a devotee of popular culture. He owned the largest private collection of comic books in France and in 1962 became the vice president and co-founder of an International Society for Comic Books, Le Club des bandes dessinées, renamed two years later as Centre d'Études des Littératures d'Expression Graphique (CELEG). CELEG members also included Resnais' artistic collaborators Marker and Robbe-Grillet.
The importance of creative collaboration in Resnais's films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared "authorship" of the film he fully acknowledged. He was also known to treat the completed screenplay with great fidelity, to the extent that some of his screenwriters remarked on how closely the finished film realised their intentions.
Time and memory have regularly been identified as two of the principal themes of Resnais's work, at least in his earlier films. He however consistently tried to modify this view of his concerns: "I prefer to speak of the imaginary, or of consciousness. What interests me in the mind is that faculty we have to imagine what is going to happen in our heads, or to remember what has happened"^. He also described his films as an attempt, however imperfect, to approach the complexity of thought and its mechanism.
Another view of the evolution of Resnais's career saw him moving progressively away from a realistic treatment of 'big' subjects and overtly political themes towards films that are increasingly personal and playful. Resnais himself offered an explanation of this shift in terms of challenging what was the norm in film-making at the time: having made his early films when escapist cinema was predominant, he progressively felt the need to move away from exploration of social and political issues as that itself became almost the norm in contemporary cinema. Experimentation with narrative forms and genre conventions instead became a central focus of his films.
A frequent criticism of Resnais's films among English-language commentators has been that they are emotionally cold; that they are all about technique without grasp of character or subject, that his understanding of beauty is compromised by a lack of sensuousness, and that his seriousness of intent fails to communicate itself to audiences. Elsewhere however it is suggested that such views are partly based on a misreading of the films, especially his earlier ones, which has impeded an appreciation of the humour and irony which pervade his work; and other viewers have been able to make the connection between the film's form and its human dimension.
There is general agreement about Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape. For him it was also the basis for the communication of feeling: "There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator."
Another term which appeared in commentaries on Resnais throughout his career was "surrealism", from his documentary portrait of a library in Toute la mémoire du monde, through the dreamlike innovations of Marienbad, to the latterday playfulness of Les Herbes folles. Resnais himself traced a link to his teenage discovery of surrealism in the works of André Breton: "I hope that I always remain faithful to André Breton who refused to suppose that imaginary life was not a part of real life".
-
Je t’aime, je t’aime (1968)

imdb  torrent

Muriel ou le temps d’un retour (Muriel or The Time of Return,    1963)
imdb  torrent

L’Année dernière à Marienbad (Last Year at Marienbad, 1961)

imdb  torrent


Hiroshima mon amour (1959)

imdb  torrent

Providence

(1979)

imdb  torrent


La Guerre est finie (The War is Over, 1966)

imdb  torrent

Nuit et brouillard (Night and Fog, 1955)

imdb  torrent

On connait les chansons (Same Old Song, 1997)

imdb  torrent

Julian Cope's Krautrocksampler : One Head's Guide to the Great Kosmische Musik - 1968 Onwards (pdf)

Krautrocksampler: One Head's Guide to the Great Kosmische Musik - 1968 Onwards, written by musicologist and former The Teardrop Explodes singer, Julian Cope, is a book describing the underground music scene in Germany from 1968 through the 1970s. The book was first published in the United Kingdom in 1995 by Head Heritage, and was later translated into German and French. It has now been long out of print, with original copies changing hands for surprisingly large amounts of money. Despite this continued demand for Krautrocksampler, Cope has stated that the book will not be updated or reprinted, claiming that it contains some "factual errors and that he doesn't want to position himself as an expert, having met people he considers better informed."
Krautrocksampler gives a subjective and very animated account of the phenomenon of krautrock from the perspective of the author, who states: "I wrote this short history because of the way I feel about the music, that its supreme Magic & Power has lain Unrecognised for too long." This subjectivity has been criticised for presenting "too narrow" a view of the genre, with critics citing "the lack of an in-depth assessment of Agitation Free or Xhol Caravan" as examples.
The book comprises a narrative of the rock and roll culture in post-WWII West Germany, along with chapters focusing on individual major artists, including Faust, Tangerine Dream, Neu!, Amon Düül I and II, Ash Ra Tempel, Rolf-Ulrich Kaiser and the Cosmic Jokers and advocate of psychedelic drugs Timothy Leary. It also has an annotated appendix of "50 Kosmische Classics." Some chapters appeared previously in the UK music magazine The Wire and in the German music magazine Spex.
The cover is an edited version of the cover of Amon Düül II's album Yeti.
- 
download the pdf  part 1  part 2
-

Cross of Iron (1977)

Cross of Iron is a 1977 war film directed by Sam Peckinpah, featuring James Coburn, Maximilian Schell, James Mason and David Warner. The film is set on the Eastern Front in World War II during the Soviet's Caucasus operations against the Wehrmacht's Kuban bridgehead on the Taman Peninsula in late 1943.
The film focuses on the class conflict between a newly arrived, aristocratic Prussian officer who covets winning the Iron Cross and a cynical, battle-hardened infantry NCO. The screenplay was based on the 1956 novel The Willing Flesh by Willi Heinrich, a fictional work that may be loosely based on the true story of Johann Schwerdfeger.
Exteriors were shot on location in SFR Yugoslavia. They are notable for using a significant number of authentic tanks and equipment.
-
Cross of Iron, Sam Peckinpah's only war film, "is a forgotten masterpiece that has never really managed to overcome its troubled and expensive production." While Peckinpah had directed "many films about battles between groups of armed men...this was the first in which both sides wear uniforms."
In the opinion of Filmcritic.com, "Peckinpah indulges in endless combat scenes (this was his only war movie), which try the patience of viewers who came for the real story." Critical opinion has since improved and Cross of Iron was voted the greatest film ever made by Cinemag. Fans of the film include Quentin Tarantino, who used it as inspiration for Inglourious Basterds.
According to Variety magazine, "the production [from the book by Willi Heinrich] is well but conventionally cast, technically impressive, but ultimately violence-fixated.
Orson Welles, when he saw the film, cabled Peckinpah, praising the latter's film as 'the best war film he had seen about the ordinary enlisted man since All Quiet on the Western Front. Ian Johnston, reviewing the film's release on Blu-ray in June 2011, praised the film, saying Cross of Iron bears all the hallmarks of a real classic, which ranks with Peckinpah's finest work. As a poignant reminder of the sheer brutal obscenity of war, it has rarely been equalled."
At the time of its release, the film did poorly at the box-office in the US and received mixed reviews, its bleak, anti-war tone unable to get noticed amidst the hype of the release of the mega-popular Star Wars in the same year. However, it performed very well in Germany, earning the best box-office takings of any film released there since The Sound of Music and audiences and critics across Europe responded well to the film.
 http://en.wikipedia.org/wiki/Cross_of_iron
-
Download this movie via torrent from here
-

Blade Runner (1982) movie + o.s.t.

-

Blade Runner is a 1982 American dystopian science fiction thriller film directed by Ridley Scott and starring Harrison Ford, Rutger Hauer, Sean Young and Edward James Olmos. The screenplay, written by Hampton Fancher and David Peoples, is loosely based on the novel Do Androids Dream of Electric Sheep? by Philip K. Dick.
The film depicts a dystopian Los Angeles in November 2019 in which genetically engineered organic robots called replicants—visually indistinguishable from adult humans—are manufactured by the powerful Tyrell Corporation as well as by other "mega-corporations" around the world. Their use on Earth is banned and replicants are exclusively used for dangerous, menial or leisure work on off-world colonies. Replicants who defy the ban and return to Earth are hunted down and "retired" by police special operatives known as "Blade Runners". The plot focuses on a desperate group of recently escaped replicants hiding in Los Angeles and the burnt-out expert Blade Runner, Rick Deckard (Harrison Ford), who reluctantly agrees to take on one more assignment to hunt them down.
Blade Runner initially polarized critics: some were displeased with the pacing, while others enjoyed its thematic complexity. The film performed poorly in North American theaters but has since become a cult film. It has been hailed for its production design, depicting a "retrofitted" future, and remains a leading example of the neo-noir genre. It brought the work of Philip K. Dick to the attention of Hollywood and several later films were based on his work. Ridley Scott regards Blade Runner as "probably" his most complete and personal film. In 1993, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Seven versions of the film have been shown for various markets as a result of controversial changes made by film executives. A rushed Director's Cut was released in 1992 after a strong response to workprint screenings. This, in conjunction with its popularity as a video rental, made it one of the first films released on DVD, resulting in a basic disc with mediocre video and audio quality. In 2007, Warner Bros. released The Final Cut, a 25th anniversary digitally remastered version by Scott in select theaters, and subsequently on DVD, HD DVD, and Blu-ray Disc.
http://en.wikipedia.org/wiki/Blade_Runner
-

-
download  The Final Cut 25th anniversary digitally remastered version  via torrent from here
download the soundtrack via torrent from here 
download Vangelis - Blade Runner Trilogy, 25th Anniversary (320Kbps MP3) from here
-


 

6 YEARS BLOG#1(15 JANUARY 2008-15 JANUARY 2014)

-
THANK YOU FOR VISITING THIS BLOG!!!!

Marina Ginesta

Marina Ginestà (29 January 1919 – 6 January 2014) was a French veteran of the Spanish Civil War, who was a member of the Unified Socialist Youth. She became famous due to the photo taken by German Hans Gutmann (later Juan Guzmán) on the rooftop of Hotel Colón in Barcelona. It is one of the most iconic photographs of the Spanish Civil War.
 


Life
Ginestà was born in Toulouse, France, and moved to Barcelona with her parents at the age of 11. Ginestà later joined the Unified Socialist Party of Catalonia. As the war broke out, she served as a reporter and a translator assisting Mikhail Koltsov, a correspondent of the Soviet newspaper Pravda. Before the end of the war, Ginestà was wounded and evacuated to Montpellier. As France was occupied by the Nazis, she fled to the Dominican Republic where she married. In 1946 she was forced to leave the country because of the persecution of dictator Rafael Trujillo. In 1952 Ginestà married a Belgian diplomat and returned to Barcelona. She moved to Paris in the early 1970s. Marina Ginestà died there at the age of 94 in January 2014.

 

The photograph

The famous photograph was taken on 21 July 1936. It shows the 17-year-old girl posing with a rifle on the top of Hotel Colón. As she was a reporter, it was the only time Ginestà was carrying a gun. The picture was later seen in the cover of the book Las Trece Rosas by Carlos Fonseca.
-
http://en.wikipedia.org/wiki/Marina_Ginest%C3%A0 
"Muere en París Marina Ginestà, la miliciana que fue un icono de la Guerra Civil"
"Muere Marina Ginestà, la sonrisa que plantó cara al fascismo"