Dos para ver seguidos: Luca, documental sobre el líder de Sumo que reconstruye especialmente los años del músico antes de encallar en Argentina y 'Together/Juntos', documental sobre Andrea Prodan, el hermano de Luca, quien fue actor en films de Peter Greenaway y los Taviani y actualmente es músico y conductor de radio.

Fuente: Rolling Stone.

Durante el ciclo 'Noches de Música' en el marco del BAFICI, en el Teatro 25 de Mayo, Villa Urquiza,

Andrea Prodan fue la gran compañía que completó la velada. Andrea Prodan sigue luciéndose sin que la sombra de su hermano siquiera le moleste. Y si no me creen a mí no tienen más que acercarse a ver 'Luca', de Rodrigo Espina, o la inmensa' Together (Alone)', de Jannik Splidsboel, una road movie donde Andrea sale a las rutas del país siguiendo la estela que dejó su hermano.

fuente: Terra

Jannik Splidsboel’s creative documentary TOGETHER takes its starting point in the life of Andrea Prodan and conveys how the memories of his dead brother, the Argentine rock legend Luca Prodan never leaves him.TOGETHER portrays an unusual family with extraordinary destinies - it's filled with brotherhood, loss, denial and love. The director Jannik Splidsboel tells the tale in a sensitive and subtle way that makes us realize how important roles we all play in our own lives.TOGETHER is premiered at BAFICI, Buenos Aires.

Fuente:' Radiator', Denmark

Curiosidad

The year is 1944 and it was the first night that VI doodlebugs hit London. My Cousin, Geoffrey Cannon (17 years old), was on fire watch in the Majestic Cinema, while the other four of us were in the street outside. It was late in the evening. There had been no bombing or air raid sirens for three or four weeks (we were all waiting to be called up for military service). Suddenly, the sirens sounded and anti-aircraft guns opened up. My cousin, who was now on the roof of the Majestic Cinema, shouted down to us in the street below: “Come up here and see, we are shooting down planes right, left and centre!”
With that he came down, opened up the shutters and let us in. We went up to the roof through the projection room.
Sure enough you could see these planes! With their tails alight crashing to the ground, so we were cheering, little knowing they were flying bombs. I think it was two days later the government announced what they were. We didn’t cheer them after that.
My cousin Geoffrey Cannon was assistant projectionist at the cinema which has now been demolished. The other four of us lived very adjacent to the cinema in St Mark’s Road, Mitcham.

Dresden, before the bombs...

David Bowie God Knows I'm Good Lyrics
I was walking through the counters of a national concernAnd a cash machine was spitting by my shoulderAnd I saw the multitude of faces, honest, rich and cleanAs the merchandise exchanged and money roaredAnd a woman hot with worry slyly slipped a tin of stewing steakInto the paper bag at her sideAnd her face was white with fear in case her actionswere observedSo she closed her eyes to keep her conscience blindCryingGod knows I'm goodGod knows I'm goodGod knows I'm goodGod may look the other way todayGod knows I'm goodGod knows I'm goodGod knows I'm goodGod may look the other way todayThen she moved toward the exit clutching tightly at her paper bagPerspiration trickled down her foreheadAnd her heart it leapt inside her as the hand laid on her shoulderShe was led away bewildered and amazedThrough her deafened ears the cash machines were shrieking on the counterAs her escort asked her softly for her nameAnd a crowd of honest people rushed to help a tired old ladyWho had fainted to the whirling wooden floorCryingGod knows I'm goodGod knows I'm goodGod knows I'm goodSurely God won't look the other wayGod knows I'm goodGod knows I'm goodGod knows I'm goodSurely God won't look the other wayHey
Lyrics > David Bowie Lyrics > David Bowie God Knows I'm Good Lyrics

Viva Hillage!

by Chris Jones11 January 2007
Something of a musical polymath, the name of Steve Hillage will, to anyone under the age of 35, probably signify a world music producer (Rachid Taha) and ambient techno guru (System 7, The Orb etc.). It’s only recently, with the timely acceptance of anything labelled ‘prog’ that we’ve been able to focus on what he became famous for in the first place: as a guitar hero (or ‘guitar zero’ as he would have it). The reissue of his first four albums should finally seal his reputation on that score.
An original alumni of the second generation of ‘Canterbury’ bands (with Khan), Hillage came to prominence as psychedelic axe icon with Kevin Ayers and Daevid Allen’s Gong (interestingly both ex-Soft Machiners). It was during Gong’s immediate post-Allen period that he took his own material (along with most of his bandmates past and present) and produced Fish Rising. Taking Allen’s glissando technique and sprucing it up with his Hendrix-meets-Ravi Shankar stylings, Fish…, featuring both Dave Stewart (Khan and Hatfield And The North) and Lindsay Cooper (Henry Cow) sits neatly on the cusp of Canterbury jazz and far-out pot head pixie rock. Its bubbly suites remain wonderfully warm and floaty.
Success led Hillage to go fully solo (with partner Miquette Giraudy) and to go Stateside to meld his spiritual whimsies with those of another mystical maverick, Todd Rundgren. L must have looked like a perfect pairing on paper but was, perhaps, spoilt by Rundgren using his own band, Utopia for the sessions. Todd’s dense productions sound a little too cluttered for Hillage’s airy tones and no amount of remastering can stop the drums sounding like cardboard. Yet his “Lunar Musick Suite” has a cosmic grandeur while genius adoptions of songs by Donovan and George Harrison (“Hurdy Gurdy Man” and “It’s All Too Much”) meant that they became stage favourites for years to come.
Hillage returned the studio the following year with the aid of Tonto’s Expanding Headband’s synth maestro Malcolm Cecil and a stripped-down, funkier rhythm section of Joe Blocker and Reggie McBride. Motivation Radio’s lyrics were, by now, dripping with talk of UFOs and crystal vibrations while his grooves were approaching those of Cecil’s former boss, Stevie Wonder. Fans of Channel 4’s Friday Night Project (if there are such creatures) may recognize “Light In The Sky” as its theme tune. The guitar was as stratospheric as ever.
The first signs of Hillage’s desire to break out of guitar god mode followed in 1979 with his proto-ambient masterpiece Rainbow Dome Musik. Cited as an influence on the Orb, this two-track gem, with its temple bells, running water and arpeggiating sequencers still relaxes the parts that most ‘new age’ music can’t reach. It was proof positive that he had much more to offer. Long may he glid.

Gracias,Diego

Not exactly The Bonzo Dog Doodah Band....

Whatever happened in that Tunnel?

Chofer borracho, reporters zarpados.... los culpables.

La Ley absolve a MI5 y a la familia Real.

Oh,really?!

El Jueves,10 a las 19 horas ahí estaré (con Romapagana y más), en el marco del BAFICI

El Cine Teatro 25 de Mayo fue inaugurado en 1927, en un edificio diseñado en estilo ecléctico historicista por el arquitecto Máximo Gasparutti. En su escenario brillaron Carlos Gardel, Agustín Magaldi, Edmundo Rivero, Libertad Lamarque, Azucena Maizani y Bruno Gelber. En 1982, proyectó su última película y quedó abandonado. Pero los vecinos se movilizaron y en 2002 hasta frenaron una obra ilegal para convertirlo en bailanta. En 2004 el Gobierno porteño adquirió el edificio por $ 5.520.000. Las obras de restauración, consensuadas con los vecinos, costaron $ 15 millones.