“There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.”
― Arthur C. Clarke
Roger Keith "Syd" Barrett (6 January 1946 – 7 July 2006) was an English singer, songwriter, and musician. As a founder member of the band Pink Floyd,
Barrett was the lead singer, guitarist and principal songwriter in its
early years and is credited with naming the band. He was ousted from
Pink Floyd in April 1968 after David Gilmour took over as their new guitarist, and was briefly hospitalised amid speculation of mental illness and his excessive use of psychedelic drugs.
Barrett was musically active for less than ten years. With Pink Floyd, he recorded four singles, their debut album (1967's The Piper at the Gates of Dawn), portions of their second album (1968's A Saucerful of Secrets), and several unreleased songs. Barrett began his solo career in 1969 with the single "Octopus" from his first solo album, The Madcap Laughs
(1970). The album was recorded over the course of a year with five
different producers and included two tracks featuring members of Soft Machine. He recorded and released one more album, Barrett (1970), produced by Gilmour and featuring contributions from former Pink Floyd bandmate Richard Wright.
Two years later, Barrett left the music industry, retired from public
life and strictly guarded his privacy until his death in 2006. In 1988, EMI released an album of unreleased tracks and outtakes, Opel, with Barrett's approval.
Barrett's innovative guitar work and exploration of experimental techniques such as dissonance, distortion and feedback
influenced many musicians. His vocals are noted for their strong
English accent. After leaving the music industry, Barrett continued
painting and dedicated himself to gardening. Pink Floyd recorded several
tributes to him, most notably the 1975 album Wish You Were Here, which includes the homage "Shine On You Crazy Diamond". wiki
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Mehmet Barış Manço (born Tosun Yusuf Mehmet Barış Manço; (2 January 1943 – 31 January 1999), known by his stage name Barış Manço, was a Turkishrock musician, singer, songwriter, composer, actor, television producer and show host. Beginning his musical career while attending Galatasaray High School, he was a pioneer of rock music in Turkey and one of the founders of the Anatolian rock
genre. Manço composed around 200 songs and is among the best-selling
and most awarded Turkish artists to date. Many of his songs were
translated into a variety of languages including English, French, Japanese, Greek, Italian, Bulgarian, Romanian, Persian, Hebrew, Urdu, Arabic, and German, among others. Through his TV program, 7'den 77'ye ("From 7 to 77"), Manço traveled the world and visited most countries on the globe. He remains one of the most popular public figures of Turkey. wiki
Drag Me to Hell is a 2009 American supernatural horror film co-written and directed by Sam Raimi. The plot, written with his older brother Ivan,
focuses on a loan officer, who, because she has to prove to her boss
that she can make the "hard decisions", chooses not to extend an elderly
woman's mortgage. In retaliation, the woman places a curse on the loan officer that, after three days of escalating torment, will plunge her into the depths of Hell to burn for eternity.
Raimi wrote Drag Me to Hell with his brother, Ivan, before working on the Spider-Man trilogy. The film premiered at the Cannes Film Festival and was released to critical acclaim. It was also a box office success, grossing over $90 million worldwide. Drag Me to Hell won the award for Best Horror Film at the 2009 Scream Awards and the 2010 Saturn Awards. wiki
A loan officer who evicts an old woman from her home
finds herself the recipient of a supernatural curse. Desperate, she
turns to a seer to try and save her soul, while evil forces work to push
her to a breaking point.
Michael Jackson's Journey from Motown to Off the Wall is a 2016 documentary film directed by Spike Lee, chronicling the rise of pop star Michael Jackson through the creation of his landmark solo album, Off the Wall. It is the second Michael Jackson-focused documentary Lee has made, after Bad 25 (2012). The film premiered on January 24, 2016 at the 2016 Sundance Film Festival. wiki
A look at the life of the late pop star Michael Jackson from his early
days at Motown Records to the release of his hit 1979 album, Off the
Wall. imdb
Off the Wall is the fifth studio album by American singer Michael Jackson, released on August 10, 1979 in the United States by Epic Records and internationally by CBS Records. It was his nineteenth album in total since Diana Ross Presents The Jackson 5 (1969), as well as his first album released through Epic Records, the label he would record on until his death roughly 30 years later. It was released following Jackson's critically well-received film performance in The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album.
Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of writers and performers, such as Paul McCartney, Stevie Wonder and Rod Temperton. Five singles were released from the album; three of the singles had music videos released. Jackson wrote three of the songs himself, including the number-one Grammy Award-winning single "Don't Stop 'Til You Get Enough".
The record was a departure from Jackson's previous work for Motown Records. Its lyrical themes on the record relate to escapism, liberation, loneliness, hedonism and romance. Several critics observed that Off the Wall was crafted from funk, disco, soft rock, Broadway and pop
ballads. Jackson received positive reviews for his vocal performance on
the record. The record gained critical acclaim and recognition, and won
the singer his first Grammy Award.
With Off the Wall, Jackson became the first solo artist to have four singles from the same album peak inside the top 10 of the Billboard Hot 100.
The album was an enormous commercial success; as of 2018, it is
certified eight times platinum in the United States and has reportedly
sold more than 20 million copies worldwide, making it one of the best selling albums of all time. On October 16, 2001, a special edition reissue of Off the Wall was released by Sony Records. It was re-released again on February 26, 2016.
Recent reviews by AllMusic and Blender have continued to praise Off the Wall for its appeal in the 21st century. Often considered one of the best disco albums of all time, the album was placed at number 68 on Rolling Stone list of "The 500 Greatest Albums of All Time" in 2003. The National Association of Recording Merchandisers listed it at number 80 on its list of the "Definitive 200 Albums of All Time". In 2008, Off the Wall was inducted into the Grammy Hall of Fame. wiki
Black Uhuru is a Jamaican reggae group formed in 1972, initially as Uhuru (Swahili
for 'freedom'). The group has undergone several line-up changes over
the years, with Derrick "Duckie" Simpson as the mainstay. They had their
most successful period in the 1980s, with their album Anthem winning the first ever Grammy Award for Best Reggae Album in1985.
The most successful of the second-generation reggae bands, Black Uhuru
maintained their high quality despite numerous personnel changes in
their 40-plus-year history. The first reggae band to win a Grammy award,
for their 1983 album Anthem, Black Uhuru was called "The most dynamic and progressive reggae act of the 1970s and early '80s."
With the addition of harmony singer Puma Jones,
an African-American woman who held a Master's degree from Columbia
University and was a former member of the female group Mama Africa in
1981, Black Uhuru entered their most commercially successful period. In addition to recording a memorable studio album, Red, and an exciting live album, Tear It Up, the group reached its peak with the release of Anthem
in 1983. Remixed and revised for release in the United States, the
remade version was re-released in Europe shortly afterwards. Although
the album received a Grammy, internal problems caused the band to
splinter the following year. Rose was replaced by soundalike Junior Reid. Jones and Reid remained with the band until 1989. Although Reid
left when visa problems prevented him from touring, Jones, who was
replaced by Olufunke, was forced to step down after being diagnosed with
cancer. She died on January 28, 1990, and was buried in her home state
of South Carolina. The original three members -- Simpson, Spencer, and Dennis -- reunited to record a trio album, Now, in 1990. They've continued to tour and perform in this configuration.
Castle Rock is an American psychological horroranthologyweb television series based on characters and settings from the stories of Stephen King that premiered on July 25, 2018 on Hulu. The series, created by Sam Shaw and Dustin Thomason and starring André Holland, Melanie Lynskey, Bill Skarsgård, Jane Levy, and Sissy Spacek, intertwines characters and themes from the fictional town of Castle Rock, Maine. On August 14, 2018, it was announced that the series had been renewed for a second season.
Based on the stories of Stephen King, the series will intertwine characters and themes from the fictional town of Castle Rock.
Susumu Yokota (横田 進 Yokota Susumu, or ススム・ヨコタ Susumu Yokota) was a Japanesecomposer. He released several albums under pseudonyms including Stevia, Ebi, and others.
Yokota was well known in the English-speaking independent music scene for his albums of experimental ambient music. He also had a long career as a house music DJ and released several highly regarded albums of house music.
The Kopanoi (Greek: "THE...ΚΟΠΑΝΟΙ") is a Greekcomedy film, released in 1987, written and directed by Giorgos Konstadinou, starring several famous Greek actors, including Konstadinou
himself, Markos Lezes, Yannis Vouros, Kostas Palios, and Giorgos
Petrohilos. Today the movie has reached cult classic status for its
memorable quotes and is regarded as the ultimate Greek comedy from the
1980s cinema period.
A motley crew of small-time crooks is assembled in order to plan and execute a big-time bank heist.
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Herrmann is closely associated with the director Alfred Hitchcock. He wrote the scores for seven Hitchcock films, from The Trouble with Harry (1955) to Marnie (1964), a period that included Vertigo, North by Northwest, and Psycho. He also was credited as sound consultant on The Birds (1963), as there was no actual music in the film as such, only electronically made bird sounds.
The film score for the remake of The Man Who Knew Too Much (1956) was composed by Herrmann, but two of the most significant pieces of music in the film — the song, "Que Sera, Sera (Whatever Will Be, Will Be)", and the Storm Clouds Cantata played in the Royal Albert Hall — are not by Herrmann (although he did re-orchestrate the cantata by Australian-born composer Arthur Benjamin written for the earlier Hitchcock film of the same name). However, this film did give Herrmann the opportunity for an on-screen appearance: he is the conductor of the London Symphony Orchestra in the Albert Hall scene.
Herrmann's most recognizable music is from another Hitchcock film, Psycho. Unusual for a thriller at the time, the score uses only the string section of the orchestra. The screeching violin
music heard during the famous shower scene (which Hitchcock originally
suggested have no music at all) is one of the most famous moments in
film score history. Hitchcock admitted at the time that Psycho heavily depended on the music for its tension and sense of pervading doom.
His score for Vertigo
(1958) is seen as just as masterful. In many of the key scenes
Hitchcock let Herrmann's score take center stage, a score whose
melodies, echoing the "Liebestod" from Richard Wagner's Tristan und Isolde, dramatically convey the main character's obsessive love for the woman he tries to shape into a long-dead, past love.
A notable feature of the Vertigo score is the ominous two-note
falling motif that opens the suite — it is a direct musical imitation
of the two notes sounded by the fog horns located at either side of the Golden Gate Bridge in San Francisco
(as heard from the San Francisco side of the bridge). This motif has
direct relevance to the film, since the horns can be clearly heard
sounding in just this manner at Fort Point, the spot where a key incident occurs involving the character played by Kim Novak.
However, according to Dan Auiler, author of Vertigo: The Making of a Hitchcock Classic, Herrmann deeply regretted being unable to conduct his composition for Vertigo. A musician's strike in America meant that it was actually conducted in England by Muir Mathieson.
Herrmann always personally conducted his own works and while he
considered the composition among his best works, he regarded it as a
missed opportunity.
In a question-and-answer session at George Eastman House
in October 1973, Herrmann stated that, unlike most film composers who
did not have any creative input into the style and tone of the score, he
insisted on creative control as a condition of accepting a scoring
assignment:
I have the final say, or I don’t do the music. The reason for insisting on this is simply, compared to Orson Welles,
a man of great musical culture, most other directors are just babes in
the woods. If you were to follow their taste, the music would be awful.
There are exceptions. I once did a film The Devil and Daniel Webster with a wonderful director William Dieterle.
He was also a man of great musical culture. And Hitchcock, you know, is
very sensitive; he leaves me alone. It depends on the person. But if I
have to take what a director says, I’d rather not do the film. I find
it’s impossible to work that way.
Herrmann stated that Hitchcock would invite him on to the production
of a film and, depending on his decision about the length of the music,
either expand or contract the scene. It was Hitchcock who asked Herrmann
for the "recognition scene" near the end of Vertigo (the scene in which James Stewart's character suddenly realizes Kim Novak's identity) to be played with music.[citation needed]
In 1963 Herrmann began writing original music for the CBS-TV anthology series, The Alfred Hitchcock Hour,
which was in its eighth season. Hitchcock himself served only as
advisor on the show, which he hosted, but Herrmann was again working
with former Mercury Theatre actor Norman Lloyd, co-producer (with Joan Harrison)
of the series. Herrmann scored 17 episodes (1963–1965) and, like much
of his work for CBS, the music was frequently reused for other programs.
Herrmann's relationship with Hitchcock came to an abrupt end when they disagreed over the score for Torn Curtain. Reportedly pressured by Universal executives, Hitchcock wanted a score that was more jazz- and pop-influenced. Hitchcock's biographer, Patrick McGilligan,
stated that Hitchcock was worried about becoming old-fashioned and felt
that Herrmann's music had to change with the times as well. Herrmann
initially accepted the offer, but then decided to score the film
according to his own ideas.[15]
Hitchcock listened to only the prelude
of the score before confronting Herrmann about the pop score. Herrmann,
equally incensed, bellowed, "Look, Hitch, you can't outjump your own
shadow. And you don't make pop pictures. What do you want with me? I
don't write pop music." Hitchcock unrelentingly insisted that Herrmann
change the score, violating Herrmann's general claim to the creative
control he had always maintained in their previous work together.
Herrmann then said, "Hitch, what's the use of my doing more with you? I
had a career before you, and I will afterwards."[16] The score was rejected and replaced with one by John Addison.
According to McGilligan, Herrmann later tried to reconcile with
Hitchcock, but Hitchcock refused to see him. Herrmann's widow Norma
Herrmann disputed this in a conversation with Günther Kögebehn for the
Bernard Herrmann Society in 2004:
I met Hitchcock very briefly. Everybody says they never spoke again. I
met him, it was cool, it was not a warm meeting. It was in Universal
Studios, this must be 69, 70, 71ish. And we were in Universal for some
other reason and Herrmann said: "See that tiny little office over there,
that’s Hitch. And that stupid little parking place. Hitch used to have
an empire with big offices and a big staff. Then they made it down to
half that size, then they made it to half that size … We are going over
to say hello." Actually [Herrmann] got a record; he was always intending
to give him a record he just made. But it wasn’t a film thing. It was
either Moby Dick or something of his concert pieces to take it
and give to Hitch. Peggy, Hitchcock’s secretary was there. Hitch came
out, Benny said: "I thought you’d like a copy of this." "How are you?"
etc. and he introduced me. And Hitchcock was cool, but they did meet.
They met, I was there. And when Herrmann came out again he said: “What a
great reduction in Hitch’s status."
In 2009, Norma Herrmann began to auction off her husband's personal collection on Bonhams.com,
adding more interesting details to the two men's relationship. While
Herrmann had brought Hitchcock a copy of his classical work after the
break-up, Hitchcock had given Herrmann a copy of his 1967 interview book
with François Truffaut, which he inscribed "To Benny with my fondest
wishes, Hitch."
"This is rather interesting, because it comes a year after Hitchcock had abruptly fired Herrmann from his work scoring Torn Curtain and indicates Hitchcock may have hoped to mend fences with Herrmann and have him score his next film, Topaz," reported Wellesnet, the Orson Welles website, in April 2009:
Of course, once Herrmann felt he had been wronged, he was not going
to say "yes" to Hitchcock unless he was courted and it seems unlikely
that Hitchcock would be willing to do that, although apparently
Hitchcock did ask Herrmann back to score his last film Family Plot right before Herrmann died. Herrmann, who had a full schedule of films planned for 1976, including DePalma’s Carrie, The Seven Per Cent Solution and Larry Cohen’s God Told Me To, was reportedly happy to be in a position to ignore Hitchcock’s reunion offer.[18]
Herrmann's unused score for Torn Curtain was commercially recorded after his death, initially by Elmer Bernstein
for his Film Music Collection subscription record label (reissued by
Warner Bros. Records), then in a fuller realisation of the original
score by Joel McNeely and the Royal Scottish National Orchestra and later, in a concert suite adapted by Christopher Palmer, by Esa-Pekka Salonen and the Los Angeles Philharmonic for Sony. Some of Herrmann's cues for Torn Curtain
were later post-synched to the final cut, where they showed how
remarkably attuned the composer was to the action, and how, arguably,
more effective his score could have been.
The Little Girl Who Lives Down the Lane is a 1976 cross-genre film directed by Nicolas Gessner and starring Jodie Foster, Martin Sheen, Alexis Smith, Mort Shuman, and Scott Jacoby. It was a co-production of Canada and France and written by Laird Koenig, based on his 1974 novel of the same title.
The plot focuses on 13-year-old Rynn Jacobs (Foster), a child whose
absent poet father and secretive behaviours prod the suspicions of her
conservative small-town Maine neighbours. The adaptation, originally
intended as a play, was filmed in Quebec
on a small budget. The production later became the subject of
controversy over reports that Foster had conflicts with producers over
the filming and inclusion of a nude scene, though a body double had been utilized. After a screening at the 1976 Cannes Film Festival, a court challenge was launched regarding distribution, and a general release followed in 1977.
Initially released to mixed reviews, with some critics finding the
murder mystery plot weak but Foster's performance more meritorious, the
film won two Saturn Awards, including Best Horror Film. It later obtained cult status,
with later critics positively reviewing Foster and the screenplay.
Writers and academics have interpreted it as a statement on children's rights and variously placed it in the thriller, horror, mystery or other genres. wiki imdb
- Download this movie via torrent from here
The Dark Side of the Moog is a Klaus Schulze collaboration with Pete Namlook, (joined also by Bill Laswell on volumes 4 to 7). Each title is a distortion of Pink Floyd song and album titles.
The Evolution of the Dark Side of the Moog is a compilation
album, containing excerpts from the first 8 volumes. The series was
announced as officially concluded with volume 10 when on 21 March 2005
at 14:52 CET,
Pete Namlook sold the Big Moog synthesizer that was the symbol of the
series. However, a volume 11 appeared on Namlook's website on 15 April
2008.
download all the moog series ( in flac quality ) via torrent from here
To the surprise of a whole world, the ex-Yugoslavian now Slovenian cult
band Laibach became the first rock group ever invited to perform in the
dictatorially repressed state of North Korea. Under the firm
guidance of an old fan turned director and cultural diplomat, Laibach
must deal with strict ideology, cultural differences and many
technological difficulties in order just to perform. Struggling to get
their songs through rigorous censorship, they race against the clock so
they can be unleashed on an audience never before exposed to alternative
rock'n'roll.
Herrmann conducting the orchestra in a scene from 
