Buy the Ticket, Take the Ride: Hunter S. Thompson on Film (2006)

Director:
Tom Thurman

Biografski dokumentarac o legendarnom piscu i novinaru, Hunteru S. Thompsonu (1937–2005), koga su zvali i Good Doctor, a sa posebnim osvrtom na igrane filmove koji su rađeni prema njegovim delima. Hunter je najpoznatijem po svom čuvenom romanu "Fear and Loathing in Las Vegas" po kom je '98 Terry Gilliam snimio istoimeni igrani film u kom je Huntera igrao Johnny Depp, i koji je ubrzo prerastao u okultno ostvarenje, a takođe je po njegovoj gistro-biografiji urađen i Where the Buffalo Roam (1980) koji neodoljivo podseća u nekim segmentima na 'Fear and Loathing' samo što Huntera ovde igra Bill Murray.

Pored toga, Hunter je začetnik tzv. 'Gonzo novinarstva', reportažnog stila gde novinari totalno uvuku sebe u priču, i to do tog stepena, da upravo oni postaju glavni likovi svojih priča/reportaža. Ovaj fazon sam čak i ja još podavno počeo da guram, doduše na malo drugačiji način.

Pored pisanja bio je poznat i po bahatom korišćenju psihodeličnih droga (što pozdravljam), ali i alkohola (ne pozdravljam), a bio je i veliki fan revolvera i uopšte svih vrsta vatrenog oružija. Godine 2005. Hunter je izvršio samoubistvo, baš kao što je i obećao, i samim tim ušao u legendu, jer ko što sam ranije pisao, samoubistvo je najuzvišeniji čin umetnosti.

O Hunterovoj kompleksnoj ličnosti govore nam njegovi najbliži, znači njegova supruga a sada udovica, zatim mnogobrojni prijatelji među kojima je i Sean Penn, pa onda njegovi drugari iz detinjstva, zatim ljudi koju su igrali u ova dva filma, i naravno njegovi fanatični fanovi na čelu sa Johnny Deppom, a sve to je ispresecano insertima iz filmova.

Pored ovog dokumentarca o Hunteru, postavio sam još dva, Breakfast with Hunter (2003), i sigurno najjači Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008). Eto, pa uživajte ako je to uopšte moguće u ova šugava vremena (kako za koga). (77 min)


IMDb

"Buy The Ticket, Take The Ride: Hunter S. Thompson On Film is a personal, intimate look at Thompson with a special emphasis on his Hollywood relationships. It captures the legacy and "gonzo" spirit of one of this century's most notorious figures - a man whose life and work regularly intersected with some of the biggest names in the world of film, politics, journalism and sports. The documentary features interviews with Hunter's inner circle of family and friends, but the thrust of the film is focused on the manner in which his life often overlapped with numerous Hollywood celebrities who became his close friends, such as Johnny Depp and Benicio Del Toro (Fear and Loathing in Las Vegas); Bill Murray (Where the Buffalo Roam); Sean Penn, John Cusack, Hunter's wife Anita, son Juan, former Senators George McGovern and Gary Hart, Tom Wolfe, William F. Buckley, Gary Busey, Harry Dean Stanton, Ralph Steadman and others."

DOWNLOAD :

http://www.megaupload.com/?d=GZCV6RR6

Where the Buffalo Roam (1980)

Director:
Art Linson

"The deranged adventures of Gonzo journalist Hunter Thompson and his attorney Oscar Acosta, referred to in the movie as "Laslow". Thompson attempts to cover the Super Bowl and the 1972 Presidential election in his typical drug-crazed state, but it continually and comically sidetracked by his even more twisted friend Laslow. Allegedly based on actual events."

IMDb




Download :
http://rapidshare.com/files/22468581/Where_The_Buffalo_Roam__1980_.part1.rar
http://rapidshare.com/files/22469374/Where_The_Buffalo_Roam__1980_.part2.rar
http://rapidshare.com/files/22470112/Where_The_Buffalo_Roam__1980_.part3.rar
http://rapidshare.com/files/22470990/Where_The_Buffalo_Roam__1980_.part4.rar
http://rapidshare.com/files/22472033/Where_The_Buffalo_Roam__1980_.part5.rar
http://rapidshare.com/files/22472871/Where_The_Buffalo_Roam__1980_.part6.rar
http://rapidshare.com/files/22473742/Where_The_Buffalo_Roam__1980_.part7.rar

Cease to Exist (2007)

Director:
Ryan Oksenberg

Kako sam autor navodi, ovaj dokumentarac se bavi 'muzičkom' pozadinom Tate-LaBianca ubistava, dakle, kako je Čarli Menson uopšte stupio u kontakt sa bubnjarem Beach Boysa, Dennisom Wilsonom, te preko njega došao do producenta Terija Melčera, a svi znamo, ili će pre biti da ne znamo, da je imanje Romana Polanskog na koje je atakovano tog leta '69, ranije pripadalo upravo Melčeru, tako da Helter Skelter teorija tužioca Vincenta Bugliosia ovde definitivno pada u vodu i javljaju se neki mnogo realniji motivi, dakle sujeta i želja za osvetom. Ali šta se zaista dogodilo ?

Naime, Dennis Wilson je jednog lepog majskog dana '68, vozeći se uz obalu okeana, pokupio 2 mlade stoperke, te ih povezao kući i sa njima imao seks, no ispostavilo se da su te dve cure bile Patricia Krenwinkel i nedavno upokojena Susan Atkins. Posle seksualnih bahanalija Wilson je napustio kuću i otišao do studija gde su Beach Boys snimali svoj album "Friends", tako da se vratio tek posle ponoći, da bi u svojoj kući zatekao gomilu mladih ljudi na čelu sa čudnovatom kosmatom pojavom niskog rasta. Naravno, radilo se o Čarliju koji je ubrzo napravio dil sa inače veoma poročnim Wilsonom, da njegov gang ostane da živi kod njega u kući, da bukvalno sve dele kao u komuni, a zauzvrat će dobiti free seks kad god poželi i naravno narkotike. Wilson je pristao i Čarli i ekipa su se uselili.

Wilsonu se jako dopalo kako Čarli svira, i uopšte su mu se svidele njegove autorske pesme, te ga je poveo u studio da snimi demo. Ispostavilo se da je za miksetom tog dana sedeo i Terry Melcher, inače sin glumice Doris Day, i uspešan muzički producent, koji je producirao albume bendovima kao što su The Byrds. Ovde možemo da čujemo i snimak te prve pesme i zaista profi zvuči, Čarli svira akustaru i peva ko mator, i ostajem pri stanovištu da bi Čarli provereno postao velika zvezda da su mu kojim slučajem objavili album ili barem singl za početak, jer njegovi tekstovi su bili nešto totalno drugačije, do tad nečuveno, pa i sama muzika je bila neuobičajena. Jedini problem sa Čarlijem je bio u tome što nije umeo da se ponaša profesionalno, te je bio jako težak za saradnju.

Posle nekog vremena logično dolazi do svađe sa Wilsonom, gde Wilson na jedvite jade uspeva da izbaci Čarlija i 'Familiju' iz svoje kuće u kojoj su proveli više meseci i napravili mu štetu od 100.000 dolara, plus mu slupali par skupocenih kola. Povrh toga u februaru '69 Beach Boys snimaju Čarlijevu pesmu pod nazivom 'Cease to Exist', za koju je Čarli uradio i tekst i muziku, ali u tripu da je pesma isuviše kontraverzna oni menjaju tekst pa i sam naziv numere u "Never learn not to love" i izdaju je na njihovom "20/20" albumu iz '69, ali ne potpisuju Čarlija kao autora, što je samo dolilo ulje na vatru. U dokumentarcu možemo da čujemo i Čarlijev original i Beach Boys verziju te možemo da uporedimo koja je bolja. I Čarlija nije tolko pogodilo to što ga nisu potpisali, nego što su prepravili tekst, jer je imao jasnu poruku koju je hteo da prenese tom pesmom.

U isto vreme Čarli dolazi u sukob i sa Melčerom, ali tu se priče ne poklapaju, Čarli tvrdi da mu je Melčer ponudio ugovor za ploču, a Melčer tvrdi skroz suprotno. Naravno, Čarli tu pobesni na Melčera, i kreće da mu ozbiljno preti pa i da mu banjava na gajbu, a gajba je, pogađate, Cielo Drive 10050. Na kraju, Melčer zaplašen Čarlijevim pretnjama, seli se iz Cielo Drive-a i izdaje kuću Romanu Polanskom, a ostalo je istorija.

Još da pojasnim odakle dolazi svo to nasilje koje je usledilo, naime u zatvoru vladaju malo drugačija pravila nego na slobodi, kada te neko u zatvoru ispali pa makar i da ti je samo nešto obećao, da ti je dao reč, ti moraš da mu uzvratiš, jer ako ne uzvratiš ispadaš pička i gubiš ugled tj. reputaciju, i najviše zbog tako nekih 'sitnica' kao što su cigare i slično i dolazi do velikog broja sukoba po zatvorima. Naravno na slobodi je totalno drugi fazon, na slobodi reč ne mora ništa da znači, i ljudi to ne doživljavaju tako, ali Čarli koji je bukvalno odrastao po zatvorima, i ceo svoj dotadašnji život proveo u institucijama tog karaktera, nije znao drugačije da se ponaša, dok na drugu stranu Melčer jednostavno nije imao to iskustvo, i olako je prešao preko zadate reči, samo o tome se radi.

O svemu ovom govore tadašnji članovi Beach Boysa, Teri Melčer, zatim bivši članovi Čarlijeve družine, pa i sam Čarli, mada su njegovi intervjui ovde prikazani zapravo inserti iz drugih dokumentaraca i TV emisija gde priča o Melčerovoj ispali. (84 min)



IMDB

"Cease To Exist explores the music motive to the Manson murders and uncovers Charles Manson's relationship with Beach Boys' drummer Dennis Wilson and record producer Terry Melcher. Wilson met Charlie through two hitchhikers whom he had picked up, and for the next six months Charlie and his 'Family' lived in Wilson's home. It was here that Wilson introduced Manson to Terry Melcher and the two became fascinated with Manson's musical abilities, prophetic image and band of hedonistic young worshipers. Manson prevailed upon his new celebrity friends to produce an album that would send other Artist's packing. After a few wrecked cars, medical expenses and $100,000 lost, Dennis kicked Manson and the family off his property. On top of that, The Beach Boy's took a song Manson wrote for them entitled "Cease to Exist" and changed the lyrics, the title, and did not credit a furious Manson. After Wilson and Melcher allegedly reneged on a record deal, Manson sought revenge. After numerous threats, Melcher moved out of his and rented it to Roman Polanski and Sharon Tate. So what is now known as the Manson Family murders actually has little to do with the popular 'Helter Skelter' motive; but rather, the 'music motive.' The infamous murders on August 9th 1969, can be perceived as a warning sign sent by Manson and Co. to Wilson and Melcher."

DOWNLOAD :
https://rapidshare.com/files/4112058165/Cease%20to%20exist%20(2007).part1.rar

https://rapidshare.com/files/2679544393/Cease%20to%20exist%20(2007).part2.rar

The Men Who Made the Movies: Alfred Hitchcock (1973)

Director:
Richard Schickel

Biografski dokumentarac o Hičkoku, s'tim što se pored naratora koji nam pojašnjava detalje iz njegovih najbitnijih filmova, ovde pojavljuje i sam Hičkok, koji priča o svojim strahovima, o filmovima, i otkriva nam neke jako zanimljive tajne svog zanata. Tu su i inserti iz njegovih najbitnijih radova, počevši od nemog filma The Lodger koji je snimljen još davne '27, pa preko Shadow of a Doubt (1943), Notorious (1946), North by Northwest (1959), pa sve do genijalnih horrora poput Psycho (1960) i The Birds (1963), zaključno sa Frenzy (1972). Dakle, skroz ozbiljan uvid u stvaralaštvo jednog od najbitnijih reditelja 20-og veka. (58 min)


IMDb

"A look at Alfred Hitchcock's films. The Master of Suspense himself, who is interviewed extensively here, shares stories including his deep-seated fear of policemen, elaborates on the difference between shock and suspense, defines the meaning of "MacGuffin," and discusses his use of storyboarding in designing a film. Clips from many of his greatest films (including "North by Northwest", "Shadow of a Doubt", "The Birds", and the legendary shower scene from "Psycho") illustrate his points, often to Hitchcock's own voice-over observations, with narrator Cliff Robertson offering other critical insights."

Download :
http://www.megaupload.com/?d=LBKOYA4L

The Power of Nightmares: The Rise of the Politics of Fear (2004)

Director:
Adam Curtis

Adam Curtis, britanski autor koga sam totalno zapostavio, i jedan od njegovih najčuvenijih radova o manipulaciji na globalnom nivou. (3 x 60 min)

IMDb

"The Power of Nightmares, subtitled The Rise of the Politics of Fear, is a BBC documentary film series, written and produced by Adam Curtis. The series consists of three one-hour films, consisting mostly of a montage of archive footage with Curtis’s narration, which were first broadcast in the United Kingdom in late 2004 and have been subsequently aired in multiple countries and shown in several film festivals, including the 2005 Cannes Film Festival.

In May 2005, Adam Curtis was quoted as saying that 94% of e-mails to the BBC in response to the film were supportive. Entertainment Weekly described the film as “a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions” while Variety called it “a superb, eye-opening and often absurdly funny deconstruction of the myths and realities of global terrorism.” The San Francisco Chronicle had an equally enthusiastic view of the film and likened it to “a brilliant piece in the Atlantic Monthly that’s (thankfully) come to cinematic life.” The New York Times had a more skeptical review, unimpressed by efforts to compare attacks on Bill Clinton by American conservatives with Islamist revolutionary activities and claiming “its understanding of politics, geo- and national, can seem curiously thin.”

The film was awarded a BAFTA in the category of “Best Factual Series” in 2005. Additional awards were given by the Director’s Guild of Great Britain and the Royal Television Society."





Part 1 - Baby It's Cold Outside :
http://rapidshare.com/files/151741823/BBC.The.Power.of.Nightmares.1.of.3.myTVblog.org.avi.001
http://rapidshare.com/files/151741870/BBC.The.Power.of.Nightmares.1.of.3.myTVblog.org.avi.002
http://rapidshare.com/files/151741855/BBC.The.Power.of.Nightmares.1.of.3.myTVblog.org.avi.003
http://rapidshare.com/files/151741526/BBC.The.Power.of.Nightmares.1.of.3.myTVblog.org.avi.004

Part 2 - The Phantom Victory :
http://rapidshare.com/files/151741835/BBC.The.Power.of.Nightmares.2.of.3.myTVblog.org.avi.001
http://rapidshare.com/files/151741858/BBC.The.Power.of.Nightmares.2.of.3.myTVblog.org.avi.002
http://rapidshare.com/files/151741831/BBC.The.Power.of.Nightmares.2.of.3.myTVblog.org.avi.003
http://rapidshare.com/files/151741548/BBC.The.Power.of.Nightmares.2.of.3.myTVblog.org.avi.004

Part 3 - The Shadows in the Cave :
http://rapidshare.com/files/151741853/BBC.The.Power.of.Nightmares.3.of.3.myTVblog.org.avi.001
http://rapidshare.com/files/151741801/BBC.The.Power.of.Nightmares.3.of.3.myTVblog.org.avi.002
http://rapidshare.com/files/151741880/BBC.The.Power.of.Nightmares.3.of.3.myTVblog.org.avi.003
http://rapidshare.com/files/151741539/BBC.The.Power.of.Nightmares.3.of.3.myTVblog.org.avi.004

Great Bolshy Yarblockos! Making 'A Clockwork Orange' (2007)

Director:
Gary Leva

Kako je Kjubrik budžio okultni A Clockwork Orange (1971), sa posebnim osvrtom na to kako je maltretirao Malcolma McDowella koji je igrao glavnu ulogu, i kako je došao na sve te genijalne ideje o futurističkom društvu i 'veselom nasilju' kojim film obiluje. Što se tiče upadanja na gajbe bogatašima, maltretiranja i ubijanja, to je definitivno mazno od deda Čarlija i njegovog ganga, koji su to izvalili samo 2 godine ranije, tako da se očigledno vidi taj uticaj. (28 min)


IMDb

"In this documentary, we follow Stanely Kubrick as he creates one of the most controversial films of all time, one that retains its power to shock audiences, even after 35 years. At the time of its release, A Clockwork Orange created a firestorm of controversy. Through interviews with collaborators, filmmakers, screenwriters and authors, we come to appreciate Stanley Kubrick as an artist unafraid to take risks and court controversy, committed unwaveringly to his single-minded goal: the highest artistic quality of his films."

Download :
http://rapidshare.com/files/286207272/Docu.GBYar-CiNEPHILE.part1.rar
http://rapidshare.com/files/286216884/Docu.GBYar-CiNEPHILE.part2.rar
http://rapidshare.com/files/286225952/Docu.GBYar-CiNEPHILE.part3.rar
http://rapidshare.com/files/286235084/Docu.GBYar-CiNEPHILE.part4.rar
http://rapidshare.com/files/286244013/Docu.GBYar-CiNEPHILE.part5.rar
http://rapidshare.com/files/286245574/Docu.GBYar-CiNEPHILE.part6.rar

Laibach - Das Spiel Ist Aus (2004) CDS

"Das Spiel Ist Aus promoting both WAT and the newer Laibach Anthems though it is presented in a new remix form. The difference is quite noticeable and the general pace and intensity of the song has increased. Milan's vocal part has been filtered and certain other elements have been made more obvious or altered in some way; overall it's a step in the right direction as the original was possibly a bit too laid back. One minor issue concerning the rather bland background vocals, there's no obvious improvement; I had always felt it is one of the weaker elements of a rather good track. The CD single features no less than seven versions, amongst the remixes the original WAT version and a live performance."

Single: Das Spiel Ist Aus

Release Date: 13th September 2004

1. Das Spiel Ist Aus (Remix)
2. Das Spiel Ist Aus (Album Version)
3. Das Spiel Ist Aus (Ouroborots Mix)
4. Das Spiel Ist Aus (DJ Bizzy Mix)
5. Das Spiel Ist Aus (Ouroborots Instrumental Mix)
6. Das Spiel Ist Aus (Live)
7. Das Spiel Ist Aus (Alternate Album Version)

DOWNLOAD RS

Stupidity (2003)

Director:
Albert Nerenberg

Svi primećujemo svakoga dana razne gluposti svuda oko sebe, ali da li znamo šta ta reč zapravo znači, koja je definicija gluposti ? Na to i na još mnoga pitanja vezana za glupost odgovara ovaj kanadski dokumentarac. Ljudi prosto vole da gledaju kako se drugi blamiraju, to ih na neki način teši i uljuljkuje, tako da otalen dolaze te silne emisije poput Jackassa, Velikog Brata i sličnih. U ovom dokumentarcu možemo da vidimo mnoge primere najsurovijih gluposti. No prvo treba utvrditi koji je najmanji zajednički činilac za glupost ? Šta je moron, a šta idiot ? Tu autor dolazi do svetski poznatog glumca Adama Sendlera, ali da li je Sendler zaista glup ili se samo pravi ?

Glupost je zabavna, glupostima se smejemo, uostalom i sami često pravimo gluposti. Ovaj film se takođe bavi nastankom IQ testa, koga su naučnici izumeli da bi mogli da izmere ko je imbecil, ko idiot a ko moron i slično, dakle, nije ih zanimalo ko je natprosečno inteligentan, ko je genije, nego baš suprotno. Problem sa IQ testom je što on može da izmeri npr. da si natprosečno inteligentan, ali ne može da izmeri tvoju socijalnu inteligenciju i emotivnu inteligenciju, tako da čovek praktično može da bude čak i genije po IQ testu ali da se i dalje jako glupo ponaša, i da loše prolazi u životu. Dakle čak i IQ test je glupost u neku ruku. Ja nažalost nisam završio nikakav fakultet, a jedva sam i gimnaziju prošo, i imam veliki problem sa tim jer se osećam inferiorno, ali ne inferiorno u smislu što nemam diplomu, nego zbog toga što imam jako mali fond reči u odnosu na moje drugare koji su pohodili fakultete, te često ne mogu da se izrazim na pravi način, i to me jako, jako nervira. I nisam ja toliko glup koliko sam ekstremno lenj, nezainteresovan za učenje nezanimljivih stvari, i kolko nemam volje za bilo šta, ali mu na kraju to dođe na isto, jer kad se podvuče crta to je to, čista glupost. I ja pravim gluposti na dnevnoj razini, često uhvatim sebe kako sam krenuo da pravim step sok, i umesto da sam poneo flašu, ja ponesem čašu, e sad, o čemu se tu zapravo radi ? Samo o nerazmišljanju, o totalnoj odsutnosti, a čovek koji ne razmišlja, koji ne korisiti mozak iako ga ima je automatski glup, i to mnogo gluplji od onog čoveka kome mozak baš i nije jača strana, jer ovaj drugi ga nema pa ga nema, a ovaj ima al' ko da ga nema. I uvek sam bio daleko bolji u pisanoj formi, dok usmeno nisam mogo al' bukvalno ništa da uradim, i evo sad da me neko navata da mu ispričam ovo što sam napisao ja ne bi' mogo, bez zajebacije. I iako je ovaj tekst jako kratak, ja na taj način jednostavno ne funkcionišem, dakle, moja socijalna inteligencija je ispodprosečna, na nivou morona ako ne i niže.

Tu imamo još odličan primer Klintona, koji je javno pred novinarima slagao da nije imao odnose sa Monikom Levinski, iako je mogao sasvim jasno da predpostavi da će pre ili kasnije istina izaći na videlo. Naravno, najveći moron iz te priče je Džordž Buš čiji ispadi su bili svakodnevni. Isto je zanimljiva činjenica da ljudi obično nazivaju druge ljude glupima, imbecilima i slično, samo iz razloga da bi oni ispali pametniji. E sad, razlog zbog koga glupost izgleda toliko zanimljivo je u tome što inteligencija veoma često i ne izgleda baš najpametnije. Ajnštajn je rekao svojevremeno da su samo dve stvari beskonačne, univerzum i ljudska glupost, ali da nije baš najsigurniji što se tiče univerzuma. Dakle, rat je glupost, nasilje je glupost, religija je notorna glupost, politika takođe, rimejkovi filmova su glupost, dakle glupost je svuda oko nas i neuništiva je, tj. mogla bi biti uništena samo ukoliko bi došlo do totalnog istrebljenja ljudskog nakota sa planete Zemlje, i čini mi se da polako ali sigurno idemo ka tome. Neznanje definitivno jeste blagoslov. Jako zanimljiv, zabavan i edukativan dokumentarac. (70 min)


IMDb

"Stupidity is an action-packed comic exploration of the issue of willful stupidity in the modern world. Stupidity sets out to determine whether our culture is hooked on deliberate ignorance as a strategy for success. From Adam Sandler to George W. Bush, from the IQ test to TV programming, to the origins of the word moron, Stupidity examines the “dumbing down” of contemporary culture. Stupidity embarks on an exhaustive search into its meaning, and the implications of a culture that is obsessed and saturated with stupefying culture. Stupidity careens at warp speed through sound bites on topics from television news and reality TV shows, to Internet sites and popular films. Featuring opinions and comments from some of today’s most recognizable figures, cultural critics, authors and academics, including John Cleese, Noam Chomsky, Selma Hayek and Bill Maher, Stupidity reveals that, despite our culture’s extensive access to knowledge and information, humans continue to choose stupidity."

DOWNLOAD :

http://www.megaupload.com/?d=E8X0IXII

Bob Dylan - The Other Side Of The Mirror (2007)

Bob Dylan Live sa Newport Folk festivala iz '63, '64 i '65 godine, znači radi se o najjačem akustičarskom periodu njegovog stvaralaštva, koji najviše volim, i zapravo samo to i slušam kada je Dylan u pitanju, no već sam pisao o tome. Iako baš matori, ovo su skroz odlični snimci, možda i najbolji Dylanovi LIVE snimci iz tog perioda, uostalom ripovano je sa DVD-a koji je izašao 2007. Dylanu na nekim pesmicama pomaže i Joan Baez svojim predivnim glasom, a tu je i PPM trio. Nadam se da ćete uživati bar upola ko ja jer ovo je TA muzika, jednostavna a savršena. Par pesama odavde možete naći i u video verziji u dokumentarcu Festival (1967).

"Matched only by the Beatles and Elvis Presley, Bob Dylan continues to captivate music and pop culture fans with a seemingly never-ending stream of new and old recordings, books, documentaries, feature films, and more. The Other Side of the Mirror - Live at Newport Folk Festival 1963-1965 is a worthy addition to the canon; whether this 83-minute compilation will serve to illuminate the Dylan myth or merely perpetuate it is open to question, but without a doubt there's plenty of fascinating material here. There are nearly 20 songs represented, covering three consecutive years of Dylan appearances at the famed Rhode Island festival. Some are from Dylan's daytime "workshops," others from his nighttime main stage performances. Some are complete, others oddly truncated. Some are terrific (like "Chimes of Freedom," 1964), others not so much (cf. the turgid "With God on Our Side" from '63, with Joan Baez adding shrill harmony). In any case, these were the years when Dylan assumed the mantle of "spokesman of a generation," whether he wanted it or not. We hear him evolving from the earnest young protest singer of '63 to the visionary artist of the following year who, with the astonishing torrent of rhymes, alliterations, symbols, and brilliant turns of phrase in "Chimes" and "Mr. Tambourine Man," turned the whole notion of songwriting on its ear. And, of course, we also hear Dylan's turn from acoustic to electric guitar, when he was joined onstage by members of the Paul Butterfield Blues Band (sans Butterfield himself) in 1965; only two songs from that legendary (and, at the time, infamous) gig are heard here, and four decades after the fact, neither "Maggie's Farm" nor "Like a Rolling Stone" is all that special, notwithstanding some searing solo work by guitarist Mike Bloomfield. This has to rank as a must-have for Dylanologists of every stripe."


The Other Side of the Mirror: Live at the Newport Folk Festival, 1963–1965

01 Intro/All I Really Wanna Do (1963) 02:50
02 North Country Blues (1963) 04:17
03 With God On Our Side (1963) 06:08
04 Talkin' World War 3 Blues (1963) 04:28
05 Who Killed Davey Moore? (1963) 03:26
06 Only A Pawn In This Game (1963) 03:56
07 Blowin' In The Wind (1963) 04:05
08 Mr. Tambourine Man (1964) 05:56
09 Johnny Cash/Joan Baez (1964) 01:34
10 It Ain't Me, Babe (1964) 02:17
11 Joan Baez Interview (1964) 01:02
12 With God On Our Side (1964) 01:24
13 Chimes Of Freedom (1964) 09:58
14 If You Gotta Go, Go Now (1965) 02:12
15 Love Minus Zero/No Limit (1965) 03:21
16 Idolized/Who Needs Him Anymore? (1965) 01:19
17 Rehearsal (1965) 01:09
18 Maggie's Farm (1965) 04:59
19 Like A Rolling Stone (1965) 06:33
20 Mr. Tambourine Man (1965) 05:23
21 It's All Over Now, Baby Blue (1965) 05:21
22 End Credits/Restless Farewell (1965) 01:33


TrackList:
All I Really Want To Do (7/24/1965) - afternoon workshop

1963
North Country Blues
With God On Our Side (with Joan Baez)
Talkin' World War III Blues
Who Killed Davey Moore?
Only A Pawn In Their Game
Blowin' In The Wind (with The Freedom Singers, Joan Baez, and Peter, Paul and Mary)

1964
Mr. Tambourine Man
Johnny Cash sings Don't Think Twice, It's All Right
Joan Baez sings Mary Hamilton as Bob Dylan
It Ain't Me, Babe (with Joan Baez)
With God On Our Side (with Joan Baez)
Chimes Of Freedom

1965
If You Gotta Go, Go Now
Love Minus Zero/No Limit
Maggie's Farm (electric)
Like A Rolling Stone (electric)
Mr. Tambourine Man
It's All Over Now, Baby Blue

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Festival (1967)

Director:
Murray Lerner

Dokumentarac o legendarnom Newport Folk Festivalu (Rhode Island), koji je definitivno obeležio 60-e godine prošlog veka, i pokrenuo američku folk scenu, te je doveo u sam vrh popularne muzike. Muzičari poput Pete Seegera, Bob Dylana, Joan Baez, Peter Paul and Mary, Johnny Casha i Judy Collins, tih godina postali su jako popularni međ' omladinom širom SAD, što je i te kako dodalo gasa, i ovaj do tad marginalni muzički pravac dovelo u fokus dešavanja na svetskoj muzičkoj sceni.

Ovde se nalaze video zapisi sa 4 festivala (1963-1966), ima dosta LIVE muzike ali tu su i intervjui sa nekim od muzičara, npr. jedan baš odličan sa Joan Baez, a tu je i publika, uglavnom sastavljena od mladih ljudi, i oni nam govore o svojim pogledima na ovaj muzički pravac, i protestne pesme koje su izbile u prvi plan zahvaljujući prvenstveno Dylanu.

Izdvojio bih samo par najjačih momenata, npr. kada 'Peter, Paul and Mary' izvode Dylanovu vanvremensku "The Times They Are a-Changin" gde Mary briljira, zapravo uopšte njen nastup ima neku svoju specifičnu draž, pa onda Joan Baez i Peter Yarrow sa "Go Tell Aunt Rhody" Woody Guthriea, gde Baezova baca par prejakih prijava, skroz onako spontano, kako samo ona to ume. Dakle, totalno genijalan festival, i to samo par godina pre Haight Ashbury-a i svog pozitivnog ludila koje je usledilo, zapravo ovo mu dođe ko neka prethodnica hipi revoluciji, videćete te face.

Još bi da pojasnim zašto ja ova akustičarska muzika toliko jaka. Mislim da se tu radi samo o toj jednostavnosti, jer bukvalno svako ko iole zna da svira gitaru može da se dovati akustare i da skine par pesmica od Dylana, pa i da napravi par svojih, što da ne, i da ih svira gde god mu volja, i u tome je najbitnija prednost akustične muzike nad električnom. Znači gde god da odeš možeš da poneseš gitaru, na planinu, na more, na selo, i svuda, i svi će to dobro prihvatiti jer tu nema nimalo agresije niti bilo kakvih negativnih akcija, i svako može to da sluša pa i da zapeva, pa čak i stariji ljudi koji inače ne bi prihvatili neki rok ili tako nešto. I ja prosto obožavam ovaj fazon, jer meni je ovakva muzika lek za dušu, a posebno kad se svira uz nežne ženske vokale poput Joan Baez, Judy Collins i Mary Travers. Znači, akustična gitare, bendžo, usna harmonika i da te bog vidi. (97 min)


http://www.imdb.com/title/tt0061658/

"Festival is sadly among the missing documents of an era in popular music that continues to fascinate. After a brief theatrical run in 1967, the film continued to show up at repertory theaters through the next decade. But with the advent of home video, problems with wider distribution arose, due to clearing music performance rights. Thus, any opportunity to see this film should be taken. Director Murray Lerner hung out at four Newport Folk Festivals (1963-1966), recording performances, interviews, and crowd shots. Editing all of this footage into less than 100 minutes of film inevitably meant compromises; there are no complete performances, the interviews are brief. But the feeling for an era remains, and the most electric moment (literally) involves that famous (or infamous) 1965 performance by Bob Dylan, when he plugged in his guitar and played with the Paul Butterfield Blues Band. Among the highlights are several involving veteran bluesmen like Son House breaking through to a mostly white, college-age crowd."

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