Something Wicked This Way Comes / The Pussycat

Cinematografia #"I Could Use A Triangle"

1981

When, oh when necessity calls, I never can tell

Again: mammasaymammasaw!

Joker NOT Going Psycho

1
The Joker [holding a knife inside Gambol's mouth]: Wanna know how I got these scars? My father was....a drinker. And a fiend. And one night he goes off crazier than usual. Mommy gets the kitchen knife to defend herself. He doesn't like that. Not. One. Bit. So, me watching, he takes the knife to her, laughing while he does it. Turns to me and he says "Why so serious?" Comes at me with the knife,"Why so serious?" He sticks the blade in my mouth. "Let’s put a smile on that face!" And... Why so serious?
2

Gentleman at party: We're not intimidated by thugs!
The Joker [as he smacks his lips]: You know, you remind me of my father. [pulls out his switchblade and brings it to the Gentleman's mouth]
The Joker: I hated my father!
Rachel Dawes [off screen]: Okay, stop! [turns to face Rachel, tosses the Gentleman to his thugs and approaches Rachel, adjusting his hair with the knife]
The Joker: Well, hello, beautiful. You must be Harvey's squeeze, hmm? And you *are* beautiful. [hovers around the incredibly nervous Rachel]
The Joker: You look nervous. Is it the scars? You want to know how I got 'em? [grabs Rachel's head and positions the knife by her mouth]
The Joker: Come here. Hey! Look at me. So I had a wife, beautiful, like you, who tells me I worry too much. Who tells me I ought to smile more. Who gambles and gets in deep with the sharks... look at me! One day, they carve her face. And we have no money for surgeries. She can't take it. I just want to see her smile again, hmm? I just want her to know that I don't care about the scars. So... I stick a razor in my mouth and do this... [mimics slicing his mouth open with his tongue]
The Joker: ...to myself. And you know what? She can't stand the sight of me! She leaves. Now I see the funny side. Now I'm always smiling! [Rachel knees the Joker in the groin; he merely laughs it off]
The Joker: A little fight in you. I like that.
Batman: Then you're going to love me.
3
You're going to love
me.

The Joker: And here we...go! [Batman slams The Joker’s head on a table]

Darkcore Now

This Girl Is Dead (Dead Dead)

[Que se fôda (a voz).]

now you can try

try try to be a loved one

1

1

AnHeaven

com

Richie Hawtin - Decks, EFX & 909

Ratio - Early Blow [2:02]
G Flame & Mr. G - Dumped [1:03]
Richard Harvey - User (02) - B2 [1:11]
Richard Harvey - User (04) - A2 [1:04]
Richard Harvey - User (02) - A2 [1:24]
Richard Harvey - User (01) - B2 [1:16]
Richard Harvey - 001a - A2 [1:23]
Grain - B2 [1:09]
Santos Rodriguez - Road To Rio EP - B2 [0:36]
Grain - B1 [1:37]
Santos Rodriguez - Road To Rio EP - A2 [1:28]
Grain - A1 [0:47]
Richard Harvey - 002a - B1 [4:20]
Jeff Mills - Call Of The Wild [1:49]
Jeff Mills - L8 [0:39]
Jeff Mills - Scout [0:27]
Jeff Mills - L8 [0:13]
Richie Hawtin - Orange/Minus 1 [2:11]
Richie Hawtin - Orange/Minus 2 [1:16]
Richie Hawtin - Minus/Orange 2 [0:55]
Nitzer Ebb - Let Your Body Learn [2:11]
Richie Hawtin - Minus/Orange 1 [0:59]
Intermission - What The Hell Was That? [0:09]
Rob Jarvis - Killabite (002) - A1 [2:11]
Ben Sims - The Loops - A1 [2:56]
Jeff Mills - Alarms (First Mix) [1:16]
Surgeon - Force & Form (Surgeon Remake 2) [1:58]
Pacou - Zen [2:07]
Heiko Laux - Five [1:37]
Baby Ford & Eon - Dead Eye [2:23]
Savvas Ysatis - Club Soda [1:20]
Stewart Walker - It's Process Not Substance [0:31]
Maurizio - M5 [1:20]
Vladislav Delay - Neo [2:37]
Thor - Aliens Don't Boogie [2:51]
Marco Carola - Question (003) - B2 [2:59]
Quadrant - Kykeon [2:14]
Rhythm & Sound - Never Tell You (Version) [2:41]

REALLY MIXED by Richie Hawtin in use of the following equipment: Vestax PMC-50A Mixer, Vestax DCR1200PRO Isolator, Ensoniq DP/2 Effects Processor, Roland TR-909 Drum Machine, Technics SL-1200 Turntables, Stanton Trackmaster Cartridges, Roland CV Pedal.

Yours Stockhausen

I heard the piece Aphex Twin of Richard James carefully
I think it would be very helpful if he listens to my work "Song Of The Youth" which is electronic

music and a young boy's voice singing with himself because he would then immediately stop with

all these post-African repetitions and he would look for changing tempi and changing rhythms

and he would not allow to repeat any rhythm if it were [not] varied to some extent and if it did

not have a direction in its sequence of variations

Mental! I've heard that song before; I like it. I didn't agree with him. I
thought he should listen to a couple of tracks of mine: "Didgeridoo"
then he'd stop making abstract, random patterns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline. I know it was probably made in the 50s,but I've got plenty of wicked percussion records made in the 50s that are awesome to dance to. And they've got basslines. I could remix it: I don't know about making it better; I wouldn't want to make it into a dance version, but I could probably make it a bit more anally technical. But I'm sure he could these days, because tape is really slow. I used to do things like that with tape, but it does take forever, and I'd never do anything like that again with tape. Once you've got your computer sorted out, it pisses all over stuff like that, you can do stuff so fast. It has a different sound, but a bit more anal.
I haven't heard anything new by him; the last thing was a vocal record, Stimmung, and I didn't really like that. Would I take his comments to heart? The ideal thing would be to meet him in a room and have a wicked discussion. For all I know, he could be taking the piss. It's a bit hard to have a discussion with someone via other people.
I don't think I care about what he thinks. It is interesting, but it's disappointing, because you'd imagine he'd say that anyway. It wasn't anything surprising. I don't know anything about the guy, but I expected him to have that sort of attitude. Loops are good to dance to...
He should hang out with me and my mates: that would be a laugh. I'd be quite into having him around.

Gestalt Therapy

3)
estaba pensando sobreviviendo con mi sister en New Jersey,
ella me dijo que es una vida buena alla
bien rica bien chevere ['nice'], Y voy! Puñeta!

4)
Trout Mask Replica was released in late 1969, but it still sounds like a signal retrieved from another time and dimension. Put more prosaically, it was a quantum leap from its predecessor in terms of structure and musical complexity. The difference is simply explained: Beefheart had recently had a piano installed in The Magic Band's communal rented house in Cunoga Park, San Fernando Valley, and began using it to generate new material. As he had no piano technique to speak of, the resulting 'compositions' were characterised by relatively short lines, inevitably in different metres. It fell to John French to capture the moment and transcribe these keyboard studies for the rest of the group to play. Building these heterogeneous layers into a structure and then coming up with drum parts to bind them together nearly drove him "nuts", French admits. The process wasn't made any smoother thanks to Beefheart deciding on a whim that parts should be played backwards.
The Magic Band now consisted of French and [Jeff] Cotton (rechristened Drumbo and Antennae Jimmy Semens respectively), plus two new recruits, teenagers Bill Harkleroad (aka Zoot Horn Rollo) on guitar and Mark Boston (Rockette Morton) on bass, who thought they were joining a psychedelic blues outfit. In the months leading up to the Trout Mask sessions, the group lived and rehearsed in the house in Cunoga Park in conditions of grinding poverty, with French, at least, practising for up to 14 hours a day. The group members were definitely malnourished at times, although rumours (or allegations) circulated by the group that Boston lived on dog food and was too weak to leave his bed sound mischievous. Fist fights broke out and the atmosphere soured as Beefheart became increasingly tyrannical. "A comic book Mansonish gestalt therapy kinda thing," is how Harkleroad remembers the time. The first track that was written on the piano with clear illustration of how it could be translated into parts for other instruments (in this case two guitars) was the astringent chamber piece "Dali's Car". Often, Beefheart's initial ideas would run out of steam, and the group had to make aleatoric leaps to complete the journey from A to B. "You guys know what to do," was his prosaic response to queries about how to tie up a particular song's loose ends. Gary Lucas (Beefheart's manager and guitarist later in his career) likened his compositional process to throwing a pack of cards into the air, taking a snapshot as they fell, then getting the musicians to reproduce the frozen moment.
"I got musicians who had never played before," explained Beefheart. "To get them past the 'I' consciousness, you know? That endless 'me, me, me'. Or do-re-mi, whatever that stuff is". This claim is fanciful to say the least; French and Harkleroad could both read music, and all four Magic Band members had been playing for years. But it is true to say that these musicians had never before played music like that on Trout Mask Replica. Although it travels a long way from its sources, Trout Mask Replica is still infused with the essence of the blues. In isolation, some of the guitar lines aren't so different from the stranger articulations of Robert Johnson or Hubert Sumlin, Howling Wolf's guitarist. In addition, Beefheart threaded the music's tangled structure with strands of rock 'n' roll, avant garde jazz and poetry that looked back at the American cultural mythos through a kaleidoscope. When questioned about the record in 1991 he said that he had been "trying to break up the mind in many different directions, causing them not to be able to fixate".
The majority of the 28 tracks were put down in about six hours at Whitney Studios in Glendale, Los Angeles, with Frank Zappa producing. With time added on for the vocal tracks and mixing, the record was completed in just four days.

13)
assim na terra como no céu
the ghost of 'lectricity

14)
http://youtube.com/watch?v=JZEKoQdZoKs

Greatest Albums Of ALL Time (PlayOffs #1)

[Que se fôdam os iPods todos, mais o mp3.

Longa vida para o cónego Melo.]

Progressive Night Songs (Basslines)

ear dis side 2/1

no fun side 1/2

RadioHead Hour I

RadioHead Hour II

Best Yin Yang Progressive Music #1 (GGD)

01.qián _____O Criativo
02.kūn _____O Receptivo
03.zhūn _____A Dificuldade Inicial
04.mēng _____A Insensatez Juvenil
05.xû _____A Espera
06.sòng _____O Conflito
07.shī _____O Exército
08.bì _____A Solidariedade (A União)
09.xiǎo chù _____O Poder de Domar do Pequeno
10.lǚ _____A Trilha (A Conduta)
11.tài _____A Paz
12.pǐ _____A Estagnação
13.tóng rén _____A Comunidade com os Homens
14.dà yǒu _____Grandes Posses
15.qiān _____A Humildade (Modéstia)
16.yù _____O Entusiasmo
17.suí _____O Seguir
18.gǔ _____O Trabalho sobre o Deteriorado (O Trabalho sobre o Corrompido)
19.lín _____A Aproximação
20.guān _____A Contemplação
21.shì kè _____O Morder
22.bì _____A Graciosidade (Beleza)
23.bō _____A Desintegração
24.fù _____O Retorno (O Ponto de Mutação)
25.wú wàng _____A Inocência
26.dà chù _____O Poder de Domar do Grande
27.yí _____O Prover Alimento (As Bordas da Boca)
28. dàguò _____A Preponderância do Grande
29.kǎn _____O Abismal (A Água; O Insondável)
30.lí _____O Aderir (O Fogo)
31.xián _____A Influência (O Cortejar)
32.héng _____A Duração
33.dùn _____A Retirada
34.dà zhuàng_____O Poder do Grande
35.jìn _____O Progresso
36.míng yí _____O Obscurecimento da Luz
37.jiā rén _____A Família
38.kuí _____A Oposição
39.jiǎn _____O Obstáculo (A Obstrução)
40.jiě _____A Liberação
41.sǔn _____A Diminuição
42.yì _____O Aumento
43.guài _____A Determinação (O Irromper)
44.gòu _____Vir ao Encontro
45.cuì _____A Reunião
46.shēng _____A Ascensão
47.kùn _____A Opressão (A Exaustão)
48.jǐng _____O Poço
49.gé _____A Revolução
50.dǐng _____O Caldeirão
51.zhèn _____O Incitar (A Comoção; O Trovão)
52.gèn _____A Quietude (A Montanha)
53.jiàn _____O Desenvolvimento (O Progresso Gradual)
54.guī mèi _____A Jovem que se Casa
55.fēng _____A Abundância (A Plenitude)
56.lǚ _____O Viajante
57. xùn _____A Suavidade (O Penetrante; O Vento)
58.duì _____A Alegria (O Lago)
59.huàn _____A Dispersão (A Dissolução)
60. jié _____A Limitação
61.zhōng fú _____A Verdade Interior
62.xiǎo guò_____A Preponderância do Pequeno

63.jì jì _____Após a Conclusão

64.wèi jì _____Antes da Conclusão

Best Yin Yang Progressive Music #2 (Veste-me)

«Yang, ssssshhh...» No Reino da Hungria, por volta de 1468, Corvo Matias encomendou ao seu súbdito Hudleii H. Moru um tratado sobre o som. Uma certa tradição oral tântrica sempre testemunhou a favor da efectiva redacção desse tratado, mas até ontem o manuscrito original parecia irrecuperável, perdido. A partir de hoje é possível compreender que se tratou realmente do primeiro texto marxista que foi produzido no ano de 1468. O título completo é:
Acustik Femina Princeps Iwzenschäft - Oi Dee Ordir’ Magyiar, Pols
[Princípios da Ciência Acústica Feminina - Women Should Not Be Heard].



«Yang, do you wanna a piece of me?» Em geral, um vocoder (de 'voice' e 'coder') é um aparelho que permite 1) analisar e 2) sintetizar - mais ou menos homeomorficamente, no que respeita ao ponto 2) - os sons produzidos e devidamente gravados por qualquer mulher. Assim, todo o vocoder é uma materialização da máquina cuja construção Moru previu no seu "Acustik Femina Princeps Iwzenschäft - Oi Dee Ordir’ Magyiar, Pols", Livro IV ("Bai Pneuma Orgams Exs"). De facto, a tradição oral tântrica (a que mais acima se aludiu) ocultou sempre este ponto crucial para o marxismo - e, não fosse a cantora norte-americana Britney Spears, nenhuma indicação teria havido acerca das potencialidades essenciais de um vocoder: http://youtube.com/watch?v=89oS4SN4mNg.

Best Yin Yang Progressive Music #3 (The J.S.Bach)

O segundo texto marxista que foi produzido no ano de 1468 contém uma só exortação. A saber: «C'mon everybody: Yin!»

Entes Queridos #2 (Form-Combining)

(love you mia)

(yeah, I got more records than the K.G.B.)

Marxismo #2

1: o credo

2: o rationale

«The attitudes and beliefs that people take as being natural have been inherited through the social structure they're brought up in. An example is the man who believes that women are by definition more suited to working in the home than to making decisions. The belief in the natural puts all this outside of the realm of debate - and unless you have an awareness of your ideas as political manifestations, you won't believe you can change them.»

3.1: one gang of four

3.2: one talking head

What A Remix (Is (For))

Felix Da Housecat's Heavenly House Mix: Sinnerman