“Ich stelle das göttliche Prinzip dar, die absolute Gleichheit, eine Gesellschaft, in der alle Menschen ihren Besitz teilen, in der es kein Arm und Reich und keine Rassen gibt. Überall, wo Menschen nach Gerechtigkeit und Rechtschaffenheit streben, dort bin ich”

Rev. Jim Jones

—————————————-

Heute, am 18.11.2008 jährt sich das Entsetzen

über 900 Tote, davon 250 ermordete Kinder und Jugendliche

In Memoriam

—————————————-

Hier eine sehr bedrückende Doku, nehmt euch die Zeit und schaut euch das an. Ein Lehrstück in Sachen Sekte, darüber, wie Menschen durch Verheissungen, Angstmache und charismatischen Wahnsinn zu Selbstmördern und Mördern werden. Der letzte Teil des Berichts geht bei mir nicht ohne Taschentücher…

Alle Teile: 1 2 3 4 5 6 7 8 9

Mehr erschütterndes Bildmaterial HIER

Sehr lesenswert: Der Massenmord von Jonestown

—————————————-

Bildquelle: ARTE, 29.1.2008 “Jonestown-Todeswahn einer Sekte” via

South Philly was the place to be last night as the Class of ‘78 got together and threw a party that will be remembered for a long, long time!

While we’re all still recovering from the festivities, here’s a slideshow of pictures from last night, courtesy of Denise D’Onofrio.

Here are more pictures, courtesy of Lou Mosca.

And Joe Gatta, a friend of the Class of 78, took these photos.

Joe Scipione is sharing these great snapshots.

Thanks to Marry Ann Mooney for another great set of photos.

(You may need to sign up for a free account to view some of these pictures.)

Quotes

“Our eternal progression, in large measure, is determined by our ability to evaluate and strengthen each area of weakness. What is the need of one may not necessarily be satisfied in the same way for another.”

1978    

Police
Esce “Outlandos d’amour”, primo disco dei Police.

1978    

Queen
Durante un concerto dei Queen a New York entrano in scena alcune ragazze nude in bicicletta (quelle ritratte anche all’interno dell’album “Jazz”).

1964    

Diana Krall
Nasce a Nanaimo, British Columbia, Canada, la cantante jazz-pop Diana Krall, poi anche signora (Elvis) Costello.

foto di Guido Massantini

Riorganizzare le rappresentazioni di Roma. Questo l’intento programmatico con cui Aaron Betsky intende permeare la mostra Uneternal City, interno alla sede dell’arsenale della biennale, prosecuzione ideale, almeno nelle idee del curatore, della mostra del 1978 Roma Interrotta. La seconda, organizzata da Piero Sartogo su richiesta dell’allora sindaco di Roma Giulio Carlo Argan, nasceva dall’intento di voler fare il punto della situazione sull’empasse architettonico in cui era impantanata la situazione romana, partendo dalla famosa pianta di Gian Battista Nolli del 1748, impressionante per la qualità descrittiva dei vuori. Allestita ai Mercati Traianei, la mostra, grazie soprattutto all’invito di architetti all’epoca sulla cresta dell’onda, fece parecchio parlare di sè, tanto da essere poi riproposta in altre capitali, anche oltre continente. Molto del materiale già presente nel ‘78, viene ora riproposto all’ingresso della sala contenente Uneternal City, ma la debolezza delle idee avanzate in questa sezione sembra quasi avere un’intenzione denigratoria ed ironica della stessa. Questo forse è una intenzione premeditata, dato che, se è vero che i progetti di Roma Interrotta concentravano il loro impegno in proposte mirate ad una reinterpretazione del centro storico (non a casa la maggior parte degli architetti invitati aderirono ,a loro tempo, piuttosto caldamente al post moderno), è altrettanto vero che gli architetti invitati da Betsky si sono instintivamente preoccupati di risolvere le problematiche delle aree interstiziali: tra la città e l’agro romano, tra la città ed i complessi abusivi, tra la città ed il Tevere, tra la città ed il paesaggio. Comunque fuori la città eterna, appunto. Ne deriva una visione di Roma che esonda Roma stessa, dato che la maggior parte dei progetti sono tutt’altro che site specific. Non stupisce infatti che un personaggio come Antonino Saggio, così legato culturalmente alla città, senta il bisogno di rinunciare ad una consulenza richiesta invece dalla direzione della Biennale, così, come lo stesso Saggio afferma nel numero de L’arca numero 240. D’altra parte, per completezza di informazione, c’è da aggiungere che lo stesso Saggio in realtà, proprio in virtù del suo profile teorico, sarebbe dovuto essere tra i primi estimatori della mostra, essendo com’è tra i promotori di un globalismo dell’architettura che stenta a decollare a Roma.

Eppure c’è da riconoscere una certa onestà intellettuale nel volersi dissociare da una idea ritenuta non appieno confacente alle proprie. Infatti in questa sede non è tanto il voler affermare la possibilità di una architettura condivisa, partecipata e parametrica, tipico concetto emergente, dagli anni ‘80 alla transarchitettura, per definire la presa di posizione di un metodo di certo esportabile, ma comunque adattabile ai diversi contesti, ma il nocciolo duro della questione si fa più denso nella questione di poter ipotizzare una Roma intecambiabile con una qualsiasi capitale mondiale, caratterizzata solamente dalle proprie emergenze. Si capisce dunque come sia stato quasi obligatoria la strada per i progettisti invitati quella di posizionarsi comunque al margine. Nonostante ciò, non me ne voglia Saggio, i risultati sono tutt’altro che scontati, anche se, ovviamente, non qualitativamente omogenei. Si passa quindi dalla proposta da parte del cinese MAD office, che propone una Super Star mobile China Town, esportabile ogni dove, tanto che da essere ugualmente galante tanto nella sua spettacolare veste plastica, tanto in quella cartacea dei render, immortalata nelle più disparate situazioni urbane, sino alla Rome Limited, di Big - Bjarke Ingles Group, pragmaticamente improponibile tentativo di ricostruire un margine urbano compatto ad una città caratterizzata da insanabili smagliature e dagli immensi cunei versi che si innestano sino al cuore di Roma. Entrambe questi due esempi sono paradigmatici di due approcci sicuramente ingenui, l’uno recuperando le esperienze delle varie città tipicamente utopiche del megastrutturalismo tipico dei gruppi gravitanti attorno gli Archigram, l’altro cercando una soluzione più o meno razionale, ma troppo poco centrata sulle peculiarità della città in contatto con il suo territorio. Paradossalmente, le proposte più originali sono proprio quelle non metodiche, ma progettuali, come quelle proposte da N!Studio o dal gruppo gravitante attorno Nemesi, di cui è utile far menzione di Luigi Valente, dove i primi propongono un modello urbano dichiaratamente estraneo alla realtà romana, volendo in qualche modo mettere in relazione l’abitato in una mente condivisa che tanto strizza l’occhio a L‘intelligenza collettiva di Pierre Lèvy. Progettare una Residentity, questo è il nome del progetto presentato, vuol dire infatti pensare ad una realtà urbana che sappia soddisfare i bisogni di un abitato il quale trascorre ormai sempre più tempo all’esterno delle proprie abitazioni. Sia che questo vuol dire fisicamente fuori di esse, che disincarnarsi per proiettarsi nella rete, e comunque in qualche senso essere fuori la propria abitazione. Concetto questo che può proiettare idealmente alle esperienze della cybertecture di Oosterhuis, almeno per temi toccati. Assolutamente distopico è invece Trancity, che sembra voler in qualche modo trattenere anche solo un lieve aggancio con la territorialità, posizionandosi ai bordi di un Tevere sostituibile con mille altri corsi, ma è questo un problema? Una schiera di maestosi edifici, memori delle esperienze invece di Giacomo Costa, proteggono quello che sembra invece proporsi come un quieto villaggio proprio sul fiume. Questa volta i riferimenti sono assai più complessi, quando non esplicitamente celati.

Questi quattro progetti appena accennati servono solo da esempio per mostrare gli approcci progettuali visti in Uneternal City, che, chi per un verso chi per un altro, comunque tutti riescono a dare una proposta pertinente al vero tema della mostra, e così trasversalmente dell’intera biennale, ossia quella di un Urbanism Beyond Rome.

Quotes

“Now this system of revealed religion which has come to us by revelation is a very practical religion. It deals with flocks and herds and properties; it teaches us how to get along with each other here and now; it is a way of life that turns a dreary and drab mortal existence into a glorious and exhilarating experience.”

“Those who have lived after the manner of the world shall go to a telestial kingdom whose glory is as the stars.   Those who have been decent and upright and who have lived respectable and good lives will go to a terrestrial kingdom whose glory is as the moon.   Those who have believed in Christ, who have forsaken the world, who have taken the Holy Spirit for their guide and been willing to lay their all on the altar, those who have kept the commandments of God—they shall go to a celestial kingdom whose glory is as the sun.”

Personal Thoughts

I am always fascinated and enthralled with the language we use to communicate about the kingdoms of God.  I was happy then to read President Kimball’s words from this talk.  In essence, this is a very straightfoward description of the lives we must live to receive a celestial glory.

Not only that, but the first quote describes a kind of life we could lead if we act the way we should today.  Bright, exciting, exhilarating, even glorious as he puts it.

Quotes

“Home teachers, it is your responsibility to see that the unbaptized are baptized, the unordained are ordained, the inactive are brought into activity, the lost members are found.”

“If our home teaching assignments are to be given their proper priority, then our preparation for those visits must be careful and complete, tailored to the individual needs of fathers and mothers and their families. As home teachers, should not this basic program receive our earnest effort to seek inspiration and guidance of the Lord in this most sacred obligation? “

Disquinho mestre do cara que está em outro patamar quando se fala em violino.

Tracks:
1. Cosmic Messenger (4:38)
2. Art of Happiness (4:33)
3. Don’t Let the World Pass You By (6:23)
4. I Only Feel Good With You (3:05)
5. Puppets’ Dance (3:40)
6. Fake Paradise (5:41)
7. Ethereal Mood (4:03)
8. Egocentric Molecules (5:44)

The Band:
- Jean-Luc Ponty / Organ, Electric Violin, Violin, Keyboards, Vocals, Synthesizer
- Joaquin Lievano / Guitar, Guitar (Electric)
- Casey Schelierell / Drums, Percussion
- Ralphe Armstrong / Guitar (Bass)
- Allan Zavod / Organ, Synthesizer, Piano, Piano (Electric)
- Mark Craney / Drums
- Peter Maunu / Guitar, Guitar (Electric), Guitar (Synthesizer)

Foi o primeiro a plugar o violino num ampli, e também o primeiro a colocar um wah-wah entre o violino e o ampli.

O cara tocou com o McLaughlin no Mahavishnu, na fase mais sinistra da banda, em 74.

Este disco é uma viagem das boas pelo rock, jazz, fusion e pelo funk (não o carioca).

Indico para tardes na piscina da casa do greco, tomando scotch… cai bem com o sol !!!

ps.: alguem já foi no show dele? hein? hein? eu fui…

enjoy: Jean-Luc Ponty - Cosmic Messenger (1978)

Quotes

“Now it may seem easy to have faith in God when things are going well. But the law of growth requires constant effort and stretching. Thus, in order to have our faith strengthened, it must be stretched and tried and tested.  One of the areas of testing that comes to many of us is when something occurs over which we apparently have little or no control and which to us seems unfair.”

“Some say, ‘But it has been years. We have fasted and prayed so long and so hard. What does the Lord expect?’  There may be many answers. I give only one. That is: He expects more, and it will be for your eternal benefit and blessing. That I know. As we begin to comprehend eternity, we gain a whole new catalog of values.”

Personal Thoughts

I would highly recommend this talk.  I felt the Spirit as I read his story of Felila, I was touched.  Please read this talk.

Quotes

“I was very impressed a few days ago when I heard an eager, reactivated elder say, “I’m back in the Church and active today because my elders quorum president came to see me when I didn’t want to be seen, and loved me when I didn’t want to be loved.” Here is an elders quorum president obediently doing his job as it should be done.”

Disco-Glamour à la Studio 54.

“Pare, naiyak ako dito.” (Man, this made me cry.)

A schoolmate from high school wrote this simple reply when he received the YouTube video via posting at our high school alumni Yahoo group. He now resides in the state of Illinois. I guess that made it more awfully depressing…being far from home and all.

True true…this video made me cry, too.  I don’t really know the exact reason why. Perhaps we all felt sentimental about those days.  Back in the day, 1978 to be exact, a 75-channel cable TV was for the rich folks who could afford the monthly bill and satellite connections.  I don’t even think our 14-inch Trinitron had the capability to connect via the cable providers antennae.  In those days, you had to climb up to your roof to fix the bad reception of your TV set. That being said, we had to settle for viewing good ole’ local TV…and all of it’s 5 channels.

In 1978,  kids who owned a TV set rushed home from school and eagerly waited for the new episode of the popular Japanese Anime, Voltes (Five) V. By 5:50pm, the urban and suburban neighborhood streets were a virtual ghost town without a child or even puppies in sight.  Bicycles and carts were left on the sidestreets as if aliens abducted all the kids.

Come 6pm, children are glued to the TV set on Channel 7. Those were the days, when parents wouldn’t dare touch the channel dial of the set for fear of the infamous Voltes tantrum and being struck by laser sword. This was a mere half hour of anime experience where we lived the fantasy of saving the earth by controlling the super robot Voltes Five who knew Judo, Karate, and brandished a cool laser sword that cut through steel. My heart rate is racing just by writing this. I need a glass of water. VOLTES FIVE!

Watch and weep…

This was a Sawan Kumar movie. There are movie makers who ensure that the names of their movie start with a particular letter. Sawan Kumar was more evolved. He ensured that his movies had one full word “Saajan” included in the titles of his movies. So this movie is called “Saajan Bina Suhaagan”.

Other constant in his movie used to be music director, who was invariably his wife ( later ex wife) Usha Khanna. Sawan Kumar himself often wrote the lyrics and even the story as well. In this case though, the story was written by Kamleshwar and the lyrics of this song is written by Indeewar. This song was picturised on Vinod Mehra and Kasturi Bartake and this song was sung by Rafi.

With time, this song may have been forgotten, but the Rafi magic is unmistakable in this song, as was the case in most Rafi songs.

Song- Kaise jeet lete hain log dil kisika (Saajan bin Suhagan 1978) Singer-Rafi, Lyrics-Indeewar, MD-Usha Khanna

Lyrics

hmm
kaise jeet lete hain log dil kisi kaa
kaise jeet lete hain log dil kisi kaa
kaise jeet lete hain log dil kisi kaa
koyi to sikhaa de hamen pyaar kaa saleekaa
kaise jeet lete hain log dil kisi kaa

koyi mahboobaa hamko chaahe
pyaar ke waade kar ke nibaahe
aankhon mein ye khwaab liye ham
saare jahaan mein bhatkaa kiye ham
haay re dil ki kamnaseebi
hamko dil milaa na kisi roop ki kali kaa
kaise jeet lete hain log dil kisi kaa
kaise jeet lete hain log dil kisi kaa
koyi to sikhaa de hamen pyaar kaa saleekaa
kaise jeet lete hain log dil kisi kaa

hamne na dekhaa zulfon kaa saawan
hamne na thaamaa koyi daaman
le ke chale koyi hamko wahaan par
rahte hain dildaar jahaan par
haay re dil ki kamnaseebi
hamko dil milaa na pataa yaar ki gali kaa
kaise jeet lete hain log dil kisi kaa
kaise jeet lete hain log dil kisi kaa
koyi to sikhaa de hamen pyaar kaa saleekaa
kaise jeet lete hain log dil kisi kaa

Let this be your Monday morning wakeup song.

“Lady Bug” by Bumblebee Unlimited

Spring 09′ promises more cuts, a better fit, and possibly a new color scheme.  We’re far from done though. I’ll keep you posted…stay tuned!

1970 color scheme, better fit and new, narrower seam widths.

Color schemes and busted out seams

Cheers,
Mark
oneculture
For those who love jeans

Quotes

“I would emphasize that the teachings of Christ that we should become perfect were not mere rhetoric. He meant literally that it is the right of mankind to become like the Father and like the Son, having overcome human weaknesses and developed attributes of divinity.  Because many individuals do not fully use the capacity that is in them does nothing to negate the truth that they have the power to become Christlike. It is the man and woman who use the power who prove its existence; neglect cannot prove its absence.  Working toward perfection is not a one-time decision but a process to be pursued throughout one’s lifetime.”

Personal Thoughts

What an amazing quote!  Ofttimes when I read the passages where Christ commands the disciples (and us in the process) to be perfect I am conflicted.  Not that I don’t want to be perfect, but consider the following scene…

You are in Gospel Doctrine class, and the class comes across the scripture that says, “Be ye perfect.”  The ensuing discussion goes something like, “Well, we can’t be perfect, no one can.  We are just supposed to TRY.”  Or, “We can be perfect tithe payers, but, there is so much we have to do, no one can do it all.” Or, “As long as we maintain the right attitude, that we are trying, that is all that counts.”

And at times this frustrates me, because I know we can do so much.  I know I fail (and often at that), but I want desperately to hold onto the notion that perfection is possible.  Not some sort of quasi-perfection where we are all just trying, but a real identifiable perfection. Jesus would not have commanded it if it was not possible to attain it in this life.  Nephi says, (and I summarize), God gives us commands, and then prepares a way for us to accomplish it.

So when I read this, I was very happy.  I am dedicated to perfection, though I may fail every day, perfection is my goal!!

This is Faye Wong’s (王菲) version of “See the Chimney Smoke Again” (又見炊煙) in a live performance in 2000. It’s from a video added to YouTube by Etcmail2047 on 29 March 2008. Of the other versions that I reviewed on YouTube and Youku, this has the best video quality. However, the volume level is too low and needs to be turned up. For a better sound mix, see the version uploaded by Bn0012345 on 7 July 2008.

This is a cover of Teresa Teng’s (邓丽君) 1978 hit. The original, “Sato no Aki” (里の秋), was first sung by Kawada Masako (川田正子) in 1945. (The source for this info is Hkship, 1 Jan 2008, who also includes a translation of the lyrics, in Chinese and English, in her YouTube upload.)

Faye Wong’s earliest recording of this song can be found in her first album, Where Comes the Wind (風從哪裡來), which was released as a cassette by Yunan Audio and Video on 15 June 1985 when Faye was 15. (Click here for the related article and the audio for this song.) Faye recorded it once more in her July 1995 album, The Decadent Sound of Faye.

Faye’s version.
done

Teresa’s version (from a video added to YouTube by Jimmylamhk on 3 May 2008)
done

Kawada Masako’s version (from a video added to YouTube by Sabuichi68 on 2 Mar 2008)
done

There’s only a week left until we get to cut loose and party like it’s 1978! At least now we don’t have to worry about the cops chasing us out from under 95 and taking our beer!!

The good news just keeps on coming. Thanks to a last minute surge in ticket sales, over 160 of us will be at Galdo’s this Saturday, and we’re still getting inquiries!

Here are just some of the things to expect Saturday night:

• Live entertainment from one of our classmates
• Trivia questions with prizes
• A slideshow of images from the past
• Door prizes
• A special raffle for charity with a great prize
• A memento of the evening for each grad
• Dinner, dancing and a great time

Things to remember:

• Where: Galdo’s @ 20th & Moyamensing
• When: 7:00 PM to Midnight on Saturday, 11/15
• No tickets, just check in at the door
• Plan to bring a little extra cash for the raffle
• Don’t forget your camera (and extra batteries if you need them!)
• If you’re going to party hard, be smart and make arrangements so that no one gets hurt on the way home. We want everyone to be around for the next reunion!

One last thing - if you’re the Internet type, you might want to check out Facebook. Not only is it another good way to keep in touch, I’ve started a Neumann/Goretti Class of 1978 group over there as well.

Bob Dylan: The Golden Years 1962-1978

This documentary, covering Dylan’s start in music to his conversion to Christianity, brings two DVDs together into one package: Tales from a Golden Age: Bob Dylan 1941-1966 and After the Crash: Bob Dylan 1966-1978.

Interviews with Dylan, more footage of him performing and the use of Dylan’s own music are the only things that could have made this collection better. But since this is an unauthorized documentary, we only get a few seconds of Dylan performing at the Isle of Wight and with Johnny Cash on the second DVD. The background music sounds like Dylan but is not performed by him.

Aside from these minor drawbacks, Dylan’s life and career are fleshed-out by a variety of music critics, friends and fellow musicians. Hailing from the U.K. and U.S. they provide much more than dry analysis. We get warm reminiscing from people who appreciate Dylan’s work. In addition to showing how vital he was in shaping modern music, we see his humanity and the influences that molded him. The critics expertly dissect his every album.

What intrigues me is how much they see. Their work is utterly fascinating. Like prophets they amplify the message of the songs. This is especially helpful when dealing with a person as mysterious as Bob Dylan, who can keep everyone guessing.

The narration, editing and video of this British production are excellent. You don’t have to be a fan to appreciate the production quality and the insightful analysis. Why Dylan would not contribute and authorize these documentaries is a mystery. He’s not portrayed in a negative light, and this serves as a tribute to a productive career that continues to this day.

This leaves you wanting to know the rest of the story. Let’s hope for more installments.

Bob Dylan: 1978-1989 - Both Ends of the Rainbow

Bob Dylan 1978-1989 Both Ends of the Rainbow is the third Dylan documentary in the series produced by UK-based Chrome Dreams. The first two are now part of a limited edition set titled Bob Dylan: The Golden Years 1962-1978. If you like documentaries and are a Dylan fan, you can’t go wrong by adding both of these to your DVD collection. It doesn’t get much better than this.

The DVD starts with extensive commentary on one of the most fascinating and controversial periods in Dylan’s career. It encompasses the period marked by the three recordings that made Dylan’s new Christian faith evident: Slow Train Coming (1979), Saved (1980) and Shot of Love (1981).

If Dylan’s emergence as an icon for the counter-culture in 1965 divided the hip from the unhip, his declaration of the gospel on Slow Train Coming divided the saved from the damned. Many saw this as a betrayal. Slow Train Coming went platinum, but his next two Christian recordings charted poorly in the US, which reflected the disenchantment of some of his fans. The opinion of a record storeowner that I spoke with during that time probably reflected the views of many Dylan fans. He liked the music but didn’t like the message. There was nothing subtle about it, and it was too much for many fans to handle.

What remains a mystery is where Dylan stands in relation to his faith today. One person reiterates that he has never renounced it. Dylan has chosen to keep this subject out of the limelight.

The film shows what a difficult time the eighties were for Dylan and other aging rock stars. MTV, disco and DJs took music in a new direction less favorable to rock. Dylan struggled to be successful in his recordings and performances.

Infidels (1983) was a departure from the Christian trilogy that preceded it. Dylan was once again becoming more subtle and poetic. Empire Burlesque (1985), Knocked Out Loaded (1986) and Down in the Groove (1988) charted poorly, but they contained standout tracks that are now revered as classics. The release of Oh Mercy (1989) was seen as a return to form.

The DVD feels a little long at 127 minutes, but the depth of analysis is excellent. It even provides a perspective on the politics of the time. The performance clips and appearances are brief but noteworthy, punctuating some of the highs and lows of Dylan’s career.

One of the highlights is a short segment of Dylan performing “Maggie’s Farm” with Tom Petty and the Heartbreakers. It makes you wish you could see the whole song, but this is a biography and documentary.

I think the producer gets the content right. Full performances are outside the scope of this independent review and critique. One interesting bonus is an audio interview of Dylan when he was in the most fervent phase of his Christianity.

This is a must-have for fans and anyone interested in Dylan’s music and career.

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Schönes Stück von Gladys Knight And The Pips vom ‘78er Album “The One And Only”. Es gibt einen extrem seltenen Walter Gibbons Mix von diesem Stück als Acetat Dubplate, da würdene einige Sammler wohl ihr letztes Hemd für hergeben. Weiterhin gibt es noch einen qualitativ sehr schlechten Edit von diesem Mix der als reguläre Vinyl 12″ herausgebracht wurde aber auch sehr gefragt ist.

You may hate the devil without loving God;

                        But you can’t love God without hating the devil!  -5/1978

David Alexander 1977 Frontside Skateworld VA

Meigs Hodge Skateworld VA

Not often we get some cool seventies skate action. I have been meaning to enter Skateworld VA shots along with Dave and Meigs into the archive for sometime. I have gathered a decent amount of pics to make a cool gallery so here it is. Maybe John Egertson and relevant company can chime in and wax poetically on this skate park from VA. A lot of people from SW have been getting in touch via The House of Steam which is always cool!

Meigs Hodge Frontside Air SkateWorld VA

Meigs Hodge SkateWorld VA 77’sh