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Pinay hotty Patricia Fernandez

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December 29, 2008 Posted by | Patricia Fernandez, Philippines, _BABE | Leave a comment

Gulf Wars Episode II

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Soldier Arms

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Harold Pinter – ‘American Football – A Reflection on the Gulf War’

come over here and kiss me on the mouth


The late great Harold Pinter was always known for his outspokenness and his socialist principles – which did not, mind you, stop him marrying an aristocrat!

Even in his later years, ailing health and severe cancer did not temper Harold. When he accepted his Nobel Prize a couple of years back, he used the opportunity to make an attack on warmongers Tony Blair and GW Bush.

‘American Football …’ is a controversial, powerful short poem which Harold wrote back in 1991 which illustrates his views, and the views of many, on the Gulf War.
In a raw, vulgar, obscene, celebratory, double-talk verncaular, he illustrates the raw, vulgar, obscene, celebratory, double-talk nature of that needless war. A war where, when oil was threatened, America turned on a former ally Sadaam Hussein, a despot the US had funded and armed for years enabling him to carry out untold unspeakable atrocities against the Kurds and against his own people. A war which was played out across the media like it was some sort of video game. A stage managed war of double-talk and spin where the real truth was that insane levels of death and destruction had been needlessly unleashed upon countless innocent victims.

It is obscene, but it is referring to obscene facts.

-Harold Pinter

It is significant that on the death of Graham Greene in April 1991 Pinter praised him for his ability to look beyond political rhetoric at the reality of ‘a tortured naked body’. Pinter’s own obsession with the gulf between language and fact prompted him in August that same year to write a poem called ‘American Football – A Reflection on the Gulf War‘. It was rejected for publication by the Independent, the Observer, the Guardian (on the grounds it was ‘a family newspaper’), the New York Review of Books and the London Review of Books. The last named, in particular, aroused Pinter’s ire by accompanying rejection with the assurance that the poem had ‘considerable force’ and that it shared the author’s views on the United States.

-Michael Billington

What Pinter is clearly doing in American Football is satirising, through language that is deliberately violent, obscene, sexual and celebratory, the military triumphalism that followed the Gulf War and, at the same time, counteracting the stage-managed euphemisms through which it was projected on television.

General Schwarzkopf talked of ‘surgical bombing’ and ‘collateral damage’. Perry Smith, a retired general and CNN analyst, claimed that the Gulf War would ‘set a new standard’ in avoiding civilian casualties. When an Iraqi air-raid shelter was hit, American officials quickly went on television and claimed that it was ‘a command-and-control facility’. Death was smothered in the language of technology and bureaucracy.

But as the New Yorker reported on 25 March 1991, Operation Desert Storm not only involved massive civilian casualties but ‘battle carnage on a scale and at a pace equal to some of this century’s most horrifying military engagements’. Pinter’s poem, by its exaggerated tone of jingoistic, anally obsessed bravado, reminds us of the weasel-words used to describe the war on television and of the fact that the clean, pure conflict which the majority of the American people backed at the time was one that existed only in their imagination. Behind the poem lies a controlled rage: that it was rejected, even by those who sympathised with its sentiments, offers melancholy proof that hypocrisy is not confined to governments and politicians.

– From Life and Work of Harold Pinter by Michael Billington, Faber and Faber 1996


‘American Football – A Reflection on the Gulf War’

Hallelullah!
It works.

We blew the shit out of them.
We blew the shit right back up their own ass
And out their fucking ears.
It works.
We blew the shit out of them.
They suffocated in their own shit!
Hallelullah.
Praise the Lord for all good things.
We blew them into fucking shit.
They are eating it.
Praise the Lord for all good things.
We blew their balls into shards of dust,
Into shards of fucking dust.
We did it.
Now I want you to come over here and kiss me on the mouth.



“Blowing up the Media” article in Index on Censorship, vol 21 No 5 May 1992

-reproduced in Harold Pinter, Various Voices: Prose, Poetry, Politics 1948-1998 (page 214)

I started to write this poem on the plane going to the Edinburgh Festival in August 1991. I had a rough draft by the time we landed in Edinburgh. It sprang from the triumphalism, the machismo, the victory parade, that were very much in evidence at the time. So that is the reason for “We blew the shot out of them.” The first place I sent it to was the London Review of Books. I received a very odd letter, which said, in sum, that the poem had considerable force, but it was for that very reason that they were not able to publish it. But the letter went on to make the extraordinary assertion that the paper shared my vies about the USA1s role in the world. So I wrote back. ‘The paper shares my views, does it? I’d keep that to myself if I were you, chum,’ I said. And I was very pleased with the use of the word ‘chum’.

So I sent it to the Guardian and the then literary editor came on the telephone to me and said, ‘Oh dear.’ He said, “Harold, this is really … You’ve really given me a very bad headache with this one.’ He said, ‘I’m entirely behind you myself, speaking personally.’ This is my memory of the telephone conversation. ‘But,’ he said, ‘you know I don’t think … Oooh, I think we’re in for real trouble if we try to publish it in the Guardian.’ Really, I asked innocently, why is that?

He said, ‘Well, you know, Harold, we are a family newspaper.’ Those words were actually said. ‘Oh, I’m sorry,’ I said, ‘I was under the impression you were a serious newspaper.’ And he said, ‘Well, yes, we’re also a serious newspaper, of course. Nevertheless things have changed a bit in the Guardian over the last few years.’

I suggested he talk to some of his colleagues and come back to me in a couple of days. Because, I said, ‘I do believe the Guardian has a responsibility to publish serious work, seriously considered work, which I believe this to be. Although it is very hot, I also think it is steely. Hot steel…’ He called me in two days and said, ‘Harold, I’m terribly sorry, I can’t publish it.’ He more or less said, It’s more than my job’s worth. So that was the Guardian. I then sent it to the Observer.
The Observer was the most complex and fascinating web that I actually ran into. I sent the poem not to the literary editor, but to the editor himself. A couple of days later, he called me and said that he thought it should be published. He thought it was very testing. Probably going to be quite a lot of flack, he said. But he thought it should be published, not on the literary pages, but on the leader page. It was a truly political poem, he said. So I was delighted to hear that. He’d send me a proof, which he did.

The next Sunday nothing happened. And then the following Sunday nothing happened. So I called the editor. He said, ‘Oh dear, Harold, I’m afraid that I’ve run into one or two problems with your poem.’ I asked what they were. ‘In short, my colleagues don’t want me to publish it.’ Why not? He said, ‘They’re telling me we are going to lose lots of readers.’ I asked, Do you really believe that? Anyway, we had a quite amiable chat. He said, ‘I want to publish it but I seem to be more or less alone.’ I then said, Look, the Observer, as a serious newspaper, has in fact published quite recently an account of what the US tanks actually did in the desert. The tanks had bulldozers, and during the ground attack they were used as sweepers. They buried, as far as we know, an untold number of Iraqis alive. This was reported by your newspaper as a fact and it was a horrific and obscene fact. My poem actually says, ‘They suffocated in their own shit.’ It is obscene, but it is referring to obscene facts.

He said, ‘Absolutely right. Look, I want to publish the poem. But I’m running into all sorts of resistance. The trouble is the language, it’s the obscene language. People get very offended by this and that’s why they think we are going to lose readers.’ I then sent the editor of the Observer a short fax, in which I quoted myself when I was at the US Embassy in Ankara in March I985 with Arthur Miller. I had a chat with the ambassador about torture in Turkish prisons. He told me that I didn’t appreciate the realities of the situation vis-a-vis the Communist threat, the military reality, the diplomatic reality, the strategic reality, and so on.

I said the reality I was referring to was that of electric current on your genitals. Whereupon the ambassador said, ‘Sir, you are a guest in my house,’ and turned away. I left the house.

The point I was making to the editor of the Observer was that the ambassador found great offence in the word genitals. But the reality of the situation, the actual reality of electric current on your genitals, was a matter of no concern to him. It was the use of the word that was offensive, but not the act. I said I was drawing an analogy between that little exchange, and what we were now talking about. This poem uses obscene words to describe obscene acts and obscene attitudes.

But the editor of the Observer wrote to me and said he couldn’t publish, with great regret. ‘I’ve been giving serious thought to publication of your poem on the Gulf War. As you know, my first instinct was in favour, despite warnings by senior colleagues that many readers would be offended … I admit to having cold feet.’

Recently an Observer columnist spoke of his paper’s rejection of the poem and referred to his editor’s concern ‘for its shortcomings as a piece of verse’. But nobody ever said, ‘We don’t think this poem is good enough. It is not a successful piece of work.’ Nobody has actually said that.
I then sent the poem to the literary editor of the Independent, saying I hadn’t sent it to him in the first place because I did not think the Independent would publish it. But now that everybody had turned it down, the London Review of Books, the Guardian and the Observer, perhaps I was wrong about the Independent! To cut a long story very short, the literary editor wanted to publish it but he felt he had to show it to the editor. The editor sat on it for a few days and then made no comment except to say the Independent was not going to publish the poem. And I’ve never had any explanation. Nothing. It was simply No.

I did send it to the New York Review of Books, just as a laugh. The editor thanked me warmly for but said he was afraid they couldn’t use it. So I did not waste any more time. I heard that a magazine called Bomb, a very well-produced publication in the West Village, might be interested, and indeed they published the poem.

It was finally published in Britain in January 1992, by a new newspaper called Socialist, with a limited circulation. But as far as national newspapers go, in Holland it was published in one of the main Dutch dailies Handelsblad – in no uncertain terms, too, with an article written by the editor about the rejection in England. And it was published in Bulgaria, Greece and Finland.

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December 29, 2008 Posted by | Harold Pinter, Nobel Prize, _PHOTOGRAPHY, _POETRY | Leave a comment

Mushi Mushi Kana Tsugihara,

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Waiting for Godot-san

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Scorpion Buddha

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Experimental Treatments!

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Protection! Protection!

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Protection! Protection!

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It’s always always Xmas round here!

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Marilyn Muses

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It’s always Xmas round here!

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A Collection Of 46 Hallelujahs !





A Collection Of 46 Hallelujahs !

This is a song about the broken.

– L.Cohen

On the subject of the sublime and the slew of versions proliferating lately, here’s a collection of some of the versions proliferating lately, which we see on this blog!

Capt. Kurtz said “I’ve seen horrors… horrors that you’ve seen…..” when he heard some of these!

Some of em are OK though! They’d be mostly the Cohen, Cale and Dylan versions!

Image



Tracks

01 – Alexandra Burke

02 – Leonard Cohen

03 – John Cale

04 – Jeff Buckley

05 – Bob Dylan

06 – Leonard Cohen (Live)

07 – Katherine Jenkins

08 – Leonard Cohen (Live)

09 – John Cale (Live)

10 – Kathryn Williams

11 – Rufus Wainwright

12 – Allison Crowe

13 – Sheryl Crow

14 – Damien Rice

15 – K.D. Lang

16 – Regina Spektor

17 – Aroof Aftab

18 – David Bazan

19 – Eric Beverly

20 – Erik Flaa

21 – Gordon Downie

22 – I Am Lost At Sea

23 – Imogen Heap

24 – John Jerome

25 – Late Tuesday

26 – Susanna And The Magical Orchestra

27 – The Junebugs

28 – Tony Lucca

29 – Gavin Degraw

30 – Chris Botti

31 – Kate Noson

32 – Lucky Jim

33 – Euan Morton & Denise Summerford

34 – Keren Ann

35 – Jack Lukeman

36 – Clare Bowditch

37 – Ari Hest

38 – Beirut

39 – Elisa

40 – K’s Choice

41 – Dresden Dolls

42 – Street To Nowhere

43 – Naomi Hates Humans

44 – Noam Pelled

45 – Macbrolan

46 – Damien Rice

NOTE:



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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December 29, 2008 Posted by | Beirut, Hallelujah, Jeff Buckley, John Cale, Leonard Cohen, _BOB DYLAN, _MUSIC | 1 Comment

Blaze of Light

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December 29, 2008 Posted by | Japan, _ART, _BABE, _PHOTOGRAPHY | Leave a comment

Leonard Cohen – The Fourth, The Fifth, The Minor Fall


The Fourth, The Fifth, The Minor Fall

BBC Radio 2
Saturday 01 November
Mp3 / 114Mb


from your lips she drew the Hallelujah

We’ve written before about one of the greatest songs of all time, ‘s majestic which will surely soon be the most covered song ever – thanks to a slew of awful saccharine versions proliferating lately!

We’ve written about this masterpiece several times before

The popularity now of this great track, when for years the original and best versions (the very different versions from Various Positions and Cohen Live, respectively) were all but ignored, has everything to do with dilution of art and the consequent effect of making art palatable to the masses!
Said process started with the saccharine Jeff Buckley version on the Grace LP and has never let up, as the song has become – and still becomes – ever more and more diluted!

It really grates when morons say that, for example, Buckley’s or Wainwright’s or, Heaven forbid, Bon Jovi’s version is the best! Listen to Lenny’s two original released versions assholes! Just because Lenny’s voice isn’t exactly angelic doesn’t mean the maestro is clueless as to how one of his masterpieces should be properly delivered!

Lenny – and only Lenny – delivers this great song perfectly!

Lately Hallelujah has bizarrely become a standard for idiotic acts in dross muzak shows such as American Idol and some crap UK show called X Factor!

Something’s wrong! Hallelujah‘s not exactly Macca’s mawkish Yesterday (the most covered track of all time, officially)! Or one of those vile Mariah Carey type songs the morons on these shows are always squealing out! Hallelujah is a complex, multi-layered song of beautiful and powerful poetry, above a perfectly sublime and deceptively simple melody.

On the other hand, perhaps, unbeknown to us, the taste of the masses has increased at an infinite rate recently!!!

by tulzdavampslayer

Anyway, here’s an interesting recent BBC Radio show devoted to this great song and hosted by Guy Garvey from Brit Indie darlings Elbow!

Here’s the Beeb blurb;

A Mercury Prize-winner hasn’t got the guts to cover it; Bob Dylan and Bono are two of the many who’ve attempted it; Jeff Buckley’s version is in Rolling Stone’s top 500 greatest songs ever. The song in question? Leonard Cohen’s transcendental Hallelujah.

“I like to imagine Hallelujah as a rather stately creature,” says presenter Guy Garvey (Elbow frontman and said Mercury winner) “It’s a mark of its power and guile that artists who didn’t even write it, feel protective of it.”

The ever eloquent and always genial Garvey does a bewitching job of explaining the nuances and dramatically different interpretations of this magical song, helped by some of the artists and producers who’ve worked on the 120 covers.

Praise be.

Here she be:

http://lix.in/-3b7c93
http://lix.in/-3d0334
114Mb

Here’s a collection of just ten very “varied” covers of this classic! Can you spot the one good version?!

10 YouTube Hallelujah Performances

Big thanks to SonicTrooper and DigitalReporter

NOTE:

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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December 29, 2008 Posted by | Elbow, Hallelujah, Leonard Cohen, _MUSIC, _VIDEO | Leave a comment