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Sgt. Quentin Deckard, an infantryman assigned to Headquarters and Headquarters Company, 3rd Brigade Special Troops Battalion, 3rd Armored Brigade Combat Team, 3rd Infantry Division fires an AT-4, an anti-tank weapon, at the Udairi Range Complex near Camp Buehring, Kuwait, Dec. 20. The AT-4 is a portable, single-shot recoilless smoothbore weapon used to destroy heavily armored vehicles.
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this page without written permission and consent.
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Opening-act dei Twenty One Pilots l’8 febbraio 2016 all’Alcatraz di Milano, i Monkey Weather.
Formatisi nel 2010 in seguito ad un viaggio fra Liverpool e Londra sulle tracce dei Beatles, i The Monkey Weather, giovane trio indie rock di ispirazione britannica originario di Domodossola, in Piemonte, sta emergendo prepotentemente sulla scena indipendente italiana: un ottimo album di debutto "Apple Meaning", uscito nel 2012 con Ammonia Records (distribuzione Area Pirata) che raccoglie recensioni positive sia in casa (8 sul magazine Rumore, che non ha esitato a definirlo "un disco pop fatto come Dio comanda"), sia all'estero (8 anche sulla testata tedesca OX).
Sempre nel 2012, i The Monkey Weather si fanno conoscere dal grande pubblico in sede live: aprono tre concerti per il tour estivo dei Kasabian: Ferrara, Roma e Milano, di cui girano un breve documentario on the road. La nota rock band di Leicester apprezza i The Monkey Weather e ne parla bene anche ai propri fans, su twitter. A dicembre il trio torna a Milano, questa volta ai Magazzini Generali, come opening act per il concerto sold-out dei The Vaccines, conquistandosi anche in questa occasione il consenso del pubblico.
Due sono i videoclip che accompagnano i singoli tratti da Apple Meaning, entrambi diretti da Valentina Branchetti: "People Watch Me" e "Sara Wants to Dance", quest'ultimo con la partecipazione di alcuni personaggi provenienti da differenti ambiti underground italiani: la performer Ladydiabolika, il cantante dei Thee S.T.P. Metius e il chitarrista della band metal Fuzz Fuzz Machine Marco Cassone, entrambi i video sono stati scelti da MTV New Generation per la rubrica Just Discovered nella settimana tra il 24 ed il 31 dicembre 2012.
Jolly Hooker: Guitar, Vocal
PAul Deckard: Bass, Vocal
Miky The Rooster: Drums
1:55 Mattel
Fast and Furious 24/32
Deckard Shaw's (Jason Statham)
2015 Jaguar F-Type
from F8 (The Fate of the Furious)
item #FCF59 (FF0??)
This statue is next to the sidewalk in front of the Erie Art Museum in Erie Pennsylvania. I was struck by the interesting and wonderfully-patinaed statue, as well as the detail in the stonework of the building, steps, and columns. The stainless steel base also has a wire-brushed finish, which shows up in the swirled reflections on the front. The statue depicts a sitting, naked man exposed to the elements, clutching his arms and legs to his body.
From the Museum's web page:
Eternal Vigilance is the title of the bronze sculpture that huddles at the foot of the Erie Art Museum’s marble steps. The work of local artist John Silk Deckard, the sculpture has some history as an Erie landmark. It was first commissioned and installed in front of the Erie Art Center on West Sixth Street in 1978. When the Art Center moved to State Street and became the Erie Art Museum in 1983, the sculpture was installed in front of the Art Museum, where it remains today.
Eternal Vigilance is breathtakingly vital, a moment of tortured humanity captured in 500 pounds of bronze. The artist hoped to “get the viewers involved in unraveling and discovering the work.” Deckard described the piece as representing “a heroic, self-clutching figure.”
Created through the ancient process known as the lost wax bronze casting technique, Eternal Vigilance took nearly a year to complete. Deckard first made a small figure, or maquette, which he used as a guide in constructing the larger-than-life-sized statue out of quarter inch wax sheets. Having assembled these pieces, Deckard corrected any flaws by flame polishing. The 50 pound wax piece was then taken to a Cleveland foundry for the bronze casting process.
Taken during a trip to Erie with my wife to visit relatives.
Quarter view with lego purist decoration. The set comes with two alternate decorations: one purist, one custom printed.
I sanded and buffed the old badly-scratched canopy from a "gluebomb" and nearly brought the top back to new.
Sculpt progress on Rick Deckard Blade Runner - 1:18 scale. Working detail into the coat. An alternate version will have the coat buttoned to the top and collar up. Will add a holster for his gun.
Bradbury Building, Los Angeles, CA. The Bradbury Building, an 1893 architectural gem in Downtown LA, is shown in a dilapidated state, home only to a reclusive genetic designer. The difference between the actual landmarked building, with its delicate grille work and sunny atrium, and its on-screen depiction as a sodden, wrecked afterthought is emblematic of the ahistorical city where the future is “unevenly distributed,” to quote William Gibson. The noir surroundings set the stage for a final showdown between Deckard (Harrison Ford) and the replicants he is hunting.
Army Reserve Spc. Mary Deckard, a flight medic with Company F, 7th Battalion, 158th General Support Aviation Regiment (Air Ambulance), Fort Carson, Colo., teaches U.S. Army Reserve and Canadian Army Soldiers how to approach, load and unload an HH-60M medical evacuation Blackhawk helicopter at Training Assembly Area Ward on Fort Hunter Liggett, Calif., June 11, 2016. Army Reserve, National Guard, Navy, Air Force and Canadian Army personnel bring capabilities and core competencies together to make CSTX 91-16-02 a training environment that prepares servicemembers for austere conditions around the world. (Photo by Sgt. 1st Class Tony M. Lindback, Medical Readiness and Training Command Public Affairs.)
That's right. Chris and I dressed up as Deckard and the replicant Rachael from "Blade Runner" for Halloween 2007.
Rachael: Do you like our owl?
Deckard: It's artificial?
Rachael: Of course it is.
Deckard: Must be expensive.
Rachael: Very.
Rachael: I'm Rachael.
Deckard: Deckard.
Rachael: It seems you feel our work is not a benefit to the public.
Deckard: Replicants are like any other machine - they're either a benefit or a hazard. If they're a benefit, it's not my problem.
1:55 Mattel Fast and Furious
Elite 8-Pack
including
Deckard Shaw's 2014 Maserati Ghibli (FF7)
Dom's 1969 Dodge Charger Daytona (FF6)
Letty's 1966 Chevy Corvette (FF8)
Dom's 1970 Dodge Ice Charger (FF8)
Dom's 1970 Plymouth Roadrunner (FF7)
Hernan Reyes' 1966 Ford GT-40 (FF5)
Owen Shaw's Flip Car (FF6)
Dom's 1970 Dodge Charger (FF5)
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening-act dei Twenty One Pilots l’8 febbraio 2016 all’Alcatraz di Milano, i Monkey Weather.
Formatisi nel 2010 in seguito ad un viaggio fra Liverpool e Londra sulle tracce dei Beatles, i The Monkey Weather, giovane trio indie rock di ispirazione britannica originario di Domodossola, in Piemonte, sta emergendo prepotentemente sulla scena indipendente italiana: un ottimo album di debutto "Apple Meaning", uscito nel 2012 con Ammonia Records (distribuzione Area Pirata) che raccoglie recensioni positive sia in casa (8 sul magazine Rumore, che non ha esitato a definirlo "un disco pop fatto come Dio comanda"), sia all'estero (8 anche sulla testata tedesca OX).
Sempre nel 2012, i The Monkey Weather si fanno conoscere dal grande pubblico in sede live: aprono tre concerti per il tour estivo dei Kasabian: Ferrara, Roma e Milano, di cui girano un breve documentario on the road. La nota rock band di Leicester apprezza i The Monkey Weather e ne parla bene anche ai propri fans, su twitter. A dicembre il trio torna a Milano, questa volta ai Magazzini Generali, come opening act per il concerto sold-out dei The Vaccines, conquistandosi anche in questa occasione il consenso del pubblico.
Due sono i videoclip che accompagnano i singoli tratti da Apple Meaning, entrambi diretti da Valentina Branchetti: "People Watch Me" e "Sara Wants to Dance", quest'ultimo con la partecipazione di alcuni personaggi provenienti da differenti ambiti underground italiani: la performer Ladydiabolika, il cantante dei Thee S.T.P. Metius e il chitarrista della band metal Fuzz Fuzz Machine Marco Cassone, entrambi i video sono stati scelti da MTV New Generation per la rubrica Just Discovered nella settimana tra il 24 ed il 31 dicembre 2012.
Jolly Hooker: Guitar, Vocal
PAul Deckard: Bass, Vocal
Miky The Rooster: Drums
banabila.bandcamp.com/album/travelog
"Glitchdroneworldbeat collaboration to die for"
(Peter Hollo / Utility Fog - FBI Radio)
When Michel Banabila and Rutger Zuydervelt (Machinefabriek) finished their first collaborative album, it felt like they were just getting started. Suprised by how fluent and natural their collaboration went, it was obvious that this wasn't over yet...
While 'Banabila & Machinefabriek' was quite an abstract affair, it's successor 'Travelog' is lighter, playful and rhythmic. Some moments might recall the mighty Tape, while others showcase motoric krautrock influences and subtle hints of African rhythms. All in all, this album clearly radiates the joy of its creative process and sees Banabila and Machinefabriek on the top of their game.
Reviews / comments :
Soundcolourvibration:
"Travelog is a collection of ambient and atmospheric soundscapes mixed with emotion filled layers and recordings that tell stories only possible in this medium. Their vivid use of space sets the stage for a performance of a lifetime."
Disquiet.com (via twitter):
"The entire new Banabila & Machinefabriek album is my new jam. Yow. Glitch ambient sonic travel heaven" - Marc Weidenbaum.
Alpha-audio.nl:
"Op die manier wordt herrie in iets moois getransformeerd. Daardoor is de plaat, anders dan veel ander werk in het noise/experimenteel/drone genre, geen moment saai. "
Includemeout2.blogspot.nl :
Appropriately, since I've just been out of the country, Travelog by Banabila & Machinefabriek (Michel Banabila and Rutger Zuydervelt) is getting an airing and mighty fine it sounds too. Having lived with it for a few weeks it's grown and grown, perhaps because there's something old-fashioned in the sound. I mean that in a good way. I mean, amid the electronic elements are touches of percussion and bass, along with tropical samples, and those in the wrong hands can sound like old farts trying to be modern.
It's an ever-shifting landscape, as befits the image of flight. White fluffy clouds give way to sandstorms of static and the pulse of a Los Angeles inhabited by Rick Deckard. Narita is ambient in the Eno travelogue sense, whilst Debris is a black hole of static noise which despite being edgy displays the fine touches evident throughout the album.
Just when I think I've got a sense of everything this album has to offer, new layers emerge upon listening again. That's what I mean by 'old-fashioned'. Banabila and Zuydervelt have made a piece of work with great care and in a world where frequently shallow Darkness and trendy Noise come easy, that's a good thing.
Vital Weekly 898:
In Vital Weekly 860 I was very much impressed by the collaborative efforts of Michel Banabila and Rutger Zuydervelt, best known as Machinefabriek. Both from Rotterdam, and Banabila the older of the two, with a long career that took him to world music, experimental music, electronic and Machinefabriek the better known one, certainly internationally. An album of the drones of Machinefabriek and Banabila's more experimental electronics, digital noise vs silence. It's of course not really a surprise that I was looking forward to their second album, which has just arrived. Again we are in for a little surprise, I think. They seem to be moving away from the more abstract, sound collages towards more coherent… 'songs', is perhaps the word that covers this best. Especially in the first few pieces of this CD, there is a certain 'pop' like character to the pieces, a light weight character even, which sets for a sunny tone in these pieces. Also they are well rounded, with strong melodic touches. Something which we perhaps don't expect that easily from Zuydervelt, whose strong point of recognition is the more ambient, more subdued side of music. Maybe Banabila is the one whose trademark is at work here? I am just guessing of course, but this change of work is great, I think. Even when a piece like 'Debris' is more like what we found on their first collaborative CD, it doesn't become an odd ball in this forty minute collection. Gone are the shorter bits but the addition of rhythm machines here and there make all of this an excellent experimental, instrumental rock like album, at times. It's a bit of all: poppy songs, post rock, ambient and experiment. It's all part of this excellent album, which you could play over and over, and discover something new all the time. (FdW)
Anhedonicheadphones:
The press release for Travelog indicates that it’s lighter and even “playful” in comparison to their previous effort. Once “Spin ‘n Puke” gets going—you’ll agree. The rhythmic world-influenced percussion and handclaps can hypnotize you while synth tones and various other glitches swirl in over the top of everything else.
Don’t be fooled into thinking that Travelog is more “listener friendly.” There are plenty of moments of harsh noise and ambience; it’s just that a bulk of this material leans more towards sounding like it was at least partially constructed beforehand, rather than an improvisation. The incredible urgency of a track like “Runner” is a great example of how that kind of execution succeeds.
Electronic music is the kind of field that has no boundaries—you can use technology to move people to a dope beat, or to scare the ever-loving shit out them with horrifying sounds. Travelog walks the fine line between those two extremes, and it continues to show that the collaborative partnership between Michel Banabila and Rutger Zuydervelt has no shortage of ideas. (Kevin Krein).
Mousique:
In vergelijking met Banabila&Machinefabriek is dit album veel minder abstract, voelt warmer en toegankelijker aan. Het heeft zelfs iets ouderwets, in de goede zin van het woord, waardoor ik soms moet denken aan Brian Eno, Biosphere of Boards Of Canada. Dit alleen maar om aan te geven tot wat voor klasse vakwerk deze twee Rotterdammers in staat zijn, want dit album kent vele lagen die zich pas na meerdere luisterbeurten volledig aan je ontvouwen. Superieur ambient album !
Cyclic Defrost:
There’s a deeply meditative feel to much of the music here, making ‘Travelog’ one of the most cohesive yet hard to categorise headphone soundtracks I’ve heard for a while. (Chris Downton).
Incendiary Magazine:
This record has a quality of something special, of something indefinably GOOD about it; in fact so good I think I can get away with calling it brilliant. One thing’s for certain, I can’t get enough of it at the moment. (Richard Foster).
Popunie:
'Om een heel erg lang verhaal kort te maken: houd je van experimentele en onconventionele geluiden, dan is deze plaat echt iets voor jou'. Chris Anderson.
Periwinkle Hear and Now:
Continuing a journey begun with their self-titled release in late 2012, Travelog is the latest release from Michel Banabila & Machinefabriek. Spin’n Puke, opens the album, a rudimentary rhythm that sounds like its inspiration was heard played on a log drum, then morphs through a glitched time warp into a giddy, percussive flurry, ending as a pitch-blend glide into a sattelite blip, disappearing in space. The stage is set for a series of small sound sojourns that as a whole constitute a release that like their debut, explores a wide array of texture, rhythm and sound source. Even the covers tell a tale, a vapour trail on the debut is replaced by a planes shadow flying over a desert coast where the water meets land – this time the waters blue spilling over from the debuts sky. The type remains identical, though smaller, again suggesting a continuing journey. The music is akin to a kind of new exotica, it suggests locations, but the locations exist in a hermetically sealed transaction made between the artists swapping and melding sound-files over the web. These locations appear in Narita for example, a disembodied vocal sample from a Yuko Parris and all n4ural track is embedded in a naive melody that has the air of a polite tea party, that is until its crashed by a fuzz storm battling a Hammond. When the storm subsides, we are left in a Japanese garden and we/I realize the opening melody is none other than a folk tune played on a flute while a skittering shishi-odoshi sample charms rather than alarms – or is it, did it, was it meant to be like this? We transition through Antennas to the gauzy Rain Painting, again, fireworks sourced beats are not, crackling and whirring, some rat-tat and we find ourselves in a slurry of fugged, muted beats and keys chiming strangled, it quietly subsides. I’m gonna leave you at Yarra, its my supposition maybe Michel picked up some samples while flying through the antipodes – Yarra’s a river. This approximates a close call with Hassell - bird calls, vocal Eno Airport/Buddesque Plateaux like loops, weird ritualistic yodels – a possible music. You do the rest, put these two musicians/composers together and you have some intriguing and quirkily engaging music – investigate, explore, enjoy. Perry Holt.
Blow Up :
Already accomplices in the making of the interesting work published last year, simply titled after their respective names, Banabila and Machinefabriek with “Travelog” don’t hide their intent to move towards milder climates. They might go a bit too far with this intent in the pleasing, light Spin ‘n Puke, all based on affable beats, but they get back on track with the splendid Narita, which emanates delicious exotic fragrances and lets some cracks appear towards the end in the otherwise idyllic soundscape, and with Antennas, an even more delicate and discrete piece, yet elusive thanks to the intricate work of fields recordings, child voices and glitch. Rain Painting pragmatically destroys the charm, unravelling from a mysterious darkness thanks to the demonstrated assembling art of Rutger Zuydeverlt, who surfaces with less reassuring outlines, after a superb intro of suspended abstractions and the guitar of Michael Banabila resting in a circular but dramatizing impasse. All followed by lazy, slightly ethnical beats inside a drone structure in Dinsdag and capturing minimalism in Debris, which surely is the piece closer to what we had heard in the previous record. They keep for the epilogue Travelog a golden and hardly perceptible romantic quiver which, despite the guitar hiccups in the first half of the track, expands the emotive gamma of the album further. (translation Sara Witchy)
Ether Real:
C’est en 2011 que l’on découvrait Michel Banabila et sa musique bien personnelle, quelque part entre ambient et musiques expérimentales, aidé en cela par un parcours et près de 30 ans d’expérience. Extrêmement productif, le Néerlandais sort facilement 3-4 albums par an, en grande partie sur son propre label Tapu Records, parfois en collaboration avec d’autres structures comme c’est le cas ici. Les collaborations, il les mène également dans la création, et ce depuis toujours, mais ce fut une surprise de le voir ici avec Machinefabriek que l’on apprécie également beaucoup. Il s’agit là de leur deuxième effort en commun, et un troisième volet est même sorti en mai de cette année. Comme pour The Latest Research From The Department Of Electrical Engineering, le précédent album de Michel Banabila chroniqué sur ces pages, Travelog est très riche, voire surprenant par moment. Certes, on n’est guère emballé par ce Spin ’n Puke peut-être trop enjoué, à la construction un peu trop classique, mais dès Narita, on retrouve tout le charme de la musique de Banabila, hors des sentiers battus, des espèces d’expérimentations poétiques, alliant ici une mélodie entre harmonica et cornemuse, des bribes vocales lointaines, et une texture grésillante qui n’en finit pas de monter. Questionnement légitime, sur les premiers titres on se demande quelle est la part produite par chacun des deux musiciens, mais cette interrogation disparaîtra bien vite car elle n’apparaît pas comme pertinente. Si les sources sonores sont variées, l’ensemble forme un tout cohérent, qui coule de source même si la musique du duo est un immense collage à base de mélodies acoustiques, de field recordings, de voix et bruitages divers, le tout saupoudré de bricolages et glitchs électroniques Antennas. On trouve donc dans l’ordre des mélodies flottantes alliant guitare, cuivre et électronique, des ambiances quasi industrielles précédent une ambient minimale (Rain Painting), une projection en forêt amazonienne avec oiseaux et chants tribaux (le très beau Yarra) qui se prolonge de façon un peu moins exotique sur Dinsdag. Les trois derniers titres surprennent par leur changement d’approche. Notre préféré, Runner joue d’abord sur un effet de hachage/syncope sur une mélodie de piano, assez typique d’une electronica glitchy, avant d’embrayer sur des boucles électroniques ultra prenantes. Changement complet de registre encore avec Debris et ses drones grésillants, texturés, puissants, frôlant le bruitisme. Puis l’album s’achève avec un morceau titre qui signe un retour aux instruments, entre accompagnement d’orgues et mélodie croisant guitare, piano et électronique. Un album finalement bien dans la lignée de ce que l’on pouvait attendre d’un touche à tout comme Michel Banabila et un duo qui nous apparait comme logique tellement l’album s’avère cohérent.
(Fabrice Allard)
There are fighters, bombers, interceptors, gunships and then... something bigger. The 'Duke may look like an old-fashioned Earthling fighter craft, but it is, in fact, the hot-rod, custom built steed of the man known only as Deckard.
An infamous mercenary and gun-for-fire, Deckard travels mostly alone, although sometimes recruits extra crew members to co-pilot or look after his beloved ship.
At home in space as well as atmosphere, the 'Duke packs danger, technology and menace into it's rather large package.
It's size can make it vulnerable, however, to smaller fighters and so Deckard often travels with escort fighters and interceptors.
Length: 19m
Wingspan: 18m
Crew: 1-3, mission dependent.
Armament: 2 High-Output frag-cannons, forward facing.
2 Micro-Mine launchers, wing-tip mounted.
After recently watching Ridley Scott's classic sci-fi thriller Blade Runner, I decided to build the flying police car, also known as the "Spinner." My MOC features opening scissor doors, interior for two minifigures, floor windows and lights, and custom decals. An aspect that I wanted to do before planning the moc was to try to make the rear bumper entirely SNOT, forming the caution stripe.
Harrison Ford stars as Deckard in the great sci-fi film, Blade Runner (1982). I don't recall that this exact shot was ever used in the film itself, but it looks like he is chasing Zhora through the streets of L.A.
The original: scontent-atl3-1.xx.fbcdn.net/v/t39.30808-6/341858822_3636...
banabila.bandcamp.com/album/travelog
"Glitchdroneworldbeat collaboration to die for"
(Peter Hollo / Utility Fog - FBI Radio)
When Michel Banabila and Rutger Zuydervelt (Machinefabriek) finished their first collaborative album, it felt like they were just getting started. Suprised by how fluent and natural their collaboration went, it was obvious that this wasn't over yet...
While 'Banabila & Machinefabriek' was quite an abstract affair, it's successor 'Travelog' is lighter, playful and rhythmic. Some moments might recall the mighty Tape, while others showcase motoric krautrock influences and subtle hints of African rhythms. All in all, this album clearly radiates the joy of its creative process and sees Banabila and Machinefabriek on the top of their game.
Reviews / comments :
Soundcolourvibration:
"Travelog is a collection of ambient and atmospheric soundscapes mixed with emotion filled layers and recordings that tell stories only possible in this medium. Their vivid use of space sets the stage for a performance of a lifetime."
Disquiet.com (via twitter):
"The entire new Banabila & Machinefabriek album is my new jam. Yow. Glitch ambient sonic travel heaven" - Marc Weidenbaum.
Alpha-audio.nl:
"Op die manier wordt herrie in iets moois getransformeerd. Daardoor is de plaat, anders dan veel ander werk in het noise/experimenteel/drone genre, geen moment saai. "
includemeout2.blogspot.nl :
Appropriately, since I've just been out of the country, Travelog by Banabila & Machinefabriek (Michel Banabila and Rutger Zuydervelt) is getting an airing and mighty fine it sounds too. Having lived with it for a few weeks it's grown and grown, perhaps because there's something old-fashioned in the sound. I mean that in a good way. I mean, amid the electronic elements are touches of percussion and bass, along with tropical samples, and those in the wrong hands can sound like old farts trying to be modern.
It's an ever-shifting landscape, as befits the image of flight. White fluffy clouds give way to sandstorms of static and the pulse of a Los Angeles inhabited by Rick Deckard. Narita is ambient in the Eno travelogue sense, whilst Debris is a black hole of static noise which despite being edgy displays the fine touches evident throughout the album.
Just when I think I've got a sense of everything this album has to offer, new layers emerge upon listening again. That's what I mean by 'old-fashioned'. Banabila and Zuydervelt have made a piece of work with great care and in a world where frequently shallow Darkness and trendy Noise come easy, that's a good thing.
Vital Weekly 898:
In Vital Weekly 860 I was very much impressed by the collaborative efforts of Michel Banabila and Rutger Zuydervelt, best known as Machinefabriek. Both from Rotterdam, and Banabila the older of the two, with a long career that took him to world music, experimental music, electronic and Machinefabriek the better known one, certainly internationally. An album of the drones of Machinefabriek and Banabila's more experimental electronics, digital noise vs silence. It's of course not really a surprise that I was looking forward to their second album, which has just arrived. Again we are in for a little surprise, I think. They seem to be moving away from the more abstract, sound collages towards more coherent… 'songs', is perhaps the word that covers this best. Especially in the first few pieces of this CD, there is a certain 'pop' like character to the pieces, a light weight character even, which sets for a sunny tone in these pieces. Also they are well rounded, with strong melodic touches. Something which we perhaps don't expect that easily from Zuydervelt, whose strong point of recognition is the more ambient, more subdued side of music. Maybe Banabila is the one whose trademark is at work here? I am just guessing of course, but this change of work is great, I think. Even when a piece like 'Debris' is more like what we found on their first collaborative CD, it doesn't become an odd ball in this forty minute collection. Gone are the shorter bits but the addition of rhythm machines here and there make all of this an excellent experimental, instrumental rock like album, at times. It's a bit of all: poppy songs, post rock, ambient and experiment. It's all part of this excellent album, which you could play over and over, and discover something new all the time. (FdW)
Anhedonicheadphones:
The press release for Travelog indicates that it’s lighter and even “playful” in comparison to their previous effort. Once “Spin ‘n Puke” gets going—you’ll agree. The rhythmic world-influenced percussion and handclaps can hypnotize you while synth tones and various other glitches swirl in over the top of everything else.
Don’t be fooled into thinking that Travelog is more “listener friendly.” There are plenty of moments of harsh noise and ambience; it’s just that a bulk of this material leans more towards sounding like it was at least partially constructed beforehand, rather than an improvisation. The incredible urgency of a track like “Runner” is a great example of how that kind of execution succeeds.
Electronic music is the kind of field that has no boundaries—you can use technology to move people to a dope beat, or to scare the ever-loving shit out them with horrifying sounds. Travelog walks the fine line between those two extremes, and it continues to show that the collaborative partnership between Michel Banabila and Rutger Zuydervelt has no shortage of ideas. (Kevin Krein).
Mousique:
In vergelijking met Banabila&Machinefabriek is dit album veel minder abstract, voelt warmer en toegankelijker aan. Het heeft zelfs iets ouderwets, in de goede zin van het woord, waardoor ik soms moet denken aan Brian Eno, Biosphere of Boards Of Canada. Dit alleen maar om aan te geven tot wat voor klasse vakwerk deze twee Rotterdammers in staat zijn, want dit album kent vele lagen die zich pas na meerdere luisterbeurten volledig aan je ontvouwen. Superieur ambient album !
Cyclic Defrost:
There’s a deeply meditative feel to much of the music here, making ‘Travelog’ one of the most cohesive yet hard to categorise headphone soundtracks I’ve heard for a while. (Chris Downton).
Incendiary Magazine:
This record has a quality of something special, of something indefinably GOOD about it; in fact so good I think I can get away with calling it brilliant. One thing’s for certain, I can’t get enough of it at the moment. (Richard Foster).
Popunie:
'Om een heel erg lang verhaal kort te maken: houd je van experimentele en onconventionele geluiden, dan is deze plaat echt iets voor jou'. Chris Anderson.
Periwinkle Hear and Now:
Continuing a journey begun with their self-titled release in late 2012, Travelog is the latest release from Michel Banabila & Machinefabriek. Spin’n Puke, opens the album, a rudimentary rhythm that sounds like its inspiration was heard played on a log drum, then morphs through a glitched time warp into a giddy, percussive flurry, ending as a pitch-blend glide into a sattelite blip, disappearing in space. The stage is set for a series of small sound sojourns that as a whole constitute a release that like their debut, explores a wide array of texture, rhythm and sound source. Even the covers tell a tale, a vapour trail on the debut is replaced by a planes shadow flying over a desert coast where the water meets land – this time the waters blue spilling over from the debuts sky. The type remains identical, though smaller, again suggesting a continuing journey. The music is akin to a kind of new exotica, it suggests locations, but the locations exist in a hermetically sealed transaction made between the artists swapping and melding sound-files over the web. These locations appear in Narita for example, a disembodied vocal sample from a Yuko Parris and all n4ural track is embedded in a naive melody that has the air of a polite tea party, that is until its crashed by a fuzz storm battling a Hammond. When the storm subsides, we are left in a Japanese garden and we/I realize the opening melody is none other than a folk tune played on a flute while a skittering shishi-odoshi sample charms rather than alarms – or is it, did it, was it meant to be like this? We transition through Antennas to the gauzy Rain Painting, again, fireworks sourced beats are not, crackling and whirring, some rat-tat and we find ourselves in a slurry of fugged, muted beats and keys chiming strangled, it quietly subsides. I’m gonna leave you at Yarra, its my supposition maybe Michel picked up some samples while flying through the antipodes – Yarra’s a river. This approximates a close call with Hassell - bird calls, vocal Eno Airport/Buddesque Plateaux like loops, weird ritualistic yodels – a possible music. You do the rest, put these two musicians/composers together and you have some intriguing and quirkily engaging music – investigate, explore, enjoy. Perry Holt.
Blow Up :
Already accomplices in the making of the interesting work published last year, simply titled after their respective names, Banabila and Machinefabriek with “Travelog” don’t hide their intent to move towards milder climates. They might go a bit too far with this intent in the pleasing, light Spin ‘n Puke, all based on affable beats, but they get back on track with the splendid Narita, which emanates delicious exotic fragrances and lets some cracks appear towards the end in the otherwise idyllic soundscape, and with Antennas, an even more delicate and discrete piece, yet elusive thanks to the intricate work of fields recordings, child voices and glitch. Rain Painting pragmatically destroys the charm, unravelling from a mysterious darkness thanks to the demonstrated assembling art of Rutger Zuydeverlt, who surfaces with less reassuring outlines, after a superb intro of suspended abstractions and the guitar of Michael Banabila resting in a circular but dramatizing impasse. All followed by lazy, slightly ethnical beats inside a drone structure in Dinsdag and capturing minimalism in Debris, which surely is the piece closer to what we had heard in the previous record. They keep for the epilogue Travelog a golden and hardly perceptible romantic quiver which, despite the guitar hiccups in the first half of the track, expands the emotive gamma of the album further.
(translation Sara Witchy)
Ether Real:
C’est en 2011 que l’on découvrait Michel Banabila et sa musique bien personnelle, quelque part entre ambient et musiques expérimentales, aidé en cela par un parcours et près de 30 ans d’expérience. Extrêmement productif, le Néerlandais sort facilement 3-4 albums par an, en grande partie sur son propre label Tapu Records, parfois en collaboration avec d’autres structures comme c’est le cas ici. Les collaborations, il les mène également dans la création, et ce depuis toujours, mais ce fut une surprise de le voir ici avec Machinefabriek que l’on apprécie également beaucoup. Il s’agit là de leur deuxième effort en commun, et un troisième volet est même sorti en mai de cette année.
Comme pour The Latest Research From The Department Of Electrical Engineering, le précédent album de Michel Banabila chroniqué sur ces pages, Travelog est très riche, voire surprenant par moment. Certes, on n’est guère emballé par ce Spin ’n Puke peut-être trop enjoué, à la construction un peu trop classique, mais dès Narita, on retrouve tout le charme de la musique de Banabila, hors des sentiers battus, des espèces d’expérimentations poétiques, alliant ici une mélodie entre harmonica et cornemuse, des bribes vocales lointaines, et une texture grésillante qui n’en finit pas de monter.
Questionnement légitime, sur les premiers titres on se demande quelle est la part produite par chacun des deux musiciens, mais cette interrogation disparaîtra bien vite car elle n’apparaît pas comme pertinente. Si les sources sonores sont variées, l’ensemble forme un tout cohérent, qui coule de source même si la musique du duo est un immense collage à base de mélodies acoustiques, de field recordings, de voix et bruitages divers, le tout saupoudré de bricolages et glitchs électroniques Antennas.
On trouve donc dans l’ordre des mélodies flottantes alliant guitare, cuivre et électronique, des ambiances quasi industrielles précédent une ambient minimale (Rain Painting), une projection en forêt amazonienne avec oiseaux et chants tribaux (le très beau Yarra) qui se prolonge de façon un peu moins exotique sur Dinsdag.
Les trois derniers titres surprennent par leur changement d’approche. Notre préféré, Runner joue d’abord sur un effet de hachage/syncope sur une mélodie de piano, assez typique d’une electronica glitchy, avant d’embrayer sur des boucles électroniques ultra prenantes. Changement complet de registre encore avec Debris et ses drones grésillants, texturés, puissants, frôlant le bruitisme. Puis l’album s’achève avec un morceau titre qui signe un retour aux instruments, entre accompagnement d’orgues et mélodie croisant guitare, piano et électronique.
Un album finalement bien dans la lignée de ce que l’on pouvait attendre d’un touche à tout comme Michel Banabila et un duo qui nous apparait comme logique tellement l’album s’avère cohérent.
(Fabrice Allard)
Blade Runner is an amazing Hollywood science fiction movie released in 1982. This movie boasts several celebrity outfits that have inspired many of us. Harrison Ford’s clothing in the movie was outstanding and so his Blade Runner trench coat. This coat is something special to present as a gift to your dad or grandfather as they might have memories related to this awesome movie.
Visit by : bit.ly/35bgfQr
There are fighters, bombers, interceptors, gunships and then... something bigger. The 'Duke may look like an old-fashioned Earthling fighter craft, but it is, in fact, the hot-rod, custom built steed of the man known only as Deckard.
An infamous mercenary and gun-for-fire, Deckard travels mostly alone, although sometimes recruits extra crew members to co-pilot or look after his beloved ship.
At home in space as well as atmosphere, the 'Duke packs danger, technology and menace into it's rather large package.
It's size can make it vulnerable, however, to smaller fighters and so Deckard often travels with escort fighters and interceptors.
Length: 19m
Wingspan: 18m
Crew: 1-3, mission dependent.
Armament: 2 High-Output frag-cannons, forward facing.
2 Micro-Mine launchers, wing-tip mounted.
1:55 Jada Toys
Fast and Furious series
WAVE 3
6 of 6
Deckard Shaw's Fast Attack Buggy
from Furious 7 movie
Class of 1966
ADAMS - James "Jimmy" Adams (Killed in Auto Accident)
BAKER - Herbert "Herb" Baker (Cancer - 9/3/2011)
BALLEW - Sandra Ballew (died 4/20/23)
BLEDSOE - Wanda Bledsoe Stough (died 12/26/2015)
BRYAN - Mike Bryan (died from long term illness - 11/1/2019)
CAMP - John Camp (killed in Viet Nam)
CASE - Rick Case (died 7/22/2025)
CHAPMAN - Peggy Chapman (cancer)
CHESHIRE - Walton "Walt" Cheshire (heart attack 4/30/2025)
CHRISTIAN - Jenny Christian Gazaway (died of cancer 1994)
CLEMMONS - Darryl Clemmons (died of cancer 2/25/2016)
COCHRAN - Terry Cochran (died 5/4/2025)
COVINGTON, Carolyn Covington Suddeth (died 5/10/2020)
CRUTCHFIELD - Phillip C. Crutchfield (Liver Disease 1/15/2006)
DANIEL - Bryan Daniel (died 7/3/2014 - cancer)
DANIEL - Charles Daniel (died 1/30/2024)
EDWARDS - Steve Edwards (died 3/13/2023)
FEAGIN - Randy Feagin (died 8/23/2010)
FOWLER - ReNey Sylvia Fowler Murdock (died September 5, 2019 from cancer)
FREEMAN - Bill Freeman (died 5/31/2019)
FRIZZELL - Ann Frizzell (died 10/13/2017)
FUTCH - Sandra Futch (died 2004)
GAILEY - Michael S. "Mike" Gailey
GOULD - Brenda Gould Wread (died 7/19/2022)
GREEN - Charles R. Green (died 1/11/19)
HALL - Hugh Alan Hall (died 1999)
HOLDEN - Charles E. Holden (died 11/17/2009)
HOLLAND - Sandra Gayle Holland Freling (died 4/13/2014)
HOOVER - Don Hoover (Died 10/4/2010)
HUSTON - Glenn Huston (brain cancer 10/5/2013)
JAMES - Virgina James-Peek (9/8/2024)
JONES - Lee Jones (heart attack August 2009)
JONES - Mike Jones (Cancer 1/29/2019)
JONES - Sandra Jones Lowe (dementia 10/11/2022)
KELLY, Brenda Kelly Rann (10/4/2024)
KISSEL - John Kissel (cancer 1/24/2016)
LAFEVER - Linda S. (passed away Feb 12, 2015)
LEVERETTE - Claudia Leverette Griffin (Dies 8/11/2007)
MANGHAM - Robert F. "Frank" Mangham
MCDANIEL - Ronnie McDaniel (Accident 1964/65?)
MCGAHEE - Bonnie McHahee Hardin (died 1/8/2016)
MEDLIN - Timothy C. "Tim" Medlin
MERRETT - Allen Merrett (Died 1/12/2012)
NIX - Johnny Nix (Heart Attack October 2001)
NORTON - Phil Norton (Brain Cancer -8/31/2011)
POULOS - Johnny Poulos (Heart Attack - 4/29/2008)
RAGSDALE - Martha Carol Ragsdale Coleman - 8/15/2025)
REYNOLDS - Nancy Reynolds Testerman
RICE - Don Rice (died 9/15/2023)
ROBINSON - Rick E. Robinson (Heart Attack)
SHERMAN - Doug Sherman (Died from brain tumor 6/19/2003)
SHUMATE - Clayton Shumate (killed in Vietnam 2/19/1968)
SIMMS - Barbara Simms-Bush (died 11/12/2016)
SINGLETON - Carey Singleton Stage (died 5/15/2013)
SKINNER - Lottie Skinner Barfield (Cancer 9/2/2013)
SMITH - Gene Smith (died 12/11/2012)
SMITH - Bobby Smith (Cancer/Stroke 5/13/2023)
SMITH - Rick Smith (died 3/1/2025)
STRICKLAND - Ricky Strickland (cancer 4/25/2013)
TANKERSLEY - Phil Tankersley (died 8/6/2022)
TAYLOR - Herman John Taylor, Jr (died 2/17/2024)
VICKERS - Ted Vickers (Cancer Nov 2014)
VINCENT - Judy Vincent Adams
WALKER - Florette Walker Mayo (died 6/23/2019)
YANCEY - Steve Yancey (died 9/30/2003)
Class of 1967
ANDERSON - Mike "Mickey" Anderson (Died 1/18/204 heart)
ANTONIE - Rick Antonie (Died 1977)
BENNETT - Wayne Bennett (Died 7/5/2018)
BLOOWWORTH - Cathy Jones Bloodworth Decarlo (died from cancer 10/6/2108)
BOWERS - Alex Bowers (Died 10/1/01)
BRASWELL - Ron Braswell (died 4/9/2010)
BRUE - Carol Brue Cochran (died September 26, 2009)
BYRNS - Ron Byrns (died 9/18/2011)
CAMP - Fredrick Richard "Dicky" Camp (died 3/2/2012)
CHERRY - Phillip Cherry (died from cancer 2/12/2021)
CLARK - Buck Clark (died 11/22/2008)
CONNOR - Ronnie Conner (died 1/17/2023)
DECKARD - Terry Deckard (Died 9/10/91)
DECKNER - Dorothy "Dottie" Deckner Taylor (died 12/28/2023)
DOBBS - Janice Lillette Dobbs Tumlin (Died - 1987)
DUKE - George Duke (died 3/28/2007)
ELTON - George "Mike" Elton (Died 12/9/2011)
ESTES - Judy Estes Laber (died of cancer 10/10/2000)
FAUCETT - Sherry Lynn Faucett Peirce ( asthma November 2007)
FENNELL - Peggy Fennell (died 11/8/2022)
FLOWE - Charlie Myers "Mike" Flowe, Jr.
GALL - Sandra Gall Cleveland (died 5/29/2014)
GARRISON - Clyde "Butch" Garrision (died 4/25/2021)
GARMON - Mike Garmon
GOIN - Tommy Going (1/4/2021 Oral Cancer)
GRAMLING - Alvin Grambling (Died June 1997)
GREENE, Charles Greene (Covid 19 - 12/26/2020)
GUERRANT - Leslie Guerrant Fowler (Cancer 11/2002)
GUY - Rose Marie Guy
HARDIGREE - Don Hardigree (cancer 11/10/2015)
HENCK - Wayne Henck (Died 9/16/2015 - Liver failure)
HILL - Charles Wayne Hill (Died 11/20/85)
HOEK - John Hoek (died 6/12/2015)
HUSTON - Howell "Bill" Huston (Cancer 11/25/2016)
HUTCHERSON - Ken Hutcherson (died 9/24/2001)
JONES - Bobby Jones (auto accident 11/27/2001)
KELLY - Wayne "Hoppy" Kelly (Died of cancer - 10/2/2002)
KELLEY - Gene Kelley (Died 4/1/2019)
KENNEY - Joseph "Joey" Rodney Kenney, Jr. (Died - 8/1/1996)
KNIGHT - Jim Knight (died 2/28/2009)
LANIER - Deborah Ann Lanier-Phillips (died of Lung Cancer - 8/14/2013)
LEE - Jerry Lee (died 2/18/2017)
LEAVITT - Fred Leavitt (metastasized cancer - February 21, 2019)
LEWIS - Donna Lewis Garner (died from cancer 3/3/2022)
MARTIN - Douglas Fredrick Martin (Died 4-11-98)
MASSEY - Carol Massey (Died May 07 2006. She had battled Multiple Sclerosis since 1974 and Nasopharyngial Cancer since 20000)
MATHESON - Bob Matheson (died 5/16/2017 - cancer)
MAYS - Cheryl Mays Spraberry (died 12/2/2022)
MCDANIEL - Polly McDaniel Handon (Deceased 6/20/2013 - Cancer)
MCHUGH - C. Townley McHUGH (died 12/13/2013)
MCLEAN - Nora McLean Benson (died Feb 2018)
MERRITT - Connie Lynn Merrit (died 6/2/2011)
MOON - Danny Moon (died 4/6/2010)
MORGAN - Dennis Morgan (died from complications of multiple strokes 1/19/2014)
O'NEAL - Margaret O'Neal-Fresh (September 9, 2021)
NARDONE - Tom Nardone (Died 5/4/2003)
NEWMAN - Bill Newman(died 9/27/2024 severe complications of pneumonia)
NIX - Bill Nix (died 1/22/2015)
PARKER - Diane Parker Linsey (Died 2/5/2015)
PEARCE - Dale Pearce (Died 7/6/2014 - Cancer)
PEARSON - Diane Pearson Kirwan (Died 1/15/2013 MS)
PEEPLES - Ronnie Peeples (Died of heart attack Jan 2000)
PLUNKETT - Cathy Plunkett Fox (Died from cancer 1/17/2014)
PHILLIP - Phillip Wayne Mitchell (died 1/7/2024)
PUGH - William "Bill" Pugh (Died of heart attack 1996)
REAGIN - Charlotte Reagin Chitwood (Hit & run 5/4/2004)
ROBERTSON - Arthur Lee Robertson (Died 2-11-94)
ROBINSON - Edward "Eddie" Robinson (died 1/10/2015 of congestive heart failure)
ROBINSON - Phillis E. Robinson-Shumate (died 11/24/2022)
RUSSELL - Jacquline Russell Crumpacker (died 2/27/2014)
RUSSELL - Robert Thomas Russell Jr.(Killed in Vietnam War 12/14/1969)
SANDERS - Bruce Sanders (died 9/27/2015)
SCARBROUGH - Carol Scarbrough Cheshire - (lung decease 9/26/2021)
SCOGGINS - James D. Scroggins
SCOTT - Mike Scott (died 6/15/2025)
SEWELL - Betty Sewell Herrington - (lung cancer 1/22/2021)
SEYMOUR - James Lanier Seymour (10/31/2008)
SHOPE - Clarence Shope (died 12/20/2011)
SMITH - George Hillyer Smith (Killed in Vietnam war)
SMITH - James Osie Smith (Died 5-21-94)
SPENSE - Mike Spence (Died from asthma - 7/99)
STECK - Jack Steck (died 1/29/2004)
STEELE - Alva Steele, Jr. (died in a house fire Feb. 2006)
STORY - Hal Story (died 11/24/2010)
TANNER - Richard Tanner (died 6/11/2024)
TILLER - Edward Lanier Tiller (Died - 6/87)
TUPPER - David Tupper (died from a long illness 4/20/2012)
TURNER - Michael Barry Turner (Killed in Vietnam war)
WADE - Victoria Wade Sininger
WALLER - Annette Marie Waller (8/10/1966 - suicide)
WALKER - Gayle Walker (Brain Tumor 5/10/2006)
WILLIAMS - Steven Bentley Williams (Died of Heart Attack 7/10/2005)
WILSON - Jimmy Wilson (Cancer - 6/3/2004)
YATES - Bonnie Yates (died 2014)
Class of 1968
ACREE - Henry Acree (died 4/12/2001)
ALLEN - John Allen (died 4/13/2017)
ALEXANDER - Charlotte Diane Alexander Yancey (died from Lupus 1/3/2009)
ALRIDGE - Margaret Rachel Aldridge-Clower (August 18, 2020)
ANDREWS - Fred Malcom Andrews (died 2/25/2013)
BARRON - Jim Kelly Barron (renal failure after double amputation – March 2, 2019)
BARTON - Mary Jane Barton protracted illness – 1/3/2025
BLACKBURN - Judy Blackburn Sullivan (Died January '93 - Pneumonia)
BOLLINGER - Fred Bollinger (died 6/1/2021)
BOZEMAN, Tim Bozeman Sr. (died 11/28/2018)
BREWER - Deborah Brewer (car wreck 2/26/1967)
BROWN - Wayne Brown (Died 3/2/2009)
BRYCE - Roland Bryce (Died 1/23/1982)
BOWERS - Alex Bowers (Died 10/1/01)
BURNEY - Earl Burney (Died 9/10/2004)
CHILDERS - Rickey Childers (pancreatic cancer 7/22/2016)
CHILDRESS - Craig "Chip" Childress (died 12/8/2024)
COLEMAN - Lamar Coleman (died 6/16/2018)
COOK - Pam Cook McMillen (died 5/31/2009 house fire)
CORTISS - Cathy Cortiss Gilbert (lung cancer 8/11/2011)
COX - Larry Cox
COVINGTON - Joyce Covington Crutchfield Jacobsen (Died from liver disease Feb 5, 2005)
DARNELL - Larry Darnell (auto accident 1/22/2011)
DEARING - Junior Dearing (Died 4/15/01)
DONELSON - David Donelson (Died from liver cancer 2003)
DUKE - George Duke (died 3/28/2007)
DUKE - Ronald Dike (died 9/8/2020)
EDWARDS - Lardreen Lyons Edwards (Died 9/19/2008 from Blood Clot)
ELROD - Pam Elrod (1/11/2017?)
FIELDS - Elaine Fields Mosley (Died 12/6/2024)
FLAIR - Patrice R. (Fliar) Smith ( Died 2/19/2012 - Heart Attack)
FORTNER - Cathy Fortner Chauncey (Died 7/8/2005)
FOSTER - Rickey Foster (Died 7/21/2013 ALS)
GIBBS - Paticia Gibbs Watson (9/18/2021)
GIBBS - Robert Gibbs (4/15/2012)
GEORGE - Don Geroge (3/25/2012 kidney cancer.)
GWINN - Mitch Gwinn (late stages of Parkinson’s - October 30, 2021)
HARDEMAN - Glenn Hardeman (8/5/2020 - Fluid retenion & heart issues)
HAMER - Nolen Hamer (died 8/3/2020)
HARVEY - Vic Harvey (Died 1/13/2012 after battling leukemia for several years )
HARDIN - Phyllis Hardin Garrett (Died 10/14/2007)
HARRIS - Donna Harris (Died 11/25/2003)
HAWKINS - Larry Hawkins (died 7/23/2005)
HEWETT - Terry Michael "Mike" Hewett (Died 5/12/2016)
HOAGLAND - Dona Hoagland Smith (Died 11/10/2013)
HULSEY - Keeling Hulsey - 4//29/2021
HURST - Cheri Hurst Greene - 12/26/2022
JACKSON - Gene Jackson (died 4/7/2022)
JENSEN - Chrissy Connel Jensen (died 6/8/2003)
JOHNSON, David Johnson (died 2/27/2025)
KEEL - Regina Keel Adams (died 1/19/2012)
KING - Laird King
KELLY - Curtis "Steve" James Kelly (Died January 1974)
KELLEY - Gene Kelley (Died 4/1/2019)
KENNEY - Sandra Kenney Anderson (died 8/14/2023)
KRETSCHMAR - Sharon Kretschmar Young - (died November 23, 2023)
LAMBERT - Ronnie William Lambert (Died 4/14/88)
LEACH - Royce Ronald Leach (Car Wreck 2/5/1991)
LITTLE - Dexter Little Died from complications of a ruptured appendix – March 15, 2019
LYONS - Jimmy Lyons (Lung Cancer - June 6/28/2017)
MARVASO - Tim Marvaso (Died - Cancer, April 87)
MASSEY - Ivalene Massey Bramlett (Died from congestive heart failure 3/30/2020)
MCKINNEY - Marilyn McKinney (Died - Brain Tumor/Melanoma 6/17/1995)
MCLEAN - Carol McLean (Died - Cancer Sept. 1998)
MCGRIFF - Charles McGriff (Died 7/6/2023)
MINK - Danny Mink (Died - Cancer January 2003)
MITCHELL - Gail Mitchell Allen (staff infection 2015)
MOORE - Barbara Moore (died of cancer 6/9/2014)
MOORE - Sharen Moore Thrasher (ALS 7/31/2011)
MORRIS - Michael Tim Morris
MOUNT - Cathy Mount Eckstein (March 2000)
MULKEY - Ronnie Mulkey ( Died 5/17/2007)
MULLINS - Donna Mullins Hoek (Died - Cancer 3/21/2004)
NATION - Danny Nation (Died 7/3/98, Heart Attack)
OWENS - Chuck Owens (died 7/12/2024)
PAIGE - Jeff Paige (Died 10/4/2019)
PAGE - Sandra Page Brown (died 12/27/2009)
PATTERSON - Arlin E. Patterson (died 12/24/2019)
OWENS - Linda Owens Parks (Died of Brain Tumor 1/15/2012)
PIERCE - Allen Keith Pierce (Died of Cancer 12/4/92)
PHAGAN - William Jack Phagan lll (Pancreatic Cancer 1/23/2023)
POPE - Joel "Billy" Pope (blood disorder 1/23/2011)
REEVES - Jesse Reeves (Died from brain cancer 12/13/2014)
REYNOLDS - Steve Reynolds (Died 3/15/2014)
RICE - Diane Rice Schott (died 3/1/2022)
SANDERS - Bruce Sanders (died 9/27/2015)
SANDERS - Dennis Paul Sanders (12/11/2011)
SCOGGINS - David "Rocky" A. Scoggins (Died 6/1/2005)
SHROPSHIRE - Nancy Shropshire Adams
SIMMONS - Frank Simmons (Killed in Vietnam war 4/24/1968)
SMITH - Daymon Smith (died 2001)
SMITH - George Smith (died 3/19/2022)
SPENCE - Ricky Spence (died July 24, 2006)
STOCKDALE - Dennis Stockdale (Died 3/4/2009)
STOKES - Frank Stokes (Heart Attack 12/3/2004)
TANNER - David Tanner (Died 1977)
THOMPSON, Annette Thompson (died 1/5/2020 from lung cancer)
WAGES - Billy Wages (multiple illness 12/9/2014)
WAITES - Larry Waites (1993)
WALLANCE - Gloria Wallace Price (Died 10/15/2014 Cancer/Blood clot)
WHITEHEAD - Robbie J. Whitehead Lewis (died 11/14/2017 - Auto Immune)
WHITLEY - Georgannah Whitley (Cancer)
Title: [Barney Gedwillas, Norman Bright, Louis Zamperini and Tom Deckard in the 5000 meter race at the 1936 Randall's Island Olympic trials, New York, NY]
Creator: Richie, Robert Yarnall, 1908-1984
Date: July 11-12, 1936
Place: New York, New York
Part Of: Robert Yarnall Richie photograph collection
Physical Description: 1 negative: film, black and white; 13.3 x 10.2 cm.
File: ag1982_0234_1469_race_sm_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information, see: digitalcollections.smu.edu/cdm/ref/collection/ryr/id/141
View the full series: digitalcollections.smu.edu/cdm/search/collection/ryr/sear...
View Robert Yarnall Richie Photograph Collection: digitalcollections.smu.edu/all/cul/ryr/
📼 Бегущий по лезвию 2049 / Blade Runner 2049.
Directed by Denis Villeneuve,
Cinematography Roger Deakins,
Story by Hampton Fancher,
Based on Characters from «Do Androids Dream of Electric Sheep?» by Philip K. Dick.
Starring:
Ryan Gosling — K / Joe,
Harrison Ford — Rick Deckard,
Jared Leto — Niander Wallace,
Ana de Arm — Joi,
Sylvia Hoeks — Luv,
Robin Wright — Lt. Joshi,
Mackenzie Davis — Mariette,
Carla Juri — Dr. Ana Stelline,
Lennie James — Mister Cotton,
Dave Bautista — Sapper Morton,
David Dastmalchian — Coco,
Barkhad Abdi — Doc Badger,
Hiam Abbass — Freysa,
Wood Harris — Nandez,
Music by:
Hans Zimmer & Benjamin Wallfisch.
В основе опуса книга «Снятся ли андроидам электроовцы?» Ф.К. Дика и её экранизация Blade Runner (1982) — без предварительного ознакомления с ними у вас наверняка возникнет ряд вопросов.
Фильм стоит увидеть на большом экране, визуализация на высоте, так что думаю фильм заберёт пару технических/операторских Оскаров, каждый кадр детализирован и проработан до мелочей, включая цвета и панорамы.
Музыку написали Hans Zimmer & Benjamin Wallfisch и помимо традиционных циммеровских запилов, нашлось место Сергею Прокофьеву (фрагмент из Пети и волка / Peter and the Wolf), также мелькают Elvis Presley, Frank Sinatra, Lauren Daigle и Tears In Rain от Vangelis (привет оригиналу 1982 года).
Многие сцены выглядят концептуально и эстетически безупречно и это неудивительно т.к. оператором был Roger Deakins (Побег из Шоушенка, Игры разума, Сид и Нэнси, Бартон Финк, Человек, которого не было, Фарго, Большой Лебовски, Старикам тут не место, Да здравствует Цезарь!, 007: Координаты «Скайфолл», ВАЛЛ-И и т.д.).
«Лишь только многие, но не все» прочитали книгу «Do Androids Dream of Electric Sheep?» (1968) by Philip K. Dick и напрасно, через это философское произведение красной нитью проходят темы отечества иллюзий: всё вокруг не то чем кажется, везде двойные агенты и наш мир давно под колпаком — надеюсь рано или поздно её экранизируют построчно.
Ridley Scott когда-то взявшись за Blade Runner (1982) по мотивам культовой книги, вырезал пару сюжетных линий для динамики, идеально угадал с артистами, оператором и музыкой (Vangelis) и сумел сваять идеальный киберпанк-триллер, жаль продюсеры порезали тот фильм на фарш и нормальный вариант все увидели лишь спустя 25 лет — см реж. версию 117 минут, Blade Runner Final Cut (2007) — кино из моего Top 10, смотрел не раз и не два, и там 10/10 без вариантов.
Далее спойлеры! (если не смотрели не читайте).
2049 позиционировалось как продолжение Blade Runner, но его начало сразу же вызвало смятение — какие-то черви на фоне надписи «ЦЕЛИНА» (#лолшто?), нелепая драка — совсем не то чего я ожидал, пересмотрев накануне в 10-й раз ламповый оригинал — т.е. первые пару минут 2049 я бы вырезал, оказалось что и дальше там можно смело пройтись с ножницами и минут 30-40 выпилить абсолютно безболезненно, например уменьшить хронометраж виртуальной подружки Гослинга (Ana de Arm), сместив акцент в пользу второй (Mackenzie Davis, тут большой привет Darryl Hannah as Pris), или только мне показалось, что MD поинтереснее как актриса, разве что сцена с перемещением их оболочки — это пять, да.
Робин Райт, которая постоянно бухает на работе, чтобы показать что она не репликант? Или это было в рамках product placement производителя виски, её можно было бы тоже подрезать, в пользу Лето, например.
Именно главный антагонист (Jared Leto) к сожалению раскрыт очень слабо — его мотивы и предыстория так и остались туманны. Кто вы мистер Лето? Спятивший полуробот? Каким образом завладели совершенными технологиями Tyrell Corporation, после чего вообразили себя полубогом (при этом не можете сделать себе глаза).
Да и с блэкаутом много недомолвок, если все данные по старым репликантам утеряны, они оказывается могли размножаться, то Sylvia Hoeks (а-ля Рейчел / Sean Young), репликант старой школы? Каким образом она запросто убивает всемогущего начальника полиции (Райт случайно там не биоробот заодно?), ведя Гослинга к конечной цели — ребёнку, но ведь возможно ребёнка Форду родила обычная женщина (а не андроид Рейчел), и весь хайп с ребёнком-мессией — лишь подготовка к восстанию машин старой школы, под управлением Wallace / Luv. Получается за репликантами параллельно следят и в полиции и из корпорации Wallace — нам к сожалению абсолютно ничего не сообщают об иерархии этого прекрасного общества будущего.
Единственный кто более менее чётко вписался — Harrison Ford со свой собакой, ни убавить не прибавить — такой рояль в кустах, плюс голограмма Элвиса, хаха.
Понравился момент, когда Декард предстает перед Уоллесом и Luv и те выводят в свет цифровую копию Рейчел, т.к. Уоллес начал подозревать, что Рейчел когда-то специально подослали к Декарду, как приманку, чтобы проверить могут ли размножаться репликанты, тот отвечает, что уберите эту жалкую копию, т.к. у Рейчел были зёленые глаза (хотя на самом деле, они были карие и зелёными казались только в аппарате Voigt-Kampff replicant lie-detector), при это мы всё ещё не знаем — не репликант ли сам Декард.
Виртуальный кубок достаётся дизайнеру памяти (Carla Juri), которая имплантирует андроидам «ложные воспоминания», базирующиеся на её собственных, отчасти придуманных — пожалуй эта идея лучшее что было в фильме, ведь «рождение» репликанта — это копирование в нужной последовательности информации (0 и 1), но рождение человека — такое же копирование, только цепочек ДНК, так что поздравляю вы тоже репликант, но тогда получается, что я — «человек», задумался андроид K — я помню, значит я существую, думает Гослинг — идеальная многовариантная антиутопия, авторы оставили массу зацепок для продолжения и именно эта часть мне понравилась больше всего.
Странный момент с фабрикой, где некие дети разбирали девайсы — если это реальные воспоминания девочки и она спрятала деревянную игрушку (привет единорогу из оригинала), то почему на фабрике были только мальчики, допустим она притворялась мальчиком, но по фильму она может жить только за стеклом, т.к. нет иммунитета — тогда как она работала на этом заводе и бегала там вдоль доменных печей, с другой стороны — её жизнь за стеклом возможно лишь часть плана OS репликантов по укрытию их будущего вождя.
Гослинг неплохо выступил в роли задумывающегося биоробота (и пусть ему далеко до Рутгера Хауэра), но его poker face вновь вызвал у многих вопросы, но он робот и это нормально, по сюжету с ним многое не ясно — если у Рейчел родились двойняшки (мальчик и девочка), что объясняет отчасти её смерть при родах и воспоминания Голсинга о фабрике реальны (т.е. он сын Рейчел) — зачем Декард подменил данные в базе, так что у них совпали ДНК {с Ana Stelline}, хотя этого не может быть у разнополых особей, или это было в рамках привета оригиналу — только там сомневался Декард, а тут Гослинг.
Поначалу рейтинг 2049 зашкаливал, т.к. просто многие ждали «фильм года», и я в том числе, но нет, увы. С кассой там тоже так себе — фильм реально провалился в амер. прокате, теперь это очевидно, но за счет мирового проката они вышли в ноль (на самом деле нет).
Можно также заметить, что 2049 начали слегка прессовать и кинокритики левого крыла, например по поводу того что тут опять всё спорно с расовым вопросом: один чёрный — мошенник, подделывающий документацию, другой — рабовладелец на фабрике, девица-проститутка, т.е. на весь фильм кажется только три не белых и все плохие — совпадение не думаю.
Раскрытый бюджет был 150 млн + реклама/маркетинг (неизвестно), и в штатах на середину октября они собрали всего 60 млн + 98 млн за пределами, т.е. в сумме 158 — это провал, учитывая ожидания.
Посмотрите для сравнения кассу It / Оно (2017), при бюджете 35 млн, сборы 630 млн — клоун передаёт привет Гослингу и весело машет шариком из ливневого стока; Dunkirk Нолана был снят за 100 млн и взял в прокате 522 млн — так что Denis Villeneuve на их фоне однозначно провалился, увы, мне понравилось его Arrival / Прибытие, и надо бы заценить уже наконец нашумевший Sicario.
В итоге, красиво, но слишком монотонно, некоторые артисты мимо кассы, нестыковки по сюжету, удивило обилие product placement (Sony, Peugeot, Jonny Walkers) — увы, не фильм года (а я так ждал), тем не менее накину пару баллов за уважение к оригиналу.
Rick Deckard: Sometimes to love someone you've got to be a stranger.
8/10.
ps
По мотивам Ф.К. Дика, на тему сомнений приводящих к драматическим раздвоениям, посмотрите заодно: «Помутнение / A Scanner Darkly» (2006) с Райдер и Ривзом, «Вспомнить всё / Total Recall» (1990) тут Стоун и Шварц, и «Особое мнение / Minority Report» (2002) с Фаррелом и Крузом, хотя стоит учитывать и тот факт, что Philip Kindred Dick употреблял изрядно неустановленных веществ и «творил» периодически находясь в состояниях разной степени тяжести.
pps
Именно Villeneuve указан теперь как реж. новой версии «DUNE», её в далёком 1984 уже экранизировал Д.Линч, с начинающим агентом Купером, который ещё не знал про Чёрный вигвам, но уже попробовал спайс. С этой Дюной была отдельная cool story — изначально серией sci-fi романов Ф.Герберта зачитывался не только я, но и дочка одного миллионера, Дино де Лаурентиса, она уломала папашу дать пару миллионов Линчу, чтобы тот сделал всё красиво, но Линч видимо рассудив, что фильм про спайс невозможно снимать не находясь в состоянии изменённого сознания — сильно отклонился от канонического текста, так что фаны «Дюны» не приняли опус и он провалился в прокате чуть более чем полностью (что не помешало ему стать культовым, и там, кстати, тоже была Sean Young/Rachael — в роли Chani), незадолго до этого фильм пытался снимать и Алехандро Ходоровски, но тоже не смог. Многие фишки из Дюны потом задействуют в «Звёздных войнах» и «Чужих», Frank Herbert увидев первую серию «Star Wars. Episode IV: A New Hope» (1977) высказался в том духе, что «этот сукин сын теперь должен мне отчислять авторские, за всё что он стырил из Dune для Star Wars», на что Джордж Лукас заявил, что типа «Фрэнк, сорян, но я с детства за Dune!» на том и порешили.
Удачи Denni в следующих работах!
#bladerunner #bladerunner2049 #бегущийполезвию #gosling #leto #ford #villeneuve