Sion Sono- 愛のむきだし/Love Exposure (2008)- DVD9 (PAL Format)

And now these three remain: faith, hope and love. But the greatest of these is...Love Exposure!

That silly Sion Sono. Up to his perverted hijinx again, with no movie studio up his skirt...I mean ass, and allowing him to do whatever the hell he wants because he's an artist. That's blatantly un-American!But wait. He's Japanese. And his fellow compatriots such as Kiyoshi Kurosawa, Tetsuyo Nakashima (yes I'll get around to posting Memories of Matsuko. I swear!), and Hirokazu Koreeda, etc., etc, are outputting films that actually have a soul.

Ugh. I'm so borrrrrrrrrrred with the U.S.A., but what can I do? I'm serious. Cinema is practically dead in this country, and I'm sick of having to live vicariously through another country's films.

Fuck it. I'm making a movie. And it will be blessed by the Virgin Mary, and then her and I will be on pins and needles hoping that God has a twisted sense of humor. If not, we're fucked, and we'll be banished to the coast of Spain.

By the way, Here's Love Exposure. Enjoy it, or don't. I could care less.




From Adam Wing at 24 Frames Per Second:

Four hours in the company of love, obsession and romance, it’s enough to make a grown man reach for the remote control. But don’t be too hasty with that there wandering hand, because looks can be deceiving, and that’s definately the case with cult director Sono Sion's quirky marathon feature Love Exposure. Having already won me over with films like Suicide Club (a dark, delicious favourite) and Noriko's Dinner Table (a rare sequel that arguably outweighs the original), Sono serves up a twisted opus of love, obsession, martial arts, underwear and violence. Nishijima Takahiro (he was in a pop group) makes his film debut alongside Mitsushima Hikari (Death Note) and Ando Sakura (Kaze no Sotogawa), as a teen who takes upskirt photos. Yup, the guy is quite clearly the prince of perverts, and the rest of the cast don’t fare much better. In Sono’s twisted world, each and every one of them has their own quirky cross to bare. Winner of the Caligari Film Award and the FIPRESCI Prize at the 2009 Berlin Film Festival, Love Exposure takes on religion, family and sexuality. Miraculously, at close to four hours long, it also manages to be an absolute riot from start to finish.

17-year-old Yu (Nishijima Takahiro) is the son of an upstanding widowed priest (Watabe Atsuro) who has recently become involved in an illicit relationship with a troubled parishioner (Watanabe Makiko). It all goes a bit wrong and Yu’s father takes a turn for the worst, it soon becomes apparent that the only way he can satisfy his father’s dark demon-ds is to commit sin after woeful sin. Yu is saving his first sexual experience for the ideal girl, and he finally meets her in the form of Yoko (Mitsushima Hikari), a sassy schoolgirl who beats up guys for the hell of it. Yu falls hard for Yoko, but in order to fulfil his obsession he has to take on the identity of a kick ass femme fatale by the name of Miss Scorpion (don’t ask). Add to the mix a fanatical cult recruiter called Aya (Ando Sakura), who has her eyes on both Yoko and Yu, and it all gets a little bit complicated. But then, we are talking about love here.




Love Exposure is a love story of sorts, but that’s not even telling half the story. In fact, to fully appreciate Sono Sion’s latest movie marathon, you really need to get acquainted with his back catalogue. Suicide Club was a quirky, offbeat offering that found a cult following world wide, but it certainly isn’t his best movie. Love Exposure owes more to the style and themes of its sequel, Noriko’s Dinner Table. I say sequel, the two films are loosely connected but show off different sides to the Sono Sion coin. Exte: Hair Extensions was Sono’s surprisingly effective attempt at Asian horror, but as with all of his previous films, it came with a knowing charm and deftly comic touch. Love Exposure mixes all of these elements in an off beat movie blender and comes fresh out the oven as his defining moment, and I hasten to add, his defining moment so far…

The performances are spot on, the characters are enthralling and the movie themes are compulsive. Four hours appears daunting on paper but the time just flies, such is the richness and depth of the characters and circumstance on display. We have love, honour, faith, perversion, sexuality, cults, religion and martial arts to cover here, thinking about it, four hours is not enough. It’s probably wise that you take a breather half way through though, to fully appreciate the charm and flavour, you’ll do well to embrace the eccentricity of Love Exposure in one sitting. Sion Sono has crafted a unique, quirky, colourful and memorable ode to love, and he’s done it without resorting to the stereotypical conformities which blight modern day love stories the world over. If you’re a guy, and your not totally convinced, consider this. Love Exposure is a romantic endeavour that takes up-skirt shots, erections, martial arts face-offs and bloody carnage as seriously as it does the big L, what’s not to love? Take a chance, expose yourself today. Just don’t tell anybody I told you so…




Disc 1 Technical Information:

Title: 愛のむきだし/Love Exposure (Disc 1)
Year: 2008
Country: Japan
Director: Sion Sono

Source: DVD9 Retail
DVD Format: PAL
Container: .iso + mds
Size: 7.78 GB
Length: 2:00:20
Programs used: Unknown

Resolution: 720x576
Aspect Ratio: 16:9
Video: MPEG2 @ ~6200 kb/s
Frame Rate: 25 fps

Audio: Japanese- Dolby AC3 Stereo @ 192 kb/s
Subtitles: English

Menu: Yes
Video: Untouched
DVD Extras: Making of Love Exposure, Original Japanese Trailer


Disc 1 Megaupload Links




Disc 2 Technical Informtaion:

Title: 愛のむきだし/Love Exposure (Disc 2)
Year: 2008
Country: Japan
Director: Sion Sono

Source: DVD9 Retail
DVD Format: PAL
Container: .iso + mds
Size: 6.73 GB
Length: 1:56:08
Programs used: Unknown

Resolution: 720x576
Aspect Ratio: 16:9
Video: MPEG2 @ ~6200 kb/s
Frame Rate: 25 fps

Audio: Japanese- Dolby AC3 Stereo @ 192 kb/s
Subtitles: English

Menu: Yes
Video: Untouched
DVD Extras: None on source


Disc 2 Megaupload Links

Vietnam Thesis- Part XI

Map of the Easter Offensive

Part eleven, kids.

Amid waning morale and skepticism from soldiers, the first major test of the South Vietnamese army came in early 1971 with an invasion of Laos. The U.S. armed forces were relegated to protecting the ARVN from the Vietnamese side of the border. The offensive known as Lam Son 719, was a complete disaster for the South Vietnamese. After 46 days in February and March, it was clear that the South Vietnamese could not sustain another attack of that sort. Young South Vietnamese people struck back at the Americans, angry that they were now turning their backs on them. U.S. commanders, worried about attacks from Vietnamese civilians and the lack of motivation among their own troops, saw the need to end the war, no matter what. 

This idea of abandonment had long been entertained by the regular GIs, but now it was beginning to sound like an option to the commanders as well. It was evident in that Nixon’s approval rating was sliding as was opinion on his handling of the war. Everyone involved smelled the stench of death on the South Vietnamese, and saw that there was no way to persuade the American troops to continue to die in large numbers. Knowing that very little could be done to secure victory, the Nixon government went to work in 1972 hoping to at least secure peace. Apparently, the complaints of soldiers had finally reached the ears of the men in power. 

In an attempt to move the peace process forward, Nixon unveiled an eight point plan in January of 1972. In response to Nixon’s new plan, the North Vietnamese launched an all out attack on the ARVN and remaining U.S. forces in March. This was done to help give the North an upper hand in the peace process, and to pressure Nixon who was facing the presidential election in November. As with the Tet Offensive before it, the Easter Offensive caught military leaders by surprise. It is not surprising, however, that this lack of information about the attack made troops angry at their superiors. W.R. Baker, who was stationed in Da Nang during 1971 and 1972, wrote that, “The "intelligence failure" during the Easter Offensive was less a failure to collect intelligence than it was a failure to exploit obvious indicators.”

Every slight advantage that the U.S. had during the Vietnam war had been systematically taken away by the enemy, either through their cunning or our inability to take away their edge. After the Spring of 1972 you would be hard pressed to find any man in Vietnam who still fully supported the war.

Kathy Drayton- Girl in a Mirror: A Portrait of Carol Jerrems (2005)- DVD Rip (XviD)

Iconic images that define a country have always fascinated me, and Vale Street, along with other photographs and self-portraits by Carol Jerrems perfectly capture an Australia of the 1970's long forgotten by time. You can practically hear Madder Lake playing in the background when viewing her work. And this excellent documentary chronicling the life and untimely death of the artist puts the viewer dead center into an Australian culture that was as vibrant as anything that was happening in either Europe or the States during the same period.

Included in this post is a short film featurette by Jerrems that was included in the DVD. We've also added it to the download. Enjoy.



From Peter Wilmoth at The Age:

It was when Carol Jerrems was making a film about a gang of 15-year-old sharpie boys from Heidelberg, most of whom had been expelled from school and, in their own words were involved in "bashing, beer, sheilas, gang bangs - which is rape - gang fights, billiards, stealing and hanging out" that she found out most clearly the cost of getting involved with her subjects.

"So far I have myself only narrowly escaped rape but was bashed over the head by the main actor while driving my car, which had just been dented by the rival gang with sticks. They steal my money and cigarettes when I'm not looking, but I refuse to be deterred."

Very little deterred Jerrems, even the game in which the sharpie boys drew straws to see who would "go off" with her. Her shy, earnest demeanor and angelic face framed by golden frizz belied a ferocious appetite for photographs that would capture the moment, a thirst for the next great shot that could - and sometimes did - endanger her life.

Friend Michael Edols recalls in a new film about her life that he and Jerrems went into a pub in Sydney's Redfern. "I remember watching Carol in the middle of this room and she turned her camera on this young man and photographed him." The man grabbed at Jerrems and tore off her necklace while Edols dragged her out of the pub and into the car. "On the way out," Edols says, "I got whacked in the chest and cracked two ribs. We had every window of the car totally smashed in, including the headlights."




"Carol was very shy and she didn't like being shy and she was always pushing against her inhibitions and her limits, and that often led her to dangerous situations," says Kathy Drayton, the director of Girl In A Mirror, about this extraordinary photographer's intense, short life. "There was a certain amount of naivety.

"Her photographs engage the viewer in an intimate relationship with her subjects. It's not always a friendly intimacy - sometimes her subjects look defensive, irritated or even menacing, but you always sense that you're seeing beyond the mask into the soul."

Jerrems was born in Melbourne in 1949, grew up in middle-class Ivanhoe and studied photography at Prahran College between 1967-70, where she was filmmaker and photography teacher Paul Cox's best student. "She stood out, she was odd," Cox says in the film. "She had this odd little smile."

Jerrems had found her calling early. In her second year at college, her confidence was such that she made up a stamp, "Carol Jerrems, Photographic Artist" which she would stamp on all her finished prints. "We were a bit scared of Carol," former Daddy Cool guitarist Ross Hannaford, who was also at Prahran, says in the film. "She was real serious. Carol was the first feminist I ever met. I remember she gave me a lift home once. I said 'Thanks, baby'. She said 'Come here. You don't call me baby.' Got a bit of a lecture."




Jerrems' success came quickly. In 1972, Rennie Ellis, the Melbourne photographer who died in 2003, opened Australia's first dedicated photographic gallery, Brummels, in South Yarra and selected the 23-year-old Jerrems' work as part of its first exhibition, a show called Erotica.

Always carrying a camera and flirting with the idea of danger, Jerrems wanted to capture the raw edges of the world she saw around her, subjects others weren't focusing on artistically: sharpie subculture, street life and urban indigenous people. "People were stereotyping indigenous people," said a friend, Ron Johnson. "I think Carol was showing 'This is not what it's all about, look, look at the expressions on people's faces - see what they're really feeling."

"People at the time were interested in traditional Aboriginal people while Carol was solely interested in urban Aboriginal people," says Kathy Drayton. "And at the time, sharpies were considered to be real bogans so it was unusual for someone of Carol's background to be interested in them."

Jerrems found work teaching photography at Heidelberg College, in the middle of a tough housing commission area. She was fascinated by the anti-social wildness of the boys, and spent time photographing them swimming in rivers, hanging around in backyards, wearing their skinned-rabbit jumpers, tight jeans and short curtains of fluffy dyed hair.

In this milieu, Jerrems found what Drayton calls the "brash sexuality of Australian youth in the '70s, a sexuality laced with vulnerability and darkness", and it inspired her most famous photograph. Vale Street 1975 is a mesmerising portrait of Melbourne model Catriona Brown flanked by two sharpie teenagers, the boys standing just behind in the shadows. The shot was taken at a house in Vale Street, St Kilda, at the end of a long day of shooting. Brown had asked Jerrems to take a shot for her folio, and Jerrems agreed, as long as she could shoot the boys with her, and use the shot for her folio.




The photograph is, says Drayton, regarded as a significant moment in Australian photography "as it bridges documentary realism and the more subjective style of photography that marks the post-modern era". The power of the photograph was the human connection. "Jerrems does not presume that she is outside the event without influence on it," wrote Helen Ennis, former curator of photography at the National Gallery of Australia.

Jerrems' development as a portrait photographer coincided with rising interest in photography as an art form in Australia. Photographers were beginning to be deeply involved with their subjects rather than discreet observers shooting at a distance. Jerrems saw the traditional documentary style of photography as exploitative and believed the more personal collaborations between photographer and subject to be more honest, even if they were more risky personally.

Paul Cox once wrote: "She had to experience everything and feel things deeply before she could record them. She lived to the fullest, then withdrew into her own world."

Part of the power of Jerrems' work stems from its reflection of a certain pocket of life in the mid to late 1970s, the world of filmmakers, photographers and other creative types living in group houses. The sexual freedom and youthful confidence of the time, as enunciated and encapsulated by Skyhooks' Living In The Seventies album, is everywhere in her work. Drayton says Jerrems was "adventurous and forthright in her sexuality", having affairs with many of her friends, men and women, reflected in her work, "at times seductive, at others, frankly post-coital".




In the film, one of her great loves, the filmmaker Esben Storm, remembers Jerrems arriving in Sydney with new photographs. "Inevitably they'd be photographs of her waking up . . . with someone. While I'd been off sort of having wild times, she'd be having her wild times. She would sleep with someone and that would mean there would be an intimacy that would allow her to take photographs.

"It was the time of free love in a way, even though we weren't that free. There were ideals that it was uncool to be jealous and that you weren't possessive. We all tried to live by that, even though we couldn't really."

Greg Macainsh, Skyhooks' songwriter, remembers Jerrems photographing the band for a book called Million Dollar Riff. "She came to a number of gigs," he says now. "She was very quiet, reserved. She would make herself virtually invisible. I remember her in the dressing room being very still in the corner. She didn't take a lot of shots, she would wait for the right moment. She wasn't a motor-drive type, she was a bit like a sniper, waiting for the perfect opportunity."

Ross Hannaford was close to Jerrems for a while at Prahran College and remembers the seriousness with which she pursued her photography. "It was a time when there was incredible optimism in the air," he says now. "If you had a dream, you could do it. There didn't seem to be anything holding people back. I'd watch Carol shooting and I didn't realise what she was up to. 'What are you taking all that rubbish for?' But when you look back it seemed to encapsulate the times and the life around you. Her work took on a significance later on."

But amid the gaiety and youthful charge in Jerrems' pictures, Helen Ennis says a distinct change in mood is evident in the work. "The early photos between 1972 and 1975 were all about optimism. There's a huge amount of energy in them. It was all bound up with the excitement about the Whitlam government and this desire for change. But from 1976 I don't think they were anywhere near as optimistic."




Darkness

It wasn't just the Whitlam dream fading that gave Jerrems' work this darkness, nor the mood captured in the Skyhooks song Whatever Happened To The Revolution? ("We all got stoned and it drifted away"). While there is great exuberance in the decade the film documents, there is also a profound sadness about Jerrems' life. The odd little smile that Paul Cox talks about is rarely seen in the several self-portraits that feature in the film. Instead, there are many hints of the depression that she struggled with. Her friend Robert Ashton, who lived with Jerrems in a group house, remembers her bedroom door being closed for hours and even days.

In 1979, Jerrems went to Hobart to teach. Shortly after arriving she was diagnosed with polycythemia, a rare blood-related cancer. She underwent months of invasive and painful procedures, but came to a realisation she was dying. Jerrems photographed and wrote about her physical decline. She photographed doctors hovering, the scars on her stomach, and her mother, with whom she had a difficult relationship, visiting. As the camera pauses on a shot of her mother, an actress reads from Jerrems' journal: "She is one of the few people with the ability to push me over the edge into tears or screaming."

Carol Jerrems died in Melbourne in February 1980, three weeks before her 31st birthday. Her work was bequeathed by her mother to the National Gallery of Australia. In 1990 a retrospective was staged, but until now Jerrems has remained unknown outside photographic and film circles.

Girl In A Mirror gives an insight into the counterculture of the 1970s - the music, the cars, the fashions, the social tensions, the sexual experimentation. Kathy Drayton, with help from the National Gallery of Australia, had access to hundreds of Jerrems' photos as well as shots from Rennie Ellis (who photographed Jerrems often), friend Robert Ashton and Henry Talbot. The journals Jerrems kept after 1975 are used to "narrate" the film.

Drayton, who has worked as an editor with SBS television as well as editing a variety of independent experimental films and short dramas, says her interest in Jerrems was piqued when she saw three of her photographs at a New South Wales Art Gallery exhibition. The "deceptively simple power and beauty" of the three photos haunted her, and she began to research Jerrems.

"There's an emotional intensity and intimacy with Carol's photographs," she says.

Who was Carol Jerrems? "There were a huge number of perspectives from people about Carol," says Drayton. "She went into roles with people, played games. She became whatever people wanted her to become."




Technical Information:

Title: Girl in a Mirror: a Portrait of Carol Jerrems
Year: 2005
Country: Australia
Director: Kathy Drayton

Source: DVD Retail
Video Codec: XviD
Container: .mp4
Size: 568 MB
Length: 0:55:31
Programs used: Unknown

Resolution: 640x368
Aspect Ratio: 16:9
Video: MPEG4 @ ~2500 kb/s
Frame Rate: 25 fps

Audio: English- AAC Stereo @ 127 kb/s
Subtitles: None

Bonus: Hanging About (a short film by Carol Jerrems)





Girl in a Mirror Megaupload Link

Carl Orff- Antigonae (1951)- Georg Solti/Bavarian State Opera- EAC CD Rip (FLAC)

It seems that when most people think of German opera (if they think of German opera), they see the typical viking-horned fat lady singing. Carl Orff's Antigonae smashes that stereotype with cacophonous arrangements made all the more modern by the hard-edged sound of the German language.

The first Munich production of Antigonae in 1951 was declared "the renewal of opera," and this live recording, taken opening night, captures everything from Christel Goltz's career-making performance in the title role to the audience member who is unable to hold back a coughing fit. Scans of the complete libretto are included in German, French and English.




From Anette Unger (trans. Lionel Salter):

It was to be regarded as "festival and ritual theatre" and as a "topical musical interpretation, with present-day means" of Holderlin's version of Sophocles's drama. That was how Carl Orff then described his third large stage-work, Antigonae, written in the years 1947/48. In fact it's musical point of departure and apporach were wholly taken from the speech-rhythm of Holderlin's translation (only the choruses were completely set to be sung); and with the help of a foundation of 6 pianos, 4 harps, 9 double-basses, 6 each of flutes, oboes and trumpets as well as 60 (!) percussion instruments - some newly constructed - it was possible to come up with an entirely new, unusual orchestral sonority.

But the premiere of this tragedy, on 9 August 1949 in the Fesenreitschule in Salzburb by Oscar Fritz Schuh and Ferenc Fricsay, seems only to a limited extent to have conveyed the new impulse issuing from Orff. The whole was "designed as an intensification", wrote the Sudost-Kurier on 13 August, "without, however, being able essentially to prevent exhaustion by the listener". Nevertheless, when the work was given for the second time, half a year later on 27 January 1950 in the Semper Opera, Dresden, this time with Heinz Arnold producing and Joseph Keilberth conducting, opinion was different at a stroke. And the first Munich performance of Antigonae on 12 January 1951 - also staged by Arnold, and under the musical direction of Georg Solti - definitely left no further doubt: the Press proclaimed, through Orff's new tragedy, the "renewal of opera".




This success was also due to the team at the time , who - as Suddeutsche Zeitung declared again in July 1994 on the occasion of Heinz Arnold's death - succeeded in presenting nothing short of a "model staging". Everyone who experienced it recognised in particular, according to the SZ, "Arnold's gift for a compelling stylisation with a concentration on essentials". At that time Heinz Arnold had just become chief producer at the Bavarian State Opera (then the Prinzregenten Theatre) and had already, as opera director in Dresden, attracted international attention by his forward-looking productions. In Munich too he was to shape the character of the State Opera until 1967 - beginning with that famous realisation of Orff's Antigonae, whose decor by Helmut Jurgens (a section of a cone and an inclined surface) likewise created a tremendously modern effect in its archaism and simplicity.

Christel Goltz, hailed in 1950 by the SZ as "one of the most intelligent women of today's musical theatre", seemed made for the title-part. She had already left no doubt whatever of that in Dresden. For in 1950 - shortly before her engagement at the Vienna State Opera - the former member of the Semper Opera company had rehearsed with Arnold the role of the Theban king's daughter. That meant - as she herself once related in an interview - having to rehearse the part with her husband while on her sickbed as a diptheria patient in an isolation ward. "We always recited it rhythmically there. One had to be able to speak very well, to be quite clear in diction. For Antigonae is not any longer an opera in the usual sense." And she also proved this in Munich, though she convinced by the expressiveness of her declamation, and in addition was praised for the "complete unity of the religious, the Dionysiac and the musical". From then on, Christel Goltz sang the part on all stages ("Whenever it was then played, I always sang it"), and in the year of the first Munich performance received the American Oscar as the "best foreign female singer of the year".




As Creon she had beside her Hermann Uhde of the Vienna State Opera, who was shortly afterwards to join the Munich company. Uhde was likewise not new in the Antigonae team: he had already sung in the part of Creon at the Salzburg premiere. "Of the performers", the Sudost-Kurier said at the time, "in the first place must be named Hermann Uhde: as Creon he had to sing in Sprechgesant for almost three hours non-stop, and mastered all the difficulties of this singing while being totally convincing as an actor." And Benno Kusche, engaged in Munich since 1946, also drew on his experiences in the role of the Choragus which he likewise had gathered in Salzburg. Kusche had indeed already appeared many times as an Orff singer in general, and was also to take part in recordings of the stage works Die Kluge and Der Mond.

Besides Ernst Haefliger, who came from Zurich, a whole range of further soloists were from the Bavarian State Opera Company: the tenors Paul Kuen (A Guard) and Karl Ostertag (Haemon), both extremely popular in Munich. Irmgard Barth (Ismene) and Marianne Schech (Eurydice), as well as Kurt Bohme (A Messenger), who had been under contract to the house since 1949. In all, he took part in Munich in 29 premieres or first local productions. Karl Richter wrote of him, "The iron power of fate has scarcely ever been heard with more painful brutality, but also with greater implication for this world, than in the Messenger's account of the death of Antigonae and her beloved, Haemon". And no less than Orff himself dedicated to Bohme a photo of himself that he signed with the words, "To the messenger of all messengers". By this he fairly certainly may have meant, also, Bohme's roles of the "other messenger" in Oedipus der Tyrann and the "guardian of the dead" in Lamenti. Bohme was brought to the Bavarian State Opera in 1949 by Gerog Solti, who was among the most influential figures of its artistic development, and in 1951 conducted Antigonae as the last of his Munich first performances before leaving Munich a year later.




More than 20 years later he was to say to Karl Schumann about the reasons for his departure that he was "stumbling over the position of power of a composer-in-residence whose first performance of stage work in ancient Greek costumes he had conducted. As the author made ironic comments on his own score, on reminiscences of Stravinsky and suchlike, he had joined in, not suspecting that such jests were not appropriate to him" (Paul Robinson). Today it is known that there were many grounds why Solti, who in 1946 had been appointed musical director of the State Opera when just 34 years old, ended his time in Munich in 1952 and went to Frankfurt - along with Arnold. Whether there were in face disagreements with Orff may be immaterial. What was important, however, was the Solti made an outstanding artistic name for himself in these Munich years, which were crucial for him, and was involved in bringing out 25 enormously successful new productions. Years later, this period is still being judged the most important phase of the "most daring vertical take-off in the history of new interpretation" (SZ, 21 October 1987). But already in 1951, when his departure was becoming known, the Abendzeitung of 29 June read: "Munich knows what it is losing in Solti [...] In this year he has proved his versatility and his feeling for the dramatic nerve of a work by the performance of Orff's Antigonae." Of this legendary evening Carl Orff himself was of the opinion: "That this performance in Munich was possible is among the most gratifying happenings of my whole life".




Technical Information:

Composer: Carl Orff
Librettist: Carl Orff
Conductor: Georg Solti
Album: Antigonae- Disc 1
Date: January 12, 1951

Audio Codec(s): FLAC8
Encoding: Lossless
Rip: EAC split tracks
Avg. bitrate: 364 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2

File size:
Disc 1- 205 MB
Disc 2- 187 MB

Length:
Disc 1- 1:19:01
Disc 2- 1:12:17


Cast:

Christel Goltz: Antigonae
Irmgard Barth: Ismene
Benno Kusche: Chorführer
Hermann Uhde: Kreon
Paul Kuen: Ein Wächter
Karl Ostertag: Hämon
Ernst Haefliger: Tiresias
Kurt Böhme: Ein Bote
Marianne Schech: Eurydice

The Bavarian State Opera Chorus and Orchestra
Herbert Erlenwein: choirmaster




Disc 1 Tracklisting:

01. Gemeinsamschwesterliches! O Ismenes Haupt! (9:11)
02. O Blik der Sonne, du Schönster (7:01)
03. Ihr Männer, wär's die Stadt allein (4:16)
04. Dir dünket diß, o Sohn Menökeus (6:51)
05. Mein König, dißmal plaudr' ich nicht (6:03)
06. Ungeheuer ist viel (5:15)
07. Wie Gottesversuchung aber stehet es vor mir (5:14)
08. Du also, die zur Erde neigt das Haupt (7:44)
09. Aber jetzt kommt aus dem Thor Ismene (5:58)
10. Glükseelige solcher Zeit (6:41)
11. Hämon kommt hier (14:49)


Disc 2 Tracklisting:

01. Geist der Liebe, dennoch Sieger (3:55)
02. Jezt aber komm' ich, eben selber (9:21)
03. Doch komm' ich an, so nähr' ich das mit Hofnungen (5:39)
04. O des Landes Thebes väterliche Stadt (5:07)
05. Ihr Fürsten Thebes! (18:35)
06. Der Mann, mein König, gieng viel prophezeiend (1:41)
07. Namenschöpfer, der du von den Wassern (2:53)
08. O ihr des Kadmos Nachbarn (3:44)
09. O all ihr Bürger! eine Rede merkt' ich (1:57)
10. Ich liebe Frau, sages (7:06)
11. Io! unsinnige Sinne (12:20)





Disc 1 Megaupload Link
Disc 2 Megaupload Link

Wonderfalls (2004)- The Complete Viewer Collection- DVD9 (NTSC Format)

First off...
The Fox Television Network could screw up a wet dream. Firefly, Arrested Development, and Wonderfalls were all shortchanged at one time or another, with Wonderfalls being pulled after only four episodes. This show happened to be one of the best written and quirky comedies that's seen the light of day on television. And since it's the duty of Team ForTheDishwasher to right all wrongs in this horrid world (we were the ones who ended Apartheid), we've made the internal decision to highlight this wonderful program in all its DVD9 glory. It's time to fall in love with Jaye just like we have. Enjoy!




From Jonathan V. Last at the Weekly Standard:

The third episode of Wonderfalls airs tonight on Fox (now on Thursday nights at 9:00 p.m. est), and if the early returns are indication, we'll be lucky if the executives at Fox allow three more of them to see daylight.

WONDERFALLS centers around Jaye Tyler (played by Canadian actress Caroline Dhavernas), a 24-year-old graduate of Brown (with a degree in philosophy), who lives in a trailer park in Niagara Falls and works at a local souvenir shop. Jaye is sullen, standoffish, clever, and incredibly spiteful--not to mention a junior varsity alcoholic--and she seems to be living her life as a direct rebuke to her successful, wealthy, and pleasantly offensive family (Karen, Darrin, Sharon, and Aaron Tyler).

That is, until she has a small neurotic breakdown. When Jaye comes to, small, inanimate objects--a toy lion, a brass sculpture of a monkey--begin talking to her. They urge her to do things and, unsurprisingly, no one else can hear them.

Jaye's new talking friends give her instructions--do this, go there, talk to this or that person--and Jaye, already on the verge of crazy, listens to them. She becomes a deus ex machina, by way of Rube Goldberg. Much hilarity ensues.

LIKE ALL GREAT TELEVISION, Wonderfalls doesn't look like much on the page. (Who'd want to see a program about four people who do nothing, or a girl who kills vampires, or a mobile Army hospital in Korea?) But in execution, it's something else. Shot with David Fincher-style ingenuity, the show always feels as though it is about to careen off the rails, but if Wonderfalls is a roller-coaster, it's Space Mountain--everything is so unexpected that we never see the turn or drop-off until we're halfway through it.

The cast does outstanding work--particularly Dhavernas, whose performance is cool, self-assured, and tartly funny (see if you can spot the line readings where she merges Sarah Michelle Gellar and Alyson Hannigan). Even the theme song is memorable, thanks to XTC's Andy Partridge.




The real star, however, is executive producer Tim Minear and his crew of talented writers. Each episode is packed with home-run jokes, most of which are mercifully unreliant on pop-cultural references. For instance:

Therapist: Tell me about your family.
Jaye: I don't really want to gossip.

Obvious comparisons will be made to other faith-centric shows, particularly Joan of Arcadia, Mysterious Ways, and Touched By an Angel (Wonderfalls was at one point tentatively titled "Touched By a Crazy Person"), but none of these are apt--Wonderfalls substitutes black humor for earnestness:

Boy with a crush: Why struggle with faith? Life can be sort of peaceful when you stop struggling.
Jaye: It's a lot like drowning that way.

Forget Joan of Arcadia; if anything, Wonderfalls is the lovechild of Amélie and Northern Exposure.

ALAS, the big wheels at Fox don't seem to be 100 percent behind Wonderfalls. Sticking the mid-season replacement in the 9:00 Friday night casket was an inauspicious start. Advertising support has been lackluster. Then, last week, Minear was reduced to writing a letter to a popular entertainment website asking people to please tune in. Not a good sign.

In a perfect world, Fox would take a chance on Wonderfalls--move it to Sunday night, pair it with Arrested Development, air its reruns on FX, and stay with the show for a season or two. But in the end, Wonderfalls will probably be forced to surrender to destiny.

That doesn't mean you should miss out. Tune in tonight and see what great television looks like.




Disc 1 Technical Information:

Title: Wonderfalls
Season: 1
Disc: 1
Year: 2004

Source: DVD9 Retail
DVD Format: NTSC
Container: .iso + mds
Size: 7.60 GB
Programs used: DVD Decrypter, ImgBurn

Resolution: 720x480
Aspect Ratio: 16:9
Video: MPEG2 @ ~4800 kb/s
Frame Rate: 29.97

Audio 1: English- Dolby AC3 5.1 @ 448 kb/s
Audio 2: English Commentary- Dolby AC3 Stereo @ 192 kb/s
Subtitles: Spanish, cc-English

Menu: Yes
Video: Untouched
DVD Extras: Commentary, Greetings From Wonderfalls


Episode List:

Wax Lion (w/ commentary)
Pink Flamingos
Karma Chameleon
Wound-Up Penguin


Disc 1 Megaupload Links




Disc 2 Technical Information:

Title: Wonderfalls
Season: 1
Disc: 2
Year: 2004

Source: DVD9 Retail
DVD Format: NTSC
Container: .iso + mds
Size: 7.52 GB
Programs used: DVD Decrypter, ImgBurn

Resolution: 720x480
Aspect Ratio: 16:9
Video: MPEG2 @ ~4800 kb/s
Frame Rate: 29.97

Audio 1: English- Dolby AC3 5.1 @ 448 kb/s
Audio 2: English Commentary- Dolby AC3 Stereo @ 192 kb/s
Subtitles: Spanish, cc-English

Menu: Yes
Video: Untouched
DVD Extras: Commentary, Fantastic Visual Effects, Music Video


Episode List:

Crime Dog (w/ commentary)
Muffin Buffalo
Barrel Bear
Lovesick Ass (w/ commentary)


Disc 2 Megaupload Links




Disc 3 Technical Information:

Title: Wonderfalls
Season: 1
Disc: 3
Year: 2004

Source: DVD9 Retail
DVD Format: NTSC
Container: .iso + mds
Size: 7.88 GB
Programs used: DVD Decrypter, ImgBurn

Resolution: 720x480
Aspect Ratio: 16:9
Video: MPEG2 @ ~4800 kb/s
Frame Rate: 29.97

Audio 1: English- Dolby AC3 5.1 @ 448 kb/s
Audio 2: English Commentary- Dolby AC3 Stereo @ 192 kb/s
Subtitles: Spanish, cc-English

Menu: Yes
Video: Untouched
DVD Extras: Commentary


Episode List:

Safety Canary (w/ commentary)
Lying Pig
Cocktail Bunny (w/ commentary)
Totem Mole
Caged Bird (w/ commentary)


Disc 3 Megaupload Links

Waldemar Janusczak- Picasso: The Full Story (2002)- DVD Rip (XviD)

In the next few weeks we're going to do our damndest to fill out the documentary section, which will give you folks some rest from the 7 gig downloads that we normally post.

Here's an excellent Picasso documentary for your approval. What makes this documentary stand out from other Picasso docs is that it's from the viewpoint of Picasso's close friends and family, which gives personal insight into the artist, and explores the magical and human aspects of this artistic genius. This is a must-see. Enjoy!




From DVD Times:

Part 1: Magic
Magic traces Picasso’s early influences back to his birth in Malaga in 1881 and early childhood in Barcelona, attempting to relate his artistic power with the influence of Southern Spanish Andalusian gypsy lore, comparing the “search for the sacred fire” in his painting with voodoo and shamanism, where women are seen as sacrificial offerings made for his art. This is intriguing and Richardson makes a good case, examining numerous works and tying this into the well-known influence of the powerful symbolism of tribal and prehistoric art on Picasso’s later work. There is undoubted power in Picasso’s work and it is worth examining what the secret of that force is, but calling it ‘magic’ feels somewhat sensationalist and is far from convincing. What the first part manages to do successfully however is draw a clear line between Picasso’s life and the various early periods of his artwork, making a good connection between the duality of sex and death in Picasso’s work up to 1916; the death of his friend Cassagenes in Paris in 1900 as the inspiration for his Blue Period; his affair with model “La Belle Fernande”, their visits to Gosol and the beginning of his Rose Period; and the development of cubism with Braque. Particular attention is given to his ground-breaking work on “Les Demoiselles d’Avignon”, examining the influences of tribal art, early Iberian art and El Greco on this key work.




Part 2: Sex
Sex focuses on the numerous women in Picasso’s life (although they weren’t exactly scarce in the first part). Again, this episode is very well constructed and thematically strong, full of intriguing links between Picasso’s life and loves and the powerful influence the various women had on his work. This part looks at Picasso’s work with Jean Cocteau on a cubist ballet, his marriage to ballet dancer Olga Koklova, their visit to Pompeii and its influence on his fascinating Neo-Classical Period, leading to the brief refinement of his Duchess Period. It’s not easy to keep up with the numerous affairs he conducted while married to Olga, but Marie-Therese Walther and Dora Maar are singled out for particular attention, the programme examining the various depictions of women and sex in Picasso’s work, finding them not erotic or salacious, but deeply powerful, matching the tone of the content to the intensity and the secrecy of those relationships. It briefly tackles more recent charges of misogyny, but quickly dismisses them as being culturally endemic in Picasso’s Andalusian make-up, seeing women in the dual aspect of Madonna and whore. This part ends with a fascinating new look at the masterpiece “Guernica”, interpreting it as the war in Picasso’s own life between his various mistresses, which is something I hadn’t heard before and it makes the case very well.




Part 3: Death
Death charts the final stage in Picasso’s life from the war years in Paris through to his time in Antibes, his later involvement with the Communist Party, the Peace Movement and the years leading up to his death in 1973 at the age of 91. This is the period the presenter Richardson is most familiar with as it was the time he came to know Picasso, but there is surprisingly little personal reminiscence. The episode nevertheless covers well Picasso’s work and his relationship with the women in his life. These later years are marked with a struggle to remain vigorous and active against the encroaching spectre of death by keeping plenty of younger women around. Francoise Gilot, his lover and 40 years his junior at the time, contributes to this section with comments on the work he created in his later years, on the paintings that show the joy of life and the ceramics in which she is immortalised. His final works, revisiting and reworking the old masters, is also examined, along with his final years with Jacqueline Roque.




Technical Information:

Title: Picasso: The Full Story
Year: 2002
Country: U.K.
Director: Waldemar Janusczak

Source: DVD Retail
Video Codec: XviD
Container: .AVI

Size:
Part1- 1.09 GB
Part2- 746 MB
Part3- 746 MB

Length:
Part1- 01:16:53
Part2- 00:49:09
Part3- 00:49:50

Programs used: Not Available

Resolution: 672x368
Aspect Ratio: 16:9
Video: MPEG 4
Frame Rate: 25 fps

Audio: English- AC3 Stereo @ 224 kb/s
Subtitles: None





Picasso: The Full Story Megaupload Links

O.M.G. McFlippy's

I like to eat out when I can.  Usually I will go out with my wife to a nice place, but sometimes we’ll slum it. Sometimes we’ll just pile in the car and go on down to Chili’s or TGI Friday’s or Applebee’s.  Remember when Applebee’s started that new ad campaign?  They tried to kind of upscale their ads and logo, so that it didn’t look like such a dank nightmare of a chain. I know, let’s get that good looking John Corbett to be our spokesperson, that’ll show ‘em! I’ve probably only eaten at Applebee’s three or four times, but I’ve been to Chili’s and TGI Friday’s more often, but I can tell you that I feel the same way about all of them. They suck. I’m sorry if you like to eat at these places, but to me they could all be combined into one annoying super-chain so that we could just simplify our lives.  What the hell, let’s throw Red Robin and Wingers and Johnny Rockets and Ruby Tuesday’s in there too.  That’s where we’ll be someday, there will be just one stupid super chain restaurant. It’ll have all the charm and crap that all these places have. It’ll be called O.M.G. McFlippy’s and it’ll have a slogan like- “Flip in some flavor, neighbor!” 

So, you’ll walk in and on the speakers at some ungodly decibel is some shitty old Sugar Ray song from 1998, and some girl with a headset greets you at the door, and they walk you way the hell around the restaurant into some hidden alcove somewhere where you find your table.  I didn’t even know this part of the building existed. Of course there’ll be some huge family with like seven kids at the table next to you, and there’s spilled milk and pasta and pieces of cheese all over the place. Let's see what there is to eat.

Guess what O.M.G. McFlippy's has to offer-

-So much crazy crap on the walls

            -License plates from other states? Get outta here!

            -Hub caps- no way!

            -Wacky old posters

-Drink menus with huge pictures of punch bowl sized drinks with names like-

            -Razzleberry Mucho Gusto Margarita

            -Diablo Daquiri

            -Ragin’ Cajun Mondo Mixer Martini

            -Blended Blitz Bacardi Bomb

The 80 page menu with pictures of the most garish items.

-Appetizers which include-

            -Southwestern Shrimp Sizzlers

            -Ranch Dippers

            -Potato Skin Shooters

            -Deep Fried Mozarella Finger Twisters with 6 delicious dipping sauces

            -Twelve Alarm Toxic Atomic Boneless Wings- that are so hot- you’ll shit the bed!

-Entrees

            -Salads that have more dressing than anything else

            -Jack Daniels Shrimp, Sirloin, Chicken, Pork Ribs, Beef Ribs, Scallops, Lobster, Burgers, Tripe, Veal, Lamb Chops, Pork Chops, Venison, T-Bone, Porterhouse, Filet, Flank Steak, Rib Eye, London Broil and Bacon Wrapped Cheese.

            -Fish and Chips with a 50/1 breading to fish ratio

            -Fajitas served on the hottest skillet imaginable

           

-Desserts

            -Molten Peach Cobbler

            -Molten Chocolate Thunder Volcano Cake

            -Molten Cheesecake

            -Molten Apple Strudel

            -Molten Jack Daniels Deep Fried Cookie Dough Mound with Ice Cream

And for those customers who are too obese and ashamed to come in, don’t worry because we’ll bring your 9 Appetizer platters and your Jack Daniels’ Ribwich basket out to your Dodge Neon, free of charge! 

Elliott Smith- Figure 8 Rough Mixes (2000)- AAC/mp3

These twelve outtakes, rough mixes and early versions of songs from Figure 8 offer insight into how Elliott Smith wrote what might have been his most ambitious album. Some are mixed only slightly differently, some have different lyrics, some have no lyrics, some were completely cut from the final album. And even if you're not a fan of insight, it's worth it just for Place Pigalle. It's a crime that song didn't make it.




Elliott Smith- Place Pigalle

Technical Information:

Artist: Elliott Smith
Album: Figure 8 Rough Mixes
Year: 2000

Audio Codec(s): AAC/MP3
Encoding: Lossy
Rip: split tracks
Bitrate: 128 kb/s/160 kb/s
Sample rate: 44100 Hz
Bits per sample: CBR
Channels: 2
File size: 37.1 MB
Length: 0:39:21


Tracklisting:

01. Happiness (4:33)
02. Place Pigalle (2:36)
03. Junk Bond Trader (3:49)
04. Son of Sam (3:07)
05. In the Lost and Found (Instrumental) (3:30)
06. Pretty Mary K (2:38)
07. Can't Make a Sound (4:12)
08. Bye (1:51)
09. Stupidity Tries (4:23)
10. A Living Will (2:32)
11. Brand New Game (3:31)
12. Tiny Time Machine (2:40)


Note: All tracks originally leaked in 128 kb/s AAC, but since Place Pigalle was already floating around as an mp3 with a higher bitrate, we've included that version instead.

Thanks to Obstinate for the original upload!





Figure 8 Rough Mixes Megaupload Link

Blake Edwards- Days of Wine and Roses (1962)- DVD9 (NTSC Format)

Days of Wine and Roses is a film where typecasting gets completely thrown out the window. Blake Edwards is given the chance to direct a drama. Jack Lemmon is given the chance to be a dramatic lead man. And The oh-so-f'ing-beautiful Lee Remick is stripped of her Hollywood image and allowed to do what she does best: act.

This film is hardcore, and although there is some hilarious physical comedy by Lemmon, it's a sobering account of a couple bent on self-destruction. Days of Wine and Roses is a wonderful film, and shouldn't be missed.




From TMC:

The original theatrical poster for Days of Wine and Roses (1962) had the freakshow pitch of a carnie with its exploitive tagline of "It is different. It is daring. Most of all, in its own terrifying way, it is a love story." Yet, the film was truly controversial in nature due to its realistic treatment of a young urban couple destroyed by their growing addiction to alcohol. It was also the first time moviegoers had seen Jack Lemmon, normally cast in comedies, in such an intensely dramatic role.

Days of Wine and Roses originally aired as a TV play by J. P. Miller on Playhouse 90 and starred Cliff Robertson and Piper Laurie in the lead roles. 20th-Century-Fox purchased the property but soon dropped it from their film slate due to the heavy costs incurred by the studio's production of Cleopatra (1963). They sold it to Warner Brothers who wanted a bigger box office name than Robertson for the lead character of Joe Clay, an ambitious public relations man who introduces his young bride, Kirsten, to social drinking. Robertson was just a year away from becoming a well known star, thanks to his role as John F. Kennedy in the true-life war drama, PT-109 (1963) but Jack Lemmon was offered the part instead. Likewise, Lee Remick replaced Piper Laurie as Kirsten, Clay's wife. Charles Bickford, in the role of Kirsten's father, was the only cast member to star in both the television and film versions.




While preparing for their roles, both Lemmon and Remick attended Alcoholics Anonymous meetings numerous times. Lemmon even spent several evenings at the Lincoln Heights jail where he observed inmates in the drunk tank and the dry-out rooms. He later said, "It was frightening, watching those poor souls tortured by delirium tremens. As a result of what I saw we changed several scenes. For instance, we used a dry-out table where you are strapped down, rather than having the guy just wake up in a cell."

Because Days of Wine and Roses dealt with such a serious issue, Warner studio executives were concerned about the film's commercial prospects and held a preview screening. To their horror about forty couples walked out on the film during its showing which was a record for the studio. Later they discovered that the preview ad had failed to mention that it was a drama and not the expected Jack Lemmon comedy. When Days of Wine and Roses went into national release, it earned unanimous critical acclaim and positive word-of-mouth that helped increase its box-office take. The film also earned five Academy Award nominations including Best Actor (Lemmon), Best Actress (Remick), Best Art Direction, Best Costume Design, and Best Song (by Johnny Mercer and Henry Mancini) which won the Oscar in its category.




Technical Information:

Title: Days of Wine and Roses
Year: 1962
Country: USA
Director: Blake Edwards

Source: DVD9 Retail
DVD Format: NTSC
Container: .iso +mds
Size: 7.12 GB
Length: 1:57:10
Programs used: ImgBurn

Resolution: 720x480
Aspect Ratio: 16:9
Video: MPEG2 @ ~5800 kb/s
Frame Rate: 29.97 fps

Audio 1: English- Dolby AC3 Mono @ 192 kb/s
Audio 2: Spanish- Dolby AC3 Mono @ 192 kb/s
Subtitles: English, Spanish, Portuguese, Japanese, Chinese, Thai, Korean, Bahasa Indonesia

Video: Untouched
DVD Extras: Director's Commentary, Jack Lemmon Interview, Theatrical Trailer




(Use JDownloader to automate downloading)

Days of Wine and Roses Megaupload Links

David Bowie- The Essential David Bowie Extravaganza: Volumes 1 thru 3 (1967-1972)- EAC CD Rip (FLAC)

I haven't even had a chance to sit down and listen to this (what looks to be amazing) bootleg, and since this is extravaganza territory, and any Bowie is good Bowie, I've decided to post it first, and do a proper blurb later. Wayyyyyyyyy later. Enjoy some early Bowie!




From the original uploader:

For anyone who thinks that the "Shout To The Top" 4CD set of "The Rise And Rise of Ziggy Stardust" is the shit when it comes to Bowie's BBC-sessions, think again. These three silver disc bootlegs have been produced directly from the master tapes compiled in preparation for the aborted "Bowie at the BEEB" 3CD-set set to be released on the NMC-label in the mid-nineties. The STTP-discs simply took these recordings, replete with all clicks, pops and sector boundary errors, and then boosted them by 5db... In this torrent you can find the original recordings, with most clicks & pops and all SBE's carefully removed and with no unnecessary "hard limiting". As a bonus, the discs contain a set of demo & studio recordings from 1967-1969 which have been doing the rounds on numberous bootleg CD compilations but nowhere sound as clean as they do here (they are seemingly taken directly from the master tape also used for the vinyl bootleg album, "Little Toy Soldier").

This comes with full scans of the artwork.
Enjoy!




Volume 1 Technical Information:

Artist: David Bowie
Album: The Essential David Bowie- Volume 1- Emerged From Shadows
Year: 1967-1972

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks + md5
Avg. bitrate: 641 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 273 MB
Length: 0:59:39


Tracklisting:

1967-12-18: Top Gear (Broadcast 1967-12-24 and 1968-01-28):

 01. Love You 'till Tuesday (3:01)
02. When I Live My Dream (3:38)
03. Little Bombardier (3:30)
04. Silly Boy Blue (3:28)
05. In The Heat Of The Morning (2:40)

1968-05-13: Top Gear (Broadcast 1968-05-26 and 1968-06-20):

06. When I'm Five (3:05)

1967-1969: various home demo & studio recordings:

07. Right On Mother (1968 demo) (2:43)
08. He Was Alright (a song for Marc) (full length 1968 demo) (3:56)
09. Waiting For The Man (1967 studio recording) (4:07)
10. Little Toy Soldier (1967 studio recording) (3:19)
11. Space Oddity (1969 demo) (4:50)
12. The Supermen (1969 demo) (3:03)

1972-05-16: Sound Of The Seventies: John Peel (Broadcast 1972-05-23):

13. White Light/White Heat (3:46)
14. Moonage Daydream (4:56)
15. Hang Onto Yourself (2:45)
16. Suffragette City (3:26)
17. Ziggy Stardust (3:19)

Thanks to the great people at MindWarpPavilion for the original upload!


Volume 1 Megaupload Link




Volume 2 Technical Information:

Artist: David Bowie
Album: The Essential David Bowie- Volume 2- Kiss the Viper's Fang
Year: 1969-1972

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks + md5
Avg. bitrate: 398 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 211 MB
Length: 1:14:26


Tracklisting:

1969-10-20: Dave Lee Travis Show (Broadcast 1969-10-20):

01. Unwashed & Somewhat Slightly Dazed (3:54)
02. Let Me Sleep Beside You (3:19)
03. Janine (3:02)

1970-03-25: Sound Of The Seventies: Andy Ferris (Broadcast 70-04-06; repeat 70-05-11 on the David Symonds Show):

04. Waiting For The Man (5:43)
05. The Width Of A Circle (5:37)
06. The Wild Eyed Boy From Freecloud (4:45)

1971-06-03: The Sunday Concert: John Peel (Broadcast 71-06-20):

07. Queen Bitch (4:37)
08. Bombers (3:22)
09. The Supermen (3:10)
10. Looking For A Friend (3:38)
11. Almost Grown (2:44)
12. Kooks (3:35)
13. Song For Bob Dylan (5:25)
14. Andy Warhol (3:49)
15. It Ain't Easy (2:57)

1972-05-22: Johnny Walker Lunchtime Show:

16. Starman (Broadcast 1972-06-06/07/08/09) (4:04)
17. Space Oddity (4:15)
18. Changes (3:28)
19. Oh! You Pretty Things (Broadcast 1972-06-05) (2:56)

Thanks to the great people at MindWarpPavilion for the original upload!


Volume 2 Megaupload Link




Volume 3 Technical Information:

Artist: David Bowie
Album: The Essential David Bowie- Volume 3- Nobody's Children
Year: 1971-1972

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks + md5
Avg. bitrate: 598 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 290 MB
Length: 1:07:54


Tracklisting:

1972-05-23: Sound Of The Seventies: Bob Harris (Broadcast 1972-06-19):

01. Andy Warhol (3:12)
02. Lady Stardust (3:19)
03. White Light/White Heat (3:56)
04. Rock'n'Roll Suicide (3:08)

1971-09-21: Sound Of The Seventies: Bob Harris (Broadcast 1971-10-04):

05. The Supermen (2:50)
06. Oh! You Pretty Things/Eight Line Poem (6:08)
07. Kooks (3:23)
08. Fill Your Heart (2:52)
09. Amsterdam (3:07)
10. Andy Warhol (2:56)

1972-01-18: Sound Of The Seventies: Bob Harris (Broadcast 1972-02-07):

11. Hang Onto Yourself (2:49)
12. Ziggy Stardust (3:20)
13. Waiting For The Man (5:08)
14. Queen Bitch (2:57)
15. Five Years (3:38)

1972-01-11: Sounds Of The Seventies: John Peel (Broadcast 1972-01-28):

16. Ziggy Stardust (3:19)
17. Queen Bitch (3:00)
18. Waiting For The Man (5:27)
19. Lady Stardust (3:17)

Thanks to the great people at MindWarpPavilion for the original upload!


Volume 3 Megaupload Link