Yeah.. that's right. We all know what the number is about..
But I am not spending my time giving sexual education, if you really have no clue.. Click here and evolve. Come back when you are finished.
That is 3 times 23.. (23 * 3 = 69).
That number 23 has been chasing you since you were born, is all over the place and will be there until you die in some way on the 23rd day of the month. I can't guaranty you that it will be the 23rd, but the chances are big.
On December 23 2012 a huge cycle will end in the Mayan calender. Marking something big will happen, so far the Mayans have been correct in predicting what is going to happen. They knew way more about time then us, with all our technology, research.. USELESS compared to what they knew.
The Spanish were friendly enough to burn all their knowledge when they invaded their land in 1697. Kudos to the Christian religion also, it was their call to burn the 'lies of the devil'. Good call, lies of the devil.. here is something that isn't a lie.
ALL CHRISTIAN PRIESTS ARE PEDOPHILES :]
That is what they call.. a fact.
Anyway.. getting a little off track here.
You can't run from it, but you could ignore it..
No matter what you do.. it will be there whether you accept it or not.
Anyway.. 69. (confused? keep focused!)
The Zodiac sign Cancer actually looks like a sideways 69.
Cancers are born between June 21 and July 21 and 21+2 (the number of characters in 69) = ...
23 (Play the video below to set the right mood to continue reading)
In 1997 the MIR 23 space station was having problems resulting from the February 23, 1997 fire and has used 23 of their oxygen- generating canisters. It is the 23rd day aboard for the Russian crew. Progress 233 supply vehicle has problems of its own and cannot re-dock with MIR.
Talking about space.. April 23 is the day with the most reports of UFO sightings of all days. Area 51 Mecca of UFO and Conspiracy theorist, 51 breaks down to 23 + 23 + (2 + 3)=51
The last episode of Full House aired on May 23rd, 1995.
Warner Brothers was founded in 1923.
Walt Disney studios was founded by Walter E. and Roy O. Disney in 1923.
Adolf Hitler was arrested in Germany in 1923 for his failed attempt to seize power.
The name Chuck Taylor was added to the Converse basketball shoe in 1923.
Michael Jordan's retired number is 23. Also, his father was murdered on the 23rd.
On Feb. 23, 1993, bombs exploded in a parking garage beneath the World Trade Center, killing six people and injuring 1,000. Six Islamic militants were convicted in the bombing and sentenced to life behind bars.
What happened to that building eventually?
When was that?
The code at the bottom of the Reuter's article about Ginsberg's death reads: '23:28'.
28 = 23 + 5
Freddie Mercury, lead singer of Queen told the world he had AIDS on November 23rd. He died the next day.
August 23; Birth date of Keith Moon, original drummer for The Who.
August 23, 1995; David Gottel, a member of Skinny Puppy, died.
Sonny Bono died on Jan 5, 98 (1/5/98)
1 + 5 + 9 + 8 = 23
The Internet is STUFFED with lists of historical events, scientific facts, personal encounters, cultural related.. and so on.. ALL linked to your beloved number 23.
The Apocrypha Discordia is a sequel to The Principia Discordia which was featured in my guide for dummies to 23 numerology. It is a collection of works on Discordia, written by various Discordian saints, sinners, popes, priests, madmen, miscreants, degenerates, straight-arrows, etc...
Compiled from various non-copyrighted (or Kopylefted) sources by His Wholiness the Reverend DrJon Swabey and published sometime in the 21st century (the date on the document says 2001, but we're not going to fall for that one).
ALL HAIL DISCORDIA!
The Discordian Manifesto #3(excerpt from the book - first paragraph)
We don’t endorse, believe in, or even remotely agree with the insipid resolutions of any government, government branch, organization, or secret society that imposes their aneristic illusions upon the rest of civilization. We will not stand by and allow Oreos to be eaten whole. We will not stand on our heads and allow these jackals to repeatedly apply their warped sense of logic and righteousness to the rest of society. And we will not create useless Manifestos without the powerful ontological might to back them up. We will use the considerable psychological talents in our employ to destroy, assimilate, or otherwise dissemble or disable the aneristic leaders and their lemming-like followers, just as soon as tea time is done and the check is in the mail. Our psychological and ontological talents and methods far-surpass anything our aforementioned enemy has in their arse anal.
To read the whole manifesto and much more grab the book below.
"EMPREUR" liveset from HK from the BIOSS performed in april 2003. BIOSS was also known as BIOMICID. I guess most artist from the former crew have retired by now or switched to another genre since it is hard to find any history on them. With the information lost we are lucky enough to be able to spread music digitally. You can grab the liveset below and keep it as a piece of history.
A portrait of Vinyl collectors and producers and aficionados. From the owner of a Charlie Parker album worth 10,000 who believes in playing it and prefers mono to stereo to the producers at Norton Records where rock musicians who had fallen off the charts are restored to vinyl to be heard again. To that add the proprietor of Fynl Vinyl, straight out of a Nick Hornsby novel and a homemade Gramophone brought by it's owner and maker to Washington Square Park every Sunday to play a collection of 78's.
Excerpts from 1996′ French documentary about techno music. This is a supernice documentary on the roots of Detroit-Techno produced by the French / German TV-station arte. From around 1997, I guess. After a rather doubtful start around the Love Parade 1996 (motto: “We Are One Family”, topped in 1997 with “Let The Sunshine In Your Heart”…) it gets really interesting. Fine scenes in Berlin (Mike Banks in the Hardwax store, the Tresor club) followed up by awesome interviews and pictures from Detroit. Juan Atkins, Kevin Saunderson, Derrick May, Mark Bell (LFO), etc. Some fine synth-action video snippets from Kraftwerk and Tangerine Dream included. Arte did a good job on this one!
The demise of vinyl has been predicted many times, particularly in the 80’s when the record industry moved from the ubiquitous 12” LP format to the Compact Disc that was ultimately much cheaper and easier to manufacture and lighter to transport.
The introduction of the CD with a lot of propagandistic exaggeration (this included ludricrous claims that you could eat fried eggs from it and it would still play as well as before) in the 80’s has pushed vinyl aside in the mainstream area, but it found a strong niche in the dance music scene. As this scene has fragmented, vinyl sales have apparently been shrinking in the last few years, but it is unclear if this is in overall numbers or because there are so many more different productions. It also remains a popular format in some sub-sections of the punk and metal scenes, and remains a sought-after collectors item with the nimbus of being an original artefact, something the CD has somewhat lost since it’s possible to copy, and something downloads will never acquire, because there is no such thing as downloading an original: The process consists in copying the commodity from a server.
Some consumer’s desire to hold an “original” item in their hands, and the fact that many don’t buy into the concept of paying for a digital copy anyway (especially since it’s easy enough to get the same throw-away commodity for free on the internet), is contributing to a certain resurgence of vinyl even in the mainstream, although it is still outsold by CD’s by a huge margin, and overall sales of music is dwindling.
There have certainly been a staggering number of collapses in the world of independent dance distribution as well, Integrale, Alphamagic, Hokus Pokus, Watts, Nemesis and Syntax (the last three having been the largest dance distributors in the US) all went under, as did Lowlands and Target, two distributors selling dance as well as broad sections of independent releases.
In many cities, especially the ones with high rents, many physical record shops have closed, either completely, or to concentrate on online sales.
There is no doubt that the crisis has hit different segments of the music scene and in different ways. The commercial “mainstream” has failed to support and/or absorb substantial “talent” and has produced so much trash that it’s hard to believe that they are now surprised to see it treated just as that by the consumers.
While it doesn’t mean that music is automatically better if it’s released on an independent label, it is practically unavoidable that anything of some substance will be put out independently in a market that is not only shrinking in terms of outlets, but also where the competition is exploding: While there are just four majors left, still controlling the huge majoritiy of the overall music market, there are thousands and thousands of labels catering for all kinds of niches.
A quick look back:
After the first phase of innovation through techno and rave nearly 20 years ago, there followed very quickly a phase of recuperation. Indeed it turned out to be possible that the DJ could be turned into a star as well, and there were many that were all too ready to play that role. The old hierarchies were not abolished, but reinstated and rejuvenated. Instead of destroying it, electronic dance gave the music industry a new lease of life.
But there was also resistance against these developments on different levels, on the one hand against formulaisation of the music in different sub-genres, against the commercialisation through pre-conditioned cycles, the creation of tracks according to blueprints.
When the general development of electronic dance music tended in the direction of trance and thus conformism, it made even more sense to radicalize its form.
And it made just as much sense to change the structures of distribution. Such initiatives also came (amongs others) from Spiral Tribe who had just made their experiences with the music industry in the early 1990’s, dealing with the partially major label owned Big Life.
There was the plan of a new network where the artists would distribute each others releases and cut out the middle men. An initial meeting in Den Haag congregated a quite diverse crew of sonic dissidents, most of who didn’t end up being an actual part of the network.
Network 23 alone produced 50 records under that name and dozens more under other monickers. These were not distributed through the normal channels, but largely directly to the public at parties and festivals, or would be swapped with friendly labels.
It was not unusual that sound systems would have a record dealer or running their own stalls.
Of course one can criticize in this strategy that the production of cultural artefacts can never completely escape the mechanisms of the culture industry. Vinyl is a product of refinement of raw oil to start with.
But the idea to swap records and sell them locally was not necessarily naive in this respect. Rather it was a strategy to keep the money in our own scene by cutting out the middle men.
Nevertheless this could only work for a while, to the point where Network 23 had created its own market and had to supply it with its products. A very specific sound became prevalent and created its own sub-genre.
Recuperation mechanisms set in, there were commercial “The Sound of Teknival” compilations etc., pay-parties advertising themselves with the “spiral sound”, causing schisms and bitter splits in the scene.(1)
Some of those involved were getting more and more unhappy and created an alternative network called subnet, promoting a more heterogenous and harder sound.
Adventurous developments were spiralling off from there (so to speak), but by the end of the last decade or at least the beginning of this one, we could see a development towards atomisation as well as resurgence of more traditional (marketing) strategies, as well as - going along with that - a “professionalisation” of the labels.
So much so, that in the “breakcore controversy” from 2005 started with a Praxis Newletter a large percentage of people apparently didn’t have a clue what the main thrust of the argument was supposed to be about.(2)
An ironic backlash against those trying to continue with vinyl as a carrier of subversive ideas was that a lot of buyers in the last years apparently preferred to complete their collections of “legendary” 90’s material rather than buying new records. Once this market (Network 23 records easily fetched three-digit prices on eBay for a while) was again neutralized by re-presses, it still didn’t mean that new interesting records were bought, but that there was another avenue (the represses) for exploiting the desire to buy into the counter culture of a bygone age.
There is no doubt that there are still forces at work that propell music into the kind of “positive futurism” envisaged by TechNet more than a decade ago. Music will still make the future audible…
But how is it making itself heard?
One has to wonder if music has largely become an accessory, or the accessory of an accessory, such as a mobile phone with a built in speaker. Clearly such a mobile only manages to emit a tinny sound that is far inferior to the sound my first mono cassette player in the 70’s made, still it seems to be a way that music is consumed in groups on the street today.
Real noise appears to be very muted right now. Let’s be clear: We don’t care if vinyl is the ultimate carrier of it or not, but it seems to be the best one so far.
V for Vendetta is a ten-issue comic-book series written by Alan Moore and illustrated mostly by David Lloyd, set in a dystopian future United Kingdom imagined from the 1980s about the 1990s. A mysterious revolutionary who calls himself "V" works to destroy the totalitarian government, profoundly affecting the people he encounters.
The series depicts a near-future Britain after a limited nuclear war, which has left much of the world destroyed. In this future, a fascist party called "Norsefire" has arisen as the ruling power. "V", an anarchist revolutionary dressed in a Guy Fawkes mask, begins an elaborate, violent, and theatrical campaign to bring down the government. Warner Bros. released a film adaptation in 2005.
Well that's a first.. the file server is down. All downloads on this site hosted by us (most) are currently unavailable. Please hold while we do nothinged: transfer the interface to a temporary location and just wait it out. That is what you get for offering direct downloads for free I guess :D~ ~
Thanks to Google the blog itself is still functional.
Not the kind of music you're used of us, I know. Romain Gavras is a real interesting videoclip director. He has a harsh realistic style & is not afraid to show violent scenes. Still, it isn't "gratuit". He has a deeper message and tells us something about modern society.
The 27-year-old French director is a co-founder of Kourtrajmé, a 136-member art and filmmaking collective in Paris that incorporates hip-hop and graffiti sensibilities into stylish music videos and socially conscious documentaries. Romain-Gavras formed it with friend Kim Chapiron in 1995. "We started Kourtrajmé because the new techniques allowed us to do films without money," Romain-Gavras says. "We needed only a video camera and motivated friends." Don't be fooled. Kourtrajmé is not some Kumbaya love cult. Its projects fixate on social provocation.
A recent video directed by Romain-Gavras for the Justice song "Stress" depicts a leather-jacketed gang roaming the streets of Paris, snatching purses, vandalizing cars, smashing tourists' cameras, and assaulting innocent bystanders, with a film crew capturing onlookers' expressions. The action looks real, or, at least, uncomfortably close to real. "I didn't try to do something controversial, otherwise I would have put whores and Nazis in it," says the director. "The idea was to make a really violent video to match the music. It's shot in a realistic way. Lots of people thought it was true."
Undisputedly authentic is the Kourtrajmé-produced documentary 365 Jours à Clichy Montfermeil, which follows a 2005 clash between police and residents in a largely Muslim Paris suburb and culminates in a government-ordered attack on a mosque. Several directors are in the collective, and actor Vincent Cassel has starred in some of the productions. "I know how to handle a very small crew and shoot in a very natural way," says Romain-Gavras. He is currently writing his first feature film, which will be produced by Cassel. "My aim is to create strong European icons. I love American movies, but most young European directors just try to imitate Yankee films. It doesn't work." The seemingly ragtag outfit has a sterling legacy: Romain-Gavras's father is Costa-Gavras, director of acclaimed American films Missing (1982) and Betrayed (1988). "I've always been told that directing was something good," says Romain-Gavras, who started making Video8 films at age 14 using his family's two VCRs as an editing deck. "Not a gypsy job like most parents seem to think."
Original article here
Iñaki Larrimbe: “Unofficial tourism“. “With Unofficial tourism, artist Iñaki Larrimbe seeks to customize a caravan and turn it into an `unofficial´ tourist office. By locating it in the streets of Madrid, the aim is to inform foreign cultural consumers (tourists) by offering maps and guides containing alternative routes of exploration. Different to those delivered by the `official tourism´, these itineraries have been made by six people living in Madrid, and who are related to its most alternative culture, its `underground´ or counterculture. Mauro Entrialgo and Adriana Herreros have created a guide to Advertising neon signs; Guillermo de Madrid has put together a route of Urban Art; Jimina Sabadu shows us public spaces where motion pictures were shot; John Tones invites us to walk into various arcades and stores that have kept the old school game machines; Santi Otxoa delivers an itinerary to One hundred year old taverns in Madrí and the Todo por la praxis collective, encourages us to meet the unheard-of human fauna and urban flora in the neighbourhood of Cañada Real.”
RASH the documentary film completed in 2005 is a contemporary story of modern urban Australia and the artists who are making it a living host for illegal artwork called street art. RASH the documentary film explores the cultural value of unsanctioned public art and the ways that street art and graffiti contribute to public dialogue.
This story conveys the commitment, ideals and beliefs demonstrated in this thriving alternative art practice. These artists utilize a variety of approaches including bill posters (paste ups), stencil art, stickers, installations and performance, broadcasting their under represented views that bang away at the community conscience by sticking this artwork right in the public eye.
With the approaching Commonwealth Games in 2006 local councils have a juggling act on their hands to present a clean and safe city for visitors. This is art and it belongs! The spirit of rebellion is being channelled into street art and these visual conversations are spreading across the walls of Melbourne. This documentary offers a rare look inside these graffiti artists world view.
Directed by Nicholas Hansen and Mutiny Media, the feature documentary RASH – was three years in the making and includes interviews with some of Melbourne’s most inspiring street art and graffiti artists as well as visitors who come to Melbourne and leave their mark.
ROA - a solo exhibition @ Factory Fresh (Brooklyn)
This May, Factory Fresh goes wild as it opens its doors to the zoetic art of Belgium-born artist ROA. The artist’s organic animal forms, huge in both their reputation and impact, will grace the walls of the gallery this May, reminding spectators of the forgotten natural world beneath the city’s streets.
ROA began pulling animals out of the depths of the industrial world in his hometown of Ghent, Belgium, where he explored the area around his home and was inspired by the lifethat lurked in its lonely smokestacks. His resulting work snarls at you from wherever it prowls, awaking a visceral reaction that comes from seeing something familiar yet unknown, an uncanny portrayal of the animals within and around ourselves that our contemporary lifestyles have made null.
Since his Belgium beginnings, ROA’s work has hit the ground running like the animals he depicts, scattering on four legs all over major cities, showing up on the walls of galleries and abandoned factories alike. His work has been shown in London, Berlin, Warsaw, and sold out in two days in Paris. He now returns to New York, arriving at a very different kind of factory than the industrial wastelands his animals are known to inhabit, ROA’s show at Factory Fresh promises to be untamed and animated as his pieces.
City of Darkness is a book about the now-demolished Kowloon Walled City in Hong Kong.
“Kowloon” means “Nine Dragons ”. After an eviction process that took years and cost billions of hongkong-dollars, the city was destroyed in 1993. Only a park remains. While it lasted, though, it was the closest thing to Pure Anarchy the world has seen outside of a war zone.
"Here, prostitutes installed themselves on one side of the street, while a priest preached and handed out powdered milk to the poor on the other; social workers gave guidance, while drug addicts squatted under the stairs getting high; what were children's games centres by day became strip show venues by night. It was a very complex place, difficult to generalise about, a place that seemed frightening but where most people continued to lead normallives. A place just like the rest of Hong Kong. "
In addition to the previous post on a liveset by WiP from the ÖKO SYSTEM family I uploaded a second liveset from that night. This one is labeled under the sound system itself. This night was the first collaboration of ÖKO SYSTEM with BenJaWa, from PsyloteK/Tek'ossovar sound6tem, who got in contact with ÖKO just one month earlier.
Mail from BenJaWa to Tournesol (excerpt);
"Alors toi aussi a donf de live (kesta komme machines ?)... faudra kon se fasse une rencontre, non ? (...)
(...) si t motive, ca peut etre interessant de se kapter . Soit dans un contex teuf (tac on pose le son ensemble, on fait une ptite free ou on se donne un RDV dans un teuf) soit dans un contex rencontre trankill un week-end (un dimanche , ou un lundi) histoire de kiffer une peu ensemble soit chez oit soit chez oim .
Kes tan pense ? si tu veux ramener un peu de monde (kelke pote ou koi) ya pas de blem, on se kalera trankill avec un peu de son (dehors si y fait bo)
After their first collaboration many PiKniK's followed!
In this study the writer investigates whether graffiti is always vandalism or if it can be seen as a valid artistic expression against the built environment. But also the influence of architects upon a city in comparison with graffiti artists and more. The image above is not related to this study but is a perfect example of what this study is about.
This book has been written, illustrated and produced by Travellers themselves. It offers a fascinating series of insights into the day-to-day life of the people known by the media as the 'new age travellers'.
The realities and problems facing Travellers are discussed in candid detail:
"Who lives on the road?" "Why do they want to live in this way?" "How do they spend their time?" "How do they get water, education services for their children, health services?" "How do they deal with the law?"
The book presents a not entirely unbiased account of the Travellers’ lifestyles, beliefs, history and possible futures. Constantly challenged by changing legislation, representatives of authorities, media coverage and moral panic, Britain's newer Travellers really do 'live on the edge' in their benders, tipis, buses and vans.
Download a sample of this e-book right here (rightclick, save as)