Busby Berkeley (November 29, 1895 -- March 14, 1976) was a highly influential Hollywood movie director and musical choreographer. Berkeley was famous for his elaborate musical production numbers that often involved complex geometric patterns. Berkeley's works used large numbers of showgirls and props as fantasy elements in kaleidoscopic on-screen performances.
AFROPUNK - "The Rock and Roll Nigger Experience" was the original title for the movie before it was changed to what we know as today: AFROPUNK - The Documentary, a 66 minute documentary explores race identify within the punk scene. More than your everyday "Behind the Music" or typical "Black History month "documentary this film tackles hard questions, covering issues such as exile, loneliness, interracial dating and black power. We follow the lives of four people who have dedicated themselves to the punk rock lifestyles. They find themselves in conflicting situations, living the dual life of a person of color in a mostly white community.
AFROPUNK - The Documentary features performances by Bad Brains, Tamar Kali, Cipher, and Ten Grand. It also contains exclusive interviews by members of Fishbone, 247- spyz, Dead Kennedys, Candiria, Orange 9mm and TV on the Radio to name a few.
Unblinking and unsettling, this documentary lays bare a mysterious process that goes on all around us - what happens to people who die with no next of kin.
Dead bodies in various stages of decomposition are seen, but not played for shock factor. Instead, you learn a little about each person, both what they were before death and what will happen to them afterward. They are followed from the discovery of the body to the final disposition of the remains, and each step in between.
Burning Man is an annual festival that began in 1986. Tens of thousands of people gather at the 'Playa' in Nevada's Black Rock Desert to create a temporary wooden city dedicated to community, art, self-expression and self-reliance. They depart a week later, leaving no trace whatsoever. Let it burn!
Launched in 1999, Tim Sweeney’s Beats in Space has become the New York dance underground’s most vital radio show.
From the DFA disco era to current house, Sweeney’s show, broadcast weekly on radio station WNYU, has played host to some of modern music’s greatest DJs, from DJ Harvey and James Murphy to more recent names like Ben UFO and Gerd Janson. There’s a quiet authority to Beats in Space that forces DJs to raise their game, and as the artists in our documentary (Ben UFO, Joy Orbison, Jackmaster, Fort Romeau, Kasper Bjørke) will vouch, DJing on the show is far from just another guest mix.
Late last year, Beats in Space turned 15, celebrating with a double-disc compilation mixed by Sweeney. FACT TV spent several weeks at WNYU with Sweeney and a rotating cast of guests, finding out just what makes the show tick – from the Polaroids to the mysterious Victor from Washington Heights. This is how it went down.
Producer: Anoushka Seigler Editor: Kamil Dymek Filmed By: Jason Bergman
Cioran’s first book, On the Heights of Despair (more accurately translated: "On the Summits of Despair"), was published in Romania in 1934. It was awarded the Commission’s Prize and the Young Writers Prize for one of the best books written by an unpublished young writer. Successively, The Book of Delusions (1935), The Transfiguration of Romania (1936), and Tears and Saints (1937), were also published in Romania (the first two titles have yet to be translated into English).
Although Cioran was never a member of the group, it was during this time in Romania that he began taking an interest in the ideas put forth by the Iron Guard - a far right organization whose nationalist ideology he supported until the early years of World War II, despite allegedly disapproving of their violent methods.
Cioran revised The Transfiguration of Romania heavily in its second edition released in the 1990s, eliminating numerous passages he considered extremist or "pretentious and stupid". In its original form, the book expressed sympathy for totalitarianism, a view which was also present in various articles Cioran wrote at the time, and which aimed to establish "urbanization and industrialization" as "the two obsessions of a rising people".Marta Petreu's An Infamous Past: E.M. Cioran and the Rise of Fascism in Romania, published in English in 2005, gives an in-depth analysis of The Transfiguration.
His early call for modernization was, however, hard to reconcile with the traditionalism of the Iron Guard. In 1934, he wrote: "I find that in Romania the sole fertile, creative, and invigorating nationalism can only be one which does not just dismiss tradition, but also denies and defeats it". Disapproval of what he viewed as specifically Romanian traits had been present in his works ("In any maxim, in any proverb, in any reflection, our people expresses the same shyness in front of life, the same hesitation and resignation... [...] Everyday Romanian [truisms] are dumbfounding."), which led to criticism from the far right Gândirea (its editor, Nichifor Crainic, had called The Transfiguration of Romania "a bloody, merciless, massacre of today's Romania, without even [the fear] of matricideand sacrilege"), as well as from various Iron Guard papers.
After coming back from Berlin (1936), Cioran taught philosophy at the "Andrei Șaguna" high school in Brașov for a year. In 1937, he left for Paris with a scholarship from the French Institute of Bucharest, which was then prolonged until 1944. After a short stay in his home country (November 1940-February 1941), Cioran never returned again. This last period in Romania was the one in which he exhibited a closer relationship with the Iron Guard, which had, by then, taken power (see National Legionary State) — on 28 November, he recorded a speech for the state-owned Romanian Radio, one centered on the portrait of Corneliu Zelea Codreanu, former leader of the movement, who had been killed two years before (praising him and the Guard for, among other things, "having given Romanians a purpose").
He later renounced not only his support for the Iron Guard, but also their nationalist ideas, and frequently expressed regret and repentance for his emotional implication in it. For example, in a 1972 interview, he condemned it as "a complex of movements; more than this, a demented sect and a party", and avowed: "I found out then [...] what it means to be carried by the wave without the faintest trace of conviction. [...] I am now immune to it".
In 1940, he started writing The Passionate Handbook, and finished it by 1945. It was to be the last book that he would write in Romanian, although not the last to deal with pessimism and misanthropy through delicate and lyrical aphorisms. From this point on Cioran only published books in French (all were appreciated not only because of their content, but also because of their style which was full of lyricism and fine use of the language).
Professing a lack of interest in conventional philosophy in his early youth, Cioran dismissed abstract speculation in favor of personal reflection and passionate lyricism. "I’ve invented nothing; I’ve simply been the secretary of my sensations", he later said.
Pessimism characterizes all of his works, which many critics trace back to events of his childhood (in 1935 his mother is reputed to have told him that if she had known he was going to be so unhappy she would haveaborted him). However, Cioran's pessimism (in fact, his skepticism, even nihilism) remains both inexhaustible and, in its own particular manner, joyful; it is not the sort of pessimism which can be traced back to simple origins, single origins themselves being questionable. When Cioran's mother spoke to him of abortion, he confessed that it did not disturb him, but made an extraordinary impression which led to an insight about the nature of existence ("I'm simply an accident. Why take it all so seriously?" is what he later said in reference to the incident)[this quote needs a citation].
His works often depict an atmosphere of torment, a state that Cioran himself experienced, and came to be dominated by lyricism and, often, the expression of intense and even violent feeling. The books he wrote in Romanian especially display this latter characteristic. Preoccupied with the problems of death and suffering, he was attracted to the idea of suicide, believing it to be an idea that could help one go on living, an idea which he fully explored in On the Heights of Despair. He revisits suicide in depth in The New Gods, which contains a section of aphorisms devoted to the subject. The theme of human alienation, the most prominent existentialist theme, presented by Jean-Paul Sartre and Albert Camus, is thus formulated, in 1932, by young Cioran: "Is it possible that existence is our exile and nothingness our home?" in Tears and Saints.
Cioran’s works encompass many other themes as well: original sin, the tragic sense of history, the end of civilization, the refusal of consolation through faith, the obsession with the absolute, life as an expression of man's metaphysical exile, etc. He was a thinker passionate about history; widely reading the writers that were associated with the period of "decadent". One of these writers wasOswald Spengler who influenced Cioran's political philosophy in that he offered Gnostic reflections on the destiny of man and civilization. According to Cioran, as long as man has kept in touch with his origins and hasn't cut himself off from himself, he has resisted decadence. Today, he is on his way to his own destruction through self-objectification, impeccable production and reproduction, excess of self-analysis and transparency, and artificial triumph.
Regarding God, Cioran has noted that "without Bach, God would be a complete second rate figure" and that "Bach's music is the only argument proving the creation of the Universe cannot be regarded as a complete failure".
William H. Gass called Cioran's work "a philosophical romance on the modern themes of alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease".
Cioran became most famous while writing not in Romanian but French, a language with which he had struggled since his youth. During Cioran's lifetime, Saint-John Perse called him “the greatest French writer to honor our language since the death of Paul Valéry.” Cioran's tone and usage in his adopted language were seldom as harsh as in Romanian (though his use of Romanian is said to be more original).
After the death of Cioran's long-term companion, Simone Boué, a collection of Cioran's manuscripts (over 30 notebooks) were found in the couple's apartment by a manager who tried, in 2005, to auction them.
However, a decision made by the Court of Appeal of Paris stopped the commercial sale of the collection; the trial is still taking place in France. Amid the manuscripts, which were mainly drafts of works that had already been published, an unedited journal was found which encompassed his life after 1972 (the year in which his Notebooks end). This document is probably Cioran’s last unpublished work.