Elvis Presley: Young Man With the Big Beat - When He Was Still Dangerous and Sexy

Elvis Presley: Young Man With the Big Beat

RCA/Legacy, five CDs, $85. In the span of one pivotal year, a Southern rockabilly singer became the biggest star on the planet. This set, titled after a poster campaign for his first album, chronicles Presley’s explosive rise in 1956 with his complete RCA studio master recordings, live cuts, outtakes from New York, Nashville and Memphis, interviews and an 80-page book with rare photos, documents and a richly detailed timeline

Don’t Be Cruel, Love Me Tender, Hound Dog, Blue Suede Shoes and other hits are here, as well as a previously unreleased concert in Shreveport, La., remasters of four songs performed at the Frontier Hotel in Las Vegas, and segments of his candid “The Truth About Me” monologue.More:

The Asteroids Galaxy Tour - "The Golden Age".

The Asteroids Galaxy Tour - "The Golden Age".
How can you not love this spiffy and shiny group??
Danish pop band consisting of vocalist Mette Lindberg and producer Lars Iversen
As seen on Gossip Girl... and most importantly the Heinie adverts from the Heineken Channel.

Neruda Poem XIV - My words rained over you, stroking you.

Every day you play with the light of the universe.
Subtle visitor, you arrive in the flower and the water.
You are more than this white head that I hold tightly
as a cluster of fruit, every day, between my hands.

You are like nobody since I love you.
Let me spread you out among yellow garlands.
Who writes your name in letters of smoke among the stars of the south?
Oh let me remember you as you were before you existed.

Suddenly the wind howls and bangs at my shut window.
The sky is a net crammed with shadowy fish.
Here all the winds let go sooner or later, all of them.
The rain takes off her clothes.

The birds go by, fleeing.
The wind. The wind.
I can contend only against the power of men.
The storm whirls dark leaves
and turns loose all the boats that were moored last night to the sky

Martha Argerich - Magician on the Piano and Chopin No less!

Caught Kiss Me Deadly - apocalyptic, nihilistic, science-fiction film noir - what more is there to say??

Caught Kiss Me Deadly today
Amazing film said to be: the definitive, apocalyptic, nihilistic, science-fiction film noir of all time – at the close of the classic noir period.
Amazing for the time - and filled with a vision of what was to come via Sergio among others.

Shot in 2r days and released in May of that paradigm-shift year 1955, Kiss Me Deadly was directed by Robert Aldrich from a screenplay by proletarian poet AI. 'Buzz' Bezzerides, taking plot incident and little else from Mickey Spillane's sixth novel starring his hugely popular skull-cracking hero Hammer. The narrator of a DVD documentary supplement about crew-cut Spillane, a "blue-collar writer of comic books", calls it "a left-wing attempt by Aldrich to undermine and criticise the conservative Spillane". In a recorded introduction, Alex Cox reveals that "disguised as a tough-guy detective picture", Kiss Me Deadly "is actually an anti-nuclear parable with classical allusions".

"Actually," Kiss Me Deadly is both things - it wouldn't have any shelf life if it weren't a pluperfect genre film in which every investigative episode has its own kook rhythm. The mongrel authorship contributes to the feeling of a movie that coalesced out of the atmosphere rather than being storyboarded. Gross contrasts define this film, not least that between the rotting filigree of the previous century, in the gingerbread boarding houses and faded gentility of LA's Bunker Hill neighbourhood where Hammer does his snooping, and the streamlined Atomic Age that he's the avatar of, with his clean-machine Jaguar XK and neat-as-a-pin mid-century-modern Wilshire Boulevard bachelor pad. The concluding white-light apocalypse is Armageddon as the epitome of 1950s tidiness: the Big One as Big Disinfectant.

I don't know quite what to say?? !! Yngwie Malmsteen - Concerto Suite in Eb minor For Electric Guitar

I am equal parts appalled and amazed
Those Japanese are truly crazy folks
Allow me to let M. de Montaigne to express my feelings:
~ We are, I know not how, double in ourselves, so that what we believe we disbelieve, and cannot rid ourselves of what we condemn.

Essay Today - Nietzsche The Gay Science - Amor Fati and Fatalism

Aphosrism 312
My Dog - I have named my pain and called it 'dog'.

That is it - my complete essay in one sentence... wild.... neh??
Ohhhh Yeahhhhh -I did soooo use a Shogun reference

Fatalism (Amor Fati)
Taking risks requires accepting the consequences, and this sort of fatalism appeals to Nietzsche. I think that in this he is very much in league with Sartre, who may not have believed in fate but certainly did insist that one must accept the consequences of his or her actions. Fatalism appealed to Nietzsche in his analysis of the ancient Greeks, their acceptance of life and their fate in the face of absurdity and suffering. It appealed to him in considering his own miserable life, the triumph of his genius in the face of his own absurd suffering. “Not just to accept fate,” he exclaims, toward the end of his life, “but to love it, amor fati!”  I will have a good deal more to say about Nietzsche’s “classical” concept of fatalism in the next chapter. But taking fatalism as a virtue, it is of a piece with his overall insistence on “life affirmation” and his rejection of Schopenhauer’s pessimism. To accept joyfully rather than bitterly curse one’s fate—and Nietzsche surely had a good deal in his life to bitterly curse—is one of life’s greatest virtues.

The question then becomes whether Nietzsche’s many comments and occasional arguments in favor of “the love of fate” (amor fati) and against “free will” undermine any interpretation of his philosophy in existentialist and “self-making” terms. I take it that some such conception of self-making or self-creation is central to both Kierkegaard and Sartre, at least, and as such I take it to be the definitive core of that exquisite sensibility called “Existentialism.” I want to argue that Nietzsche’s fatalism and his “self-making” are ultimately two sides of the same coin and not at odds or contradictory. Nietzsche embraces the notions of responsibility—in particular, the responsibility for one’s character and “who one is”—but without invoking “free will.”