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this German rocker inevitably met him by the hand of my beloved diva Nina Hagen , if in 79, as already told in a blog again (click Nina Hagen) brought me cassette tape and label fresh out of Germany, the album "Unbehagen", 80 I had asked some of Udo Lindenberg album that included the great song "Berlin" (as Nina Hagen was the chorus), but no luck and I brought the last year entitled "Der Detektiv "(Rock Revue 2), nor was I wrong because that album was a tribute to the great pop / rock of the last time, in fact, the album opens with" Der Amerikanische Traum "(the American Dream) versioning issues as: "Desperado" by the Eagles, the "Born To Be Wild" from Steppenwolfs, the "Livin 'For The City" by Stevie Wonder, "My Little Town" by Paul Simon, the "Good Bye Norman Jean "by Elton John, the" New York - State Of Mind "by Billy Joel, and even an evocative and nostalgic version of" As Time Goes By "from the classic Casablanca. Sometimes in English and some in German, with an intermediate slick disco entitled "Ich Steh Ja So Auf Disco", which I like so much that I leave audio along with the "Berlin". What strikes me most is the quality of music that appears throughout the album, and that 30 years then sound as well, so there you have it ...


A biography pokito:
Germany
rocker, wide-brimmed hat and sunglasses, who calls himself "engine of subversion" is one of the great figures of rock in Germany. Since his first album Daumen im Wind (Thumbs in the wind, 1972) has been wean the German rock the popular fads of the moment. Contrary to the mainstream almost always sung in German, encouraging others to follow suit in a time when English has been crowned as the language not only of rock music. And among those deserving of the German language have earned him the Medal Carl Zuckmayer, not only highlights the language of his letters, but also that they recognize, like Zuckmayer, what drives the Germanic people and gives body in his lyrics that some would describe as poetry. But their texts not only intelligent, honest and even proverbial are winners, too political commitment has earned it the selection. The career of this icon of German rock music began in the town of Gronau and battery. Participated in various groups, studied a few semesters at the Conservatory of Münster. In 1973 he achieved his first great success with the album Alles klar auf der Andrea Doria (Everything under control in the Andrea Doria) with the group Panik-Orchester. In the 80s Lindenberg changes the drumsticks for the microphone. His songs reflect a strong political commitment, especially in the field of environmental protection and peace movements. Are legendary its songs such as Sonderzug nach Pankow (Pankow Special train) dedicated to Erich Honecker. In 1989, the artist tries his luck as the autobiographical author Panic or How do I become a pop star?. Although since the nineties the interest of the multifaceted artist focuses on graphic arts, has never stopped singing.



Nina Hagen & Udo Lindenberg - Berlin (father You Should Have Killed Hitler)



Udo Lindenberg - Ich steh 'ja so auf Disc


Tracklist

first The American dream
second Dialogue on 'As Time Goes By'
third As Time Goes By
4th New York (New York State Of Mind)
5th It's enough just to survive
6th Paradise Lost
7th Desperado
8th I stand so so on Disco
9th Baltimore
10th The Small Town (My Little Town)
11th Kentucky girl
12th Goodbye, Norma Jean (Candle In The Wind)

Link de descarga File Serve


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The best statistics (I)? - Since the beginning of second

Dear all / os / is

The other day I was reading an article by Mr Super Plaza on the status of the red house, and I were very impressed with the first sentence in the stating that " Ferrari is the team with more history and better statistics in every sense ". Frase que supongo que él copió sin ninguna otra mala intención y que se encuentra distribuida por muchísimos textos. Es verdad que la escudería es la más vieja de todas las que hay hoy día, en este tipo de eventos, y que está allí desde el principio, pero lo segundo creo que es totalmente falso, como ya le puntualice al autor vía gorjeo.

El problema radica en el incultural anumerismo  que invade la sociedad española, y nos convierte en ciudadanos más manipulables e ignorantes. Pensemos en un número ... el cinco, por ejemplo que tiene una rima fácil, ¿Es big or small? Anybody can answer? No, no answer because we must contextualize this value. Another classic example is the owner of the newspaper, so often read of "Andalusia, Madrid and Catalonia have more complaints, more robberies, more shocks, more ..." it would be strange if the Rioja, with a small population, had the numbers quite as large as the previous regions, because these problems are related directly to the public. Then we should ask our newsletters that metiesen those numbers on a scale which normalize the values, so we are not deceived, misrepresented his for reality.

In Formula One, Ferrari sweep at all, in absolute numbers, but that does not mean anything because they were already there when others do not exist. I showed that the number of championships earned by the Ferrari drivers (since 1950), McLaren (since 1966), Williams (since 1977), Toleman, Benetton-Renault-Lotus (since 1981), Tyrrell-BAR-Honda-Brawn- Mercedes (from 1970) standard for the years they were in F1 led to that in the past four decades, the team with better statistics was McLaren, winning a championship every 3.3 years, while the pace for Ferrari was 5 years.

With today's post I intend to extend this vision standard for Grand Prix victories from previous teams, which also add Stewart-Jaguar-Red Bull (1997) for aerodynamic reasons current and Lotus (1958 to 1994 ) for sentimental reasons historical, and also at the request of David. Before I begin, I note that under the heading of Mercedes are not counted the numbers obtained in the early years of F1, because that sports structure disappeared and has nothing to do with the current (Lies name); equally great achievements Prost do not appear under the name of Toleman, as the yellow Renault structure with which to achieve its results, was never correlated with Briatore's Renault. Only consider the structures that have remained over time regardless of the name who owned or currently own. And I absolutely refuse to call the green car Lotus Malay or black-gold Luxembourg, although a judge imposes me. Having this in mind, the absolute numbers of all equipment listed in Table 1, which is as follows (unless I made a mistake by telling that there were many different teams and many seasons!).

Scuderia	GP played	races	Racing won	Poles	Fastest Laps
Ferrari	813	1758	215	205	225
Lotus	493	1332	79	107	70
McLaren	685	1443	169	146	143
Mercedes	643	1304	32	22	24
Williams	540	1003	113	126	130
Toleman	492	975	47	36	52
Red Bull	242	484	17	21	12

Looking at the numbers (updated to the GP of China 2011) we see that Ferrari wins around the world. And without any other consideration, all the professionals sell us that Ferrari is the best in the world and some from abroad, either for loitering for contextualize these numbers or with the hope that we join your club, increasing the mass number, the influence of his group, the possible sale to fans, in short, their power. I must say, however, that in the Saxon and Germanic world that I know these crude attempts at penetration with little success, since the F1 there is a very promiscuous lives, changing the amateur pilot and engineer team predilection year to year. And in the worst case, the caring approach is always from an emotional standpoint , for a gesture, a behavior or sublimated idea of \u200b\u200bwhat they represent, but not for reasons numeric. This is the typical behavior of most followers of football fans from Madrid and Barcelona, \u200b\u200bthey would not know enjoy the game by following Atletico and Espanyol, and they just enjoy to crush the enemy, no matter what.

But back to the numbers Do you think good and worship, to compare the overall results without taking into account certain standards? Do you think well they matched the strength of a child of three years with an adult of thirty years? Does it seem right that contrasted the push of a third line in the melee, with a pilier? Do you think Bruixa Sort, which sells about a third of the Christmas lottery (more than all the administrations of Galicia together), should be confronted with the door of your house? I think they are sufficient examples to think we are the absolute numbers sold to us constantly from the various pulpits, without a reference that allows us to equate them.

A possible normalization would know how many races, statistically, must play a car from a given team to achieve victory, pole and fastest lap. The lower the number the better the team. That number is easily obtained by dividing the number of races from race wins, pole positions and fastest laps, data displayed in Table 1 above. Note that each GP today played under him two runs, because every team has two cars, but historically this was not true and there were other possibilities, so I have chosen this ratio and not obtained the Grand Prix, although numbers follow the same trend. Using these calculations have the following table, which shows that Ferrari need to play just a little more than eight runs (8.2) in order to win one of them, while the numbers of McLaren and Williams were worse, but close.

Scuderia Ferrari

	to win races	Pole to	Fastest lap to
	8.2	8.6	7.8
Lotus	16.8	12.4	19.0
McLaren	8.5	9.8	10.0
Mercedes	40.7	59.3	54.3
Williams	8.8	7.9	7.7
Toleman	20.7	27.0	18.8
Red Bull	28.5	23.0	40.3
to races for

Someone, quite rightly, could argue that standardization above is not entirely neutral, and condemning those teams that historically have fewer cars in a Grand Prix, Ferrari favoring always put a lot. Well another possible normalization is to divide the results by number of seasons in F1, so we would get the statistical result is expected from a squad in a year. According to this normalization, the results of Ferrari we divide by the 60 seasons that have been participating in these events (three GP gift they already played in 2011), Lotus by 36 (it is true that began in the second round of the year 58 but this small difference does not affect large numbers), McLaren, 44 Mercedes 40, Williams 33, Toleman by 29 and Red Bull on 13. If we make this simple division, seasonal standard numbers displayed in the table below, and indicate clearly the best team is McLaren, with an average of almost 4 race wins per season in F1. But even my beloved Williams has better numbers than Ferrari, and why no one remembers who won the last race for these colors, or the fastest lap, let alone the last pole, and if that served the poor thing Montoya (Brazil-2004), Rosberg (Australia-2009) and Hülkenberg (Brazil-2010), various authors of these deeds.

1.8

Scuderia	Carrera won to	Poles to	Fastest Laps to
Ferrari	3.5	3.4	3.8
Lotus	2.2	3.0	1.9
McLaren	3.8	3.3	3.3
Mercedes	0.8	0.6	0.6
Williams	3.5	3.8	3.9
Toleman	1.6	1.2
Red Bull	1.3	1.6	0.9
to Seasonal

At this point the question is obvious, and more knowing than absolute numbers are not valid for comparison What is the proper standard? What can we say? Well, very clear, as there is little to say that statistics are not favorable to Ferrari. Although my friends say that standardization Ferrarista set out in Table second is teaching us the truth. I, for Williams' black sheep, I think the best standard is the third table, since it solves many problems of data homogeneity. But what is clear is that culture is more formulaunerística.

Why ignore who painted the Sistine Chapel is full of uneducated and do not know how to integrate an equation by parts is excusable with the phrase "I am of letters" ? Enough of the ignorant impose Science is Culture! ... even in the F1.

(PD. attack them in the coming days with the final re-normalization )

Dear

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I am sad Polish bystanders


Anyone who reads the title of this post will stay at least thoughtful, and more than a gaping, and that 47 prostitutes are many, but all that data to other I was highly familiar and inevitably lead them to what was the last film by David Lynch: Yes, I'm talking about INLAND EMPIRE. And if my last post titled "Mulholland " I said that "Mulholland Drive" was the crowning work of Lynch, I retract myself and I declare now that no, that quintessential Lynchian masterpiece is undoubtedly " INLAND EMPIRE " yes sir, I said ...

History:

This "Inland Empire" is the most intimate, intrinsic and integral to the films of Lynch, is the total compendium of his career, is " we are here ", then it is only the eternal horizon as seen from a desert. Lynch universe need not be understood as the typical standard films of all life, is a universe to be lived, explored, and revisited the most difficult to satiety (and here I get the giggles whenever those detractors who say es una mala película porque no se entiende, y de paso se burlan de los fans lynchianos acusándonos de dementes y paranoicos). Para empezar, decir que a Lynch no se le ocurrió nada más difícil y tortuoso como trama, que utilizar la temática de “cine dentro del cine”, vemos en una película cómo se está rodando una película; de paso y por asociación de ideas, mi memoria me lleva al poema de Edgar Allan Poe titulado “A Dream within a Dream”, un sueño dentro de un sueño; así que nada más apropiado ya que Lynch es un fiel adepto a los pantanosos terrenos de lo onírico. Vemos precisamente en la escena final, como una vez terminada de rodar una de las escenas, Sue/Nikki enters one of the cinemas and referred to herself on the big screen but in real time, something scary, what a genius idea of \u200b\u200bLynch, who's being filmed now, and why? Or simply refers to a metaphor that everyone should play the part of your life?, As I repeat it is a wonderful idea. It also has to acknowledge receipt of the continual loss of identity and personality splits in several of the characters: "I am not who you think I am," "I had seen before", etc. Another of the peculiarities of the film is as Lynch is recreated in these wild close-ups of that abused constantly throughout of the three-hour movie, the faces appear as deformed and fail to give much more scared than usual, perhaps the effect was that Lynch was pursuing. There follows several parallel stories, interspersed and overlapping, and even repeated scenes, such as the murder with the screwdriver and the interrogation, the time has disappeared or is in concentric circles as the story unfolds, in fact is what Sue / Nikki explains, does not know if what is happening belongs to today or tomorrow, and even what the foreign neighboring states at the beginning of the film: - "If tomorrow you would be sitting there in front" and Sue / Nikki looks and there is sitting with some friends, and the film ends just there, the foreign neighbor looks back and when he does Sue / Nikki is sitting again, but alone and quiet, happy, yes, happy because the circle is closed and everything went well ...

The cast of actors:

On top we have the magnificent performance by Laura Dern, which is and always will be and for me, the role of a lifetime: the face of loss , flip, taken away, crazy, dementia leads to a total of simple actress who has lost roles (pun intended) and confuses reality with fiction, and sometimes even with imagination. As I say and repeat: unsurpassed performance. Incidentally, this film, Lynch brought back to his real mother, Diane Ladd in the role of the evil Marilyn Levens, facing the two in their respective roles during the scene of the interview, as was the case in "Wild at Heart "(Wild Heart), which both interpreted in an authoritarian mother and daughter.


And what about the magnificent new guapazo Justin Theroux?, If we already fully convinced in his role as Adam Kesher, a film director in Mulholland Drive, here is an actor who plays an actor in this time without glasses, much more attractive in certain scenes seem even one of these fine gallants of the golden age of Hollywood.


Or the phenomenal principle with the unmistakable Grace Zabriskie in his role as foreign neighbor of the Balkans, with that weird accent she puts into her conversation, this woman is a crack in the interpretation, and aboard its historic role as Laura Palmer's mother, Juanita or Durango in Wild at Heart, but here he just appear in the intro movie to give us confidence that we have a quality product Lynch.


also remember the presence of another side of Lynch, none other than Harry Dean Stanton, in the bizarre role of assistant director, with his singular face of failure or lost, both mounted. And the actor who plays the film director and I'll even name because I never liked to look so ordinary poor person ...

casting
Made in Poland, guapazo highlight the actor who plays the husband of Sue / Nikki, Polish actor Peter J. Lucas, very attractive in the various roles that are attributed there.


But above all highlight the actor Krzysztof Majchrzak (what a name, I can imagine in the first year trying to write his name without getting a single letter, ha, ha, ha) that gives life to that dark and terrifying character nicknamed "The Ghost", his evil face and his manner of speaking and moving are true chills, very wise choice of this actor. And what about the selection of whores, who are not 47, but I guess more than a dozen if they go on stage, I do not know, as all have the same face of a bitch I can hardly tell them apart, and I do not mean that they wear and makeup look like sluts whores and that's it, but what are clearly written on their faces, hear birth are whores! distill their eyes how much service! ha, ha, ha, ha, ha ... Ah! and more grace than I did reading the credits, read the names of them, it turns out there one called: Fulani Bahati, called Fulani, ha, ha, ha ... As I said, it's in their blood ...

Bunnies:

seems that in 2002, Lynch turned to its fans a kind of dark comedy through its website. The series was titled Rabbits ("Rabbit") and consisted of eight episodes full of surreal to be developed into an extravagant room rusty hues, and inhabited by strange people with rabbit heads. Lynch recovers certain passages in this series and put them in the Inland Empire, which at first glance seems to have no much sense, but then we learned that the "openness" essential spoken at the beginning of the story and connects the two worlds of reality / fantasy, in fact there are several scenes where we see how certain characters are superimposed on rabbits. Perhaps Lynch was also captivated by his disciple that Richard Kelly, and his hutch history "Donnie Darko" which was filmed just a year before?, Heh, heh, heh, heh ... By the way, what was Jake Gyllenhal monkey in the role of Donnie Darko, especially when he says that from "What sense does it live without a dick? ...

Lynch self-homage:

Laura Harring (What Eyes) ...

Yes, over the three-hour movie is a series of hints that remind us of scenes from other movies Lynchian, beginning with the tense music that brings us once again and forested landscapes Twin Peaks, and those heavy red velvet curtains where Agent Cooper is lost, or the man sawing a log during the credits, or the final scene with the musical piece entitled "Polish Poem" sung by Chrysta Bell in the manner of Julee Cruise is modeled on "Mysteries of Love" in Blue Velvet; or conversation between the husband of Sue / Nikki and Devon about the acts have consequences, recalling the scene of the cowboy with Adam Kesher in Mulholland Drive, etc. But one of the hints that I noted is the guest appearance of Laura Harring sending you an air kiss to Laura Dern (relay) in the final scene of the credits: it's fantastic, sitting there in his black suit, fresh out of Mulholland Highway . I do wish to say that I do not know what people saw in Naomi Watts to cheer and put aside both Laura Harring, with those big eyes and the exuberance product mix between Mexico, Austria and Germany, for me she is wearing and not the whole story the other ...

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could write about the Inland Empire, but I remain silent and a time and left to round off a wonderful article (THE BEST) I found the film in a cinema blog named : Film Blog, and written by Adrian Massanet:

David Lynch: 'Inland Empire' revolutionary anticine

- "I'm a whore! Where am I? I have fear! "

Nikki Grace (Laura Dern)

I think a true artist is not defined by his dedication to the time to please those who come to see their work, even those devotees who praise his work. Is defined by its loyalty to itself. In that sense, it seems doubtful that many managers, many artists at the height of David Lynch. The, rare, exceptions could be those of Zhang Yimou, Roman Polanski, Terrence Malick, Alfonso Cuaron, James Cameron, Michael Haneke, Francis Ford Coppola, Hayao Miyazaki, Wong Kar Wai and very few others, true guardians of a profession that already ten years after the beginning of the century, seems on the verge of extinction. Lynch, in the final stretch of his career, four years after his irregular 'Mulholland Drive ', conducts a nuclear bombshell film, the ultimate finding that Lynch does not care expectations, and can only be true to his own personality.

For with his tenth feature film, the director of Montana passed by lining concepts such as plot, the dramatic progression, narrative construction, the external rate, conventional visual planning, the once venerable celluloid support, to enter with determination and inspiration more than ever in the mud of the abstract and the dream that so many call it the wrong way (in my opinion) experimentation, as we are unaccustomed to the sights and sounds be used in a manner so free and poetic. And Lynch works in that mud-factly, marking a formal way and internal rules that never leaves, reaching its conclusion in his development of more personal and unclassifiable film imaginable. Ten feature films and nearly thirty year career, Lynch gets it in a way so beautiful and strange.

Still, do not share the common perception about what this movie means a rambling gibberish without any sense, but it is true that Lynch, in full complicity with his editor and producer (and wife) Mary Sweeney, has not the slightest interest in telling your story the way that ten thousand directors told their own before him, and will not give easy answers. That does not necessarily mean that the viewing of 'Inland Empire' requires an instruction manual or that the viewer need every minute to ask what symbolizes what, or what is the enigma of each sequence, instead of letting go by the flood of visual fascination to offer this great film in the nearly three hours of footage in this film. The story of an actress whose role in a movie becomes more real than life itself is perhaps the definitive poem Lynch.

portentous Laura Dern

actress
And that danger could not be otherwise than wonderful Laura Dern, who in the words of the director is "the best actress I've worked with in my life." Lynch digital camera build a true declaration of love to the talent and unique beauty of this woman, who is marvelous in a very difficult role and is the true heart and soul of the film, although his character probably no more than an imaginary projection of another woman, whose inner demons, as insecurity and jealousy which they invent an alter-ego of herself as a strategy to defeat those demons. Others will have other explanation or theory about what we want to have this film, but the important thing, I think, is the sensory pleasure that causes extreme staging (the only yardstick by which we judge a work according to the great Jose Luis Guarner, with whom I completely agree) of this film, in which we get the look and sound more elaborate, and I do not exaggerate, in recent years.

When they appeared 'Lost Highway' and 'Mulholland Drive', many believed they were incomprehensible, but seeing them today do not seem much. Rather quite clear. And I think we just have to be observed 'Inland Empire' (whose title for reasons that escape me, should be written according to its director in all caps ...) without prejudice and without intent to seek three feet the cat, the film reveals a clarity that belies a taste for the colorful, and is released a full complement (and overcome) the hollowness of 'Mulholland Drive' proposing again the conflict of an actress in a magma lost images, but this time created by a female character who, as Fred Madison 'Lost Highway' is more beset by irrational jealousy, and seeks out a pathetic existence. Therefore, 'Inland Empire' is a colossal masterpiece, which combines the most sinister and the brightest of all Lynch's work, giving a new physical and spiritual sense while destroying any emotional or aesthetic existing filter that can lead the viewer along. Leaving

celluloid forever defend to death before, Lynch is passed to digital (with a Sony DSR-PD150, a very light and handy camera), which for him has said he has been quite a find, as with that camera, and with this format, feel fully capable of doing what he pleases. And he did, in a shooting that took several years, and he was improvising as he felt for what was filming, something that actors Laura Dern and Justin Theroux became accustomed very soon be able to meet the challenge posed by working with an artist as unpredictable and anarchic as Lynch. In fact, he managed to sign with a script that was not complete on purpose, because Lynch did not want to know where he was going, I just wanted to film what was happening, suicidal strategy for the bulk of filmmakers in the world, but which leaves Lynch master live.

It does so with the help of Dern, in addition to gorgeous (at 39) is capable of giving a gallery of hues unattainable for many professionals, and with an imagination that makes these almost three hours in a pit that passes as a sigh in which each distorted image, every sound echoes, each and every creak haze has a psychological and emotional intent. The sounds created in this movie could be, I think, the most elaborate and decisive years of cinema. The importance given to sound Lynch is established, once and for all, especially in the spinning disk images (true totem of the film) or transitions that are like dreams within dreams. Which added to what is probably an example of anti-commercial film, Lynch offers several galaxies over other directors who use dreams as a weapon being as mere stenographers narrative (and I mean Nolan's 'Origin', although many may have already imagined it), make 'Inland Empire' in radical film not for all minds. Adrian

Massanet August 13, 2010

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What swords?

hit (yes, they should feel, and noses instructing ask you something now that they are Santas you holiday).

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NEW SEVEN DAYS A WEEK

God worked six days and rested on séptimo.El man is not God, he is tired before, so we felt that Saturday also corresponded as a day of decision rest.They found no objection expressed by the Supreme Instance.
"If it went well with the Sabbath, may also strain on Friday, "he thought, and turned to God an e-mail with the following contents:
" Because of the tiredness I feel after Monday, Tuesday, Wednesday, Thursday and Friday, ask you to kindly grant me the Friday as a day off work. Homo Sapiens. "
There was no response, so we felt that the Friday he had been granted.
However, between Wednesday and the rest of the Thursday was the horrible week. Nothing is more tiring than work the last day of the workweek. So I wrote, this time with more daring:
"Man is a thinking reed" (Blaise Pascal ,1623-1662). He thought it should not work on Thursdays. "Now the work week ended on Wednesday afternoon. Yes, but that Wednesday ... The silence of God-given value.
"I demand the removal of Wednesday as a working day." As for Tuesday, and openly rebelled.
"Proud to call him a man" (Maxim Gorki ,1868-1936). On Tuesday an attack on my dignity, he wrote. I completely disagree and just on Monday. "
No response, so the Monday was very easy. Just one e-mail:" On Monday also excluded. "
now had seven days a week free and was proud of his rebellion (L'homme Revolt, Albert Camus ,1913-1960). But after a while he realized that week was only seven days and, therefore, he could not be more than seven days off a week. Such limitation of my freedom seemed inadmisible.Así another e-mail to God
"Immediately create an eighth day."
no answer, which he said definitely on the belief that Nietzsche was right, and God existía.Pero in that case, who was to blame for that week only had seven days and that he could not have more than seven days off a week?
Then he spent the seven days off a week, working, thinking, that way I could get a day off.
,