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Unconventional release, raw cover cut in shape of cross from thick waste-paper cardboard. On front pasted a photo showing the cover of the album, and additional insert. All folded in 15x15 cm square, wraped with special wire and foiled. An album exploring the fragility of the human condition and purpose, conveyed through an original and arcane sound palette. This album continues to conjure Red Painted Red’s sinister sonic storms of elation and despair. It sounds a bit like there’s a ghost hanging over this work while at the same time it also reflects a real fragility. The sound is dark and minimal while often moving into a kind of cinematographic approach. A few more elements like gothic, (trip)-pop and even vague neo-classic ingredients can be noticed as well. The fine arrangements of guitar playing and electronic treatments are essential elements, which I especially like on “Late November”. Between 1995 and 2012 he released with them four albums of evolute electronic music, merging deep atmospheres and Techno rhythms, microsounds and Ambient-Dub, big beats and Drum'n'Bass, installing his refined aesthetics on assimilated codes.

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The boy would have hair of gold, like his mother, and the girl would favor those four men living all together. 11. Once a Brady, always a Brady. Not that he's ever gone out of style, but a slew of his most famous works made their way to the big screen during that decade, and in 1999—a banner year for teen rom-coms if there ever was one—the Bard was given an update for the ages in the form of 10 Things I Hate About You. Based on The Taming of the Shrew, the scene shifts from Padua in northern Italy to Padua High School in Seattle to tell the tale of the Stratford sisters—the younger one, Bianca, who enjoys fitting in and being popular while the other, Katarina, or Kat, is totally over it and ready to go far away to college. Their protective single dad, who as a gynecologist has seen far too much teen pregnancy, says that Bianca can't date until Kat does. Bianca has two potential suitors: Cameron, a chivalrous sweetheart, and Joey, a rich d-bag jock. Cameron and his nerdy but ballsy friend Michael conspire with Joey to pay the mysterious and conveniently hunky Patrick Verona to woo Kat, thinking that'll clear the way to date Bianca (who doesn't quite yet realize that Cameron is better than Joey). As the story has for 400 years, since translated from the original misogyny. But 10 Things I Hate About You wouldn't be nearly as watchable—and rewatchable—if the cast wasn't impeccable.

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It’s quite amusing to see people make dumb comments like that. Its privilege enough that the show is even there for me to enjoy every year. On my computer screen I can barely see anything it’s so dark. You guys must either have very bright screens or really good eyes, most of these I couldn’t even have guessed at without lightening them first. As others have said it seems to be Ygritte to Jon’s left (so on the right as we look at him) and maybe Stannis to his right (couldn’t get a decent shot of the whole face). The only ones I’m fairly confident of are Tyrion with Dany on his left and Sansa on his right and I think Arya under him (so to speak). Could be Jaime and Cersei to her left and right, but Jaime isn’t connected to Dany so who knows. Anyway, for what it’s worth pictures are here. Having watched the falsely named “teaser,” think I’ll continue my re-reading of ASOIAF (instead of watching “Vinyl”) until the long-awaited return of John Oliver and “Last Week Tonight. .

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And dreams are precious and have to be cared for. I don’t know about you, but my dream is that we can keep showing people their dreams, that we can keep moving souls, that we can keep transforming lives. But if we want to do that, things can’t keep going on their present course. This is for two reasons, those two reasons being the two things I see when I take a look at his oeuvre. When you think about it, Carrie is just The Exorcist, Blow Out is just Blow Up, Dressed to Kill is just Psycho, and Scarface is, well, Scarface. He takes his camera, with its blue steel shimmering like the barrel of a gun, and shoves it up against the heads of Hitchcock, Friedkin, Antonioni, and Cagney, whispering the words “Snort up, son,” in their ears. And when you consider that most of those works were visually energetic enough to begin with, it creates an experience lodged directly at the intersection of “visceral” and “surreal. . It’s more like an Aleister Crowley-directed education film on entertainment law than anything else, The Phantom of the Opera but with Alice Cooper instead of Lon Chaney, Citizen Kane but with Brian Wilson instead of Orson Welles. But unlike Hi, Mom!

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