unexplained deaths due to one of the world’s largest corporations

#AsiaFeaturingJohnPayne #SilentNation #AsiaBand

Asia was an English rock group formed in 1981. The band was labelled a supergroup and included former members of veteran progressive rock bands Yes, King Crimson, Emerson, Lake & Palmer, Uriah Heep, U.K., Roxy Music, Wishbone Ash and The Buggles. Since 2007, there have been two distinct groups using the Asia name: a reunion of the band's original line-up performing as Asia, and Asia Featuring John Payne as a continuation of the pre-2006 Asia line-up, initially featuring three of its members.

Aura 2001

A devilishly dark comedy

The story revolves around a Basque Roman Catholic priest dedicated to committing as many sins as possible (Angulo), a death metal salesman from Carabanchel (Segura), and the Italian host of a TV show on the occult (De Razza). These go on a literal “trip” through Christmas-time Madrid to hunt for and prevent the reincarnation of the Antichrist.

loosely inspired by real events involving a Dutch couple in Santoalla, a semi-abandoned hamlet of the Spanish municipality of Petín, from 2010 to 2014. It follows a married French couple (Ménochet and Foïs) settled in the Galician countryside, exploring issues of xenophobia and escalating hostility between neighbors buoyed by a conflict vis-à-vis a wind farm project, arriving to a point of no return.

When the invader comes…the hardest path to find is survival.

Around the year 1000 AD warlike people, the so-called “tjuder”, roam in northern Scandinavia. As they brutally kill a family in a remote area, including the parents and their little daughter, the family’s teenage son, Aigin, observes the slaughter. He manages to flee from these killers and reaches a camp with other Sámi whose inhabitants are worried if he has been able to hide his track. Afraid of the murderous people, they decide to flee to the coast. The boy stays alone to avenge his family’s murder. Unfortunately, they get him before he can do anything and force him to lead them to the other Sámi. He guides them but has a plan to destroy the barbarous people before reaching the camp. ×

Cast

Mikkel Gaup Svein Scharffenberg Ingvald Guttorm Nils Utsi Nils-Aslak Valkeapää Helgi Skúlason John Sigurd Kristensen Knut Walle Henrik H. Buljo Sara Marit Gaup Anne-Marja Blind Ellen Anne Buljo Svein Birger Olsen Sverre Porsanger

86 mins
Continuing down the historical chase rabbit hole with 1987’s Pathfinder aka Ofelaš/Veiviseren. this Norwegian original is immersed in indigenous Sami culture, taking care to showcase everyday life and folkloric traditions.

Equally awesome as a period action-adventure/revenge story and as cinematic representation of a culture not often seen onscreen, Pathfinder follows the sole survivor of a Tchude pillage in his quest to avenge his family and protect the rest of his people. I was not expecting the film to be as starkly merciless as it is, but the opening swiftly establishes the danger of its era, before segueing into tense survival-suspense. What follows is a coming-of-age story entrenched in mythic undertones and cold violence, acting as a precursor to everything from Apocalypto to Uthaug’s Escape. Tense pragmatic confrontations led into a finale that recalls the elemental final act of De Toth’s Day of the Outlaw.

Among the most unique ‘80s action films I’ve seen, and deserves to be better known.

The Dream And The Dreamer · Ian Brown

Ripples

℗ A Virgin EMI Records recording; ℗ 2019 Polydor Ltd. (UK)

Released on: 2019-02-01

Producer, Associated Performer, Vocals: Ian Brown
Studio Personnel, Engineer: Tim Wills
Associated Performer, Bass ( Vocal), Keyboards, Drums, Tambourine: Casey Brown
Associated Performer, Electric Guitar: Frankie Brown
Studio Personnel, Mixer: Steve Fitzmaurice
Studio Personnel, Mix Engineer: Darren Heelis
Studio Personnel, Assistant Mixer: Jules Gulon
Studio Personnel, Mastering Engineer: Bob Ludwig
Composer Lyricist: Ian Brown
Composer Lyricist: Casey Brown
Composer Lyricist: Frankie Brown

Gay Alert

Let Spirits Ride · Black Mountain

Wilderness Heart

℗ 2010 Jagjaguwar

Released on: 2010-09-14

She killed, was sent to prison, found a boyfriend, or 2, from overseas, last time I heard about her she was pregnant. She was only 16 when she killed. Her body matured deliciously, but she will be forever in jail. A jail with only 8 other inmates, in Argentina, that feels more like a Students house for virgins.
True Story

℗ 1979 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.

Keyboards: Allan Zavod
Drums, Percussion: Casey Scheuerell
Executive Producer: James Austin
Guitar: Jamie Glaser
Organ, Producer, Violin: Jean-Luc Ponty
Electric Piano: Jean-Luc Ponty
Guitar, Synthesiser: Joaquin Lievano
Bass Guitar: Ralphe Armstrong
Arranger, Composer: Jean-Luc Ponty

Consider Elvis Costello as the musical equivalent of the Aleph, Jorge Luis Borges’ term for “one of the points in space that contain all other points.” George Jones, Allen Toussaint, Stax, and classical music, sure; also, ABBA and Dusty Springfield. Costello’s monstrous appetite for genre has occasionally led him to believe he has mastered every genre. But his own instincts can get in the way: A punnery as dense as zircon has often interfered with the simple pleasure of a band as tight as the Imposters (aka the Attractions, with bassist Davey Faragher replacing Bruce Thomas in 2001), especially when Steve Nieve’s array of keyboards wheezed and squealed, mocking Costello’s objects of derision.

Costello fans will find many delights in The Boy Named If. For one, his 32nd studio album sounds smashing. Sebastian Krys’ mix stresses the textures of acoustic instruments without walloping listeners; Costello’s guitar, as restless as a child at a symphony even on solid albums like When I Was Cruel and Secret, Profane & Sugarcane, burrows right between Faragher’s bass and Nieve’s keyboards, enunciating hook after hook. A book written and illustrated by Costello himself accompanies the deluxe edition, but one needn’t own it to understand how the album unfolds as a series of scabrous vignettes recorded during the pandemic. The mood is splenetic, but not maliciously so, like an old codger telling decades-old dirty jokes for an imagined audience. Toughening his early gusto with decades of those genre experiments, Elvis-as-Aleph treats the trad rock quartet as the ideal medium for delicacy, concision, wit, and the occasional harangue.

An artist recording since the dawn of punk must regard new material as a set of points containing all other points. “The Death of Magic Thinking” sports the deathless Bo Diddley rhythm with which he experimented on 1981’s “Lover’s Walk.” Echoes of Spike’s song-length conceit “God’s Comic” reverberate on “Trick Out the Truth,” as approximate to the garrulous Costello of yore as the album gets. Listeners might even hear bits of 1991’s Paul McCartney co-write “So Like Candy” in the aggressive ballad “My Most Beautiful Mistake,” not to mention “Brilliant Mistake,” the 1986 quasi-country chestnut where Costello revealed his attempts at ridicule as a species of self-ridicule.

Costello has tinkered for decades with a paradox: He’s most delightful when disillusionment is the subject of his formal obsessions; he’s happiest playing a cynic who needs talking off a ledge (he names one new song “Magnificent Hurt,” of course). The superbly titled “The Death of Magic Thinking,” given added resonance by arriving mere weeks after Joan Didion’s death, wastes not a second: Pete Thomas kicks up a churn on percussion that’s almost as much a lead instrument as Costello’s stun guitar, while the singer admits how his muse—a “machine that can turn ink stains into words”—requires the “spark” of frustration, sexual and otherwise. Sometimes, anyway. “The M

She awakens strapped to a hospital bed.
Prequel to (1976), and the sixth film

I saw an orange road burning
I saw a youth on fire
I saw metal machines that were turning on
A generation that hadn't yet tired
I heard of two generations that were
Being murdered
In a Europe that was shrouded in black
I witnessed the birth pains of new nations
When the chosen people finally went back
North Winds Blowing
I wish they'd blow you all away
North Winds Blowing
I wish they'd blow you all away
I saw a freedom in the shape of disease
And mainly men had to quench their desire
And while a few could do just as they please
I saw kid's whose bellies were all on fire
And then all is dead and war is over
When hollow victory has been won
Who will join in the celebration of
An evil that can't be undone
North Winds Blowing
I wish they'd blow you all away
North Winds Blowing
I wish they'd blow you all away
I use to dream about destruction
Now that I feel it getting near
I spend my time watching the ocean
And waves are all I want to hear
I wish I was a believer
I'd spend less time maybe
In being sad
So many laws against disbelieving
I don't know who's good or who's bad
North Winds Blowing
Blow all away
Blow away

Promotion to Premier League
Final