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Kill The Record Labels [2009] [FK] mpg

Category: Documentary
Description:
"KILL THE RECORD LABELS" DVD RUNNING TIME: 50m:38s “When it comes to the future, there are three kinds of people: those who let it happen, those who make it happen, and those who wonder what happened.” FOR DECADES HIP-HOP HAS BEEN CONTROLLED BY THE RECORD COMPANIES. THEY INVEST MILLIONS AND PROFIT BILLIONS FROM GLOBAL CASSETTE, CD, AND NOW RINGTONE SALES. MUSIC MOGULS AFFORD A LIFESTYLE COMPARABLE TO WHAT WE SEE ON MTV CRIBS. EVENTUALLY HIP-HOP ARTISTS WOULD ADAPT THE RECORD COMPANY FORMULA, AND START TO STRATEGICALLY PROMOTE AND MARKET THEIR OWN MUSIC. THIS HAS CREATED A CONFLICT INSIDE THE INDUSTRY. THE RECORD COMPANIES, IN CONJUNCTION WITH THE RECORDING INDUSTRY ASSOCIATION OF AMERICA (RIAA), HAVE DECLARED WAR. OFFICES HAVE BEEN RAIDED, MOM AND POP STORES HAVE BEEN CLOSED AND MANY HAVE BEEN ARRESTED. HIP-HOP ARTISTS, DJS, AND PRODUCERS HAVE DECIDED THAT THE ONLY WAY TO SURVIVE IN THE MUSIC BUSINESS IS TO "KILL THE RECORD LABELS". STARRING: 50 CENT, LLOYD BANKS, CHAMILLIONAIRE, BUN B, MAINO, DJ DRAMA, YOUNG BUCK, JUELZ SANTANA, GREEN LANTERN, LIL SCRAPPY, JIM JONES, RED CAFE, MIKE JONES, DJ VLAD, KID CAPRI...AND MANY MORE... FK~RELEASE THANX 4 UR SUPPORT......BOOTLEG EVERYTHING. MYSPACE.COM/MADMAXXRAP
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Bill Hicks Live

Category: Misc
Description:
BILL HICKS LIVE: Satirist, Social Critic, Stand-Up Comedian_This store-bought DVD Includes - One Night Stand - Relentless - Revelations & It's Just a Ride (The Bill Hicks Documentary). The only change I made to this dvd was shrink it using dvdshrink. This is a great dvd that'll work on any dvd player and video game console. Enjoy! : )
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Surplus - Terrorized Into Being Consumers (DVD Version)

Category: Documentary
Description:
DVD Surplus - Terrorized Into Being Consumers by Erik Gandini & Johan Söderberg (DVD has subtitles in English, Français, Spanish, Portugues, Italiano, Svenska this is an ISO file of the commercial DVD, menus, etc) This movie is also offered here in AVI format with additional files for English and French subtitles (*.srt), for those who don't want to download the DVD format, large file size. Why is the lifestyle of consumerism a source of such rage today? How come the privilege of buying goods does not automatically lead to happiness? Why all this emptiness despite our wealth? Erik Gandini's approach through Surplus is to portray this issue from an emotional rather than a factual perspective. Shot in the US, India, China, Italy, Sweden, Hungary, Canada and Cuba during three years. Surplus is the result of a complicated editing process by talented music composer/editor/percussionist Johan Söderberg. George W Bush's famous "shopping-speech" calling for a war against terrorism that deters the nation from the fear of consumption. Castro responding with hymns to the anti-consumerist, advertising-free island of Cuba. Bill Gates and Steve Ballmer preaching that the computer will give us peace on earth "bringing people together" while Adbuster Kalle Lasn warns that advertising pollutes us mentally, that over-consumption is unsustainable and that we are running out of oil. Surplus main man is John Zerzan, controversial philosopher whose call for PROPERTY DAMAGE has inspired many to take to the streets. "That is not violence. Sitting there doing dope and watching MTV . Then you go and get a job. Just schlep along. To me that is violence," says Zerzan. "We are terrorized into being consumers." In November 2003 Surplus was awarded with the most prestigious prize a Documentary can get, The Silver Wolf at Amsterdam's IDFA, and has spread widely around the globe since then. "... This film about consumerism totally consumed us. It used the language of music video, propaganda and commercial advertising as a response to the forces of globalisation. It fights fire with fire. The questions it raises are ultimately more important than any answers it might suggest. And we believe audiences can only profit from the debate that will ensue. For its originality, sense of humour, irony, forcefulness and visual virtuosity, the Silver Wolf Award goes to SURPLUS." The Jury of the International Documentary Filmfestival in Amsterdam, Nov.2003. Awards 2003-2004 -First prize at the 2003 IDFA-Amsterdam Silver Wolf Competition. -Nominated for the 2003 Guldbaggen, the "Swedish Oscar", as best documentary film. -Award best use of sound and music at the 2004 One World documentary Film Festival, Prague Czech Republic. -Jurys mention at the 2004 DocAviv, Documentary Film Festival, Tel Aviv, Israel. -Second best short film at the 2004 Ecocinema International Film Festival, Rhodes, Greece -First prize as "greatest of all productions" at 2004 FICA, the International Festival of Environmental Film, Goias, Brazil. -Audience Award at Vila do Conte, International Short Film Festival , Portugal, July 2004. -Two Special Mentions at the Torino Environmental Film Festival, October 2004 http://www.atmo.se/zino.aspx?articleID=382 http://www.imdb.com/title/tt0368314/
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The Gaza Strip Documentary (2002)

Category: Documentary
Description:
From: http://www.popmatters.com/film/reviews/g/gaza-strip.shtml Producer/director/editor: James Longley (Arab Film Distribution, 2002) 31 July 2002 by Lesley Smith Forgotten by History At a time when news organizations have hijacked cinema vérité to bolster editorializing and sanctify prurient voyeurism, American filmmaker James Longley snatches it back as a compelling storytelling tool in his 2001 documentary, Gaza Strip. During Ariel Sharon's election, Longley spent several months filming what Geoffrey Wheatcroft, writing in the New York Times Book Review (8 September 2002), has called, "the full pathos of the situation of the Palestinians, a people forgotten by history who found themselves involuntarily caught up in another people's great drama." The film unfolds in Gaza city, the refugee camp at Khan Younis, and the southern settlement of Rafah. In this, Longley offers no pretense of even-handedness. He is partisan to the Palestinian plight in the most literal sense, and his film demonstrates the symbiotic bond (a kind of intellectual Stockholm syndrome) that can arise so easily between empathetic investigator and sympathetic subject. Yet he also brings into the air-conditioned cinemas of the West the unseen ordinariness of Palestinian aspirations and, perhaps more importantly, the unimagined difficulties of daily life (like hanging out washing or crossing the city where one lives). He captures a world where a 13-year-old can talk world-wearily of school as something he attended "when I was small." Gaza Strip charts the liminal zones of a divided land where childhood curiosity and adolescent rebellion can have deadly consequences. Longley constructs, through the eloquent editing of sound and vision, a riveting particularity so vivid that it transcends its physical borders to illuminate "everyday" life in divided cities, territories, and countries across the globe. This careful construction begins with the story of Mohammed Hijazi, a barely teen-aged newspaper-seller who supports his family and whose passion is for an independent Palestine. As he does for individuals throughout the film, Longley tells Mohammed's story in rhythmic pulses. He cuts back and forth between Mohammed's life on the street, his early morning gatherings with other politically disillusioned newsboys and his stone-throwing excursions to Israeli checkpoints. Each scene is narrated via an extended interview that includes Mohammed's description of his best friend's death from Israeli bullets and the terror that drove his own father to beat him and tie him up at home to prevents Mohammed from joining the stone-throwing crowds. Mohammed's cogency, stripped of glibness, and colored with an adolescent bravura and cynicism, establishes credibility for the young people whom Longley chooses as his foci in the film. The degree of suffering Mohammed recounts bleeds authenticity into subsequent interviews, compelling the viewer to believe that every youthful face hides a backstory like Mohammed's. And many of them do. These almost-adolescents describe in sensual detail (first white, then black, with the aroma of sugar and mint) the experience of the "tear gas" that sent more than two hundred Palestinians to the hospital in acute neurological crisis. Or they recount from tents the nighttime bulldozing of the homes on whose rubble they now sit. And between all these takes of horror these youth also begin to shine as flesh-and-blood inhabitants of a real world. Longley substantiates their ordinariness (in an extraordinary situation) through his own courage in hanging out, camera in hand, when Israeli soldiers and Palestinian teenagers clash. He is able to let viewers see that these teenagers share the same playfulness, fallibility and frailty as young people anywhere else in the world, only in a deadly situation. He reveals how checkpoints become social gathering points at the end of the working day, or on the way home from school, where youth and patriotism make a deadly mix. Half excited at provoking a response, and half terrorized by potential consequences, a group of youngsters in the second half of the film scatters under crackling Israeli fire only to reassemble moments later. Two of the older teenagers climb casually back onto the wall from which they evoked the first flurry of bullets. They may be provoking their enemy, but they are also establishing their cool, an act as recognizable in suburban America as it is in Khan Younis. The longeurs in this film come only when Longley tries too hard to plunge his audience into the psychological intensity of life in Gaza via a discordant arty-ness. He over does his footage of a nighttime attack over Gaza, falling into MTV clich?s, like jump cuts, motion-blur slo-mo images, and distorted frames. A similar sequence of Israeli bulldozers plowing into Palestinian buildings, which is more fragmented, more distant and much less processed, is much more chilling. The same caveat applies to the soundtrack: in most places, it's an eerie amalgam of street noise, muffled conversation and Mr. Longley's own compositions, with natural sound used for emphasis, but sometimes it resembles, in its electronic distortions, a late-Happenings soundtrack rerun from the sixties. But these visual and sound affects are only missteps, detracting temporarily from the film's power. That power raises one last, but inevitable, question about this film. How important is it that Gaza Strip offers only one side, and only partially at that, of the story? No Palestinian politicians, no security forces, no Hamas or Islamic Jihad. No Israelis beyond the pixilated newsprint images of Sharon and Ehud Barak. While the sources of the Israeli-Palestinian conflict lie far back in the disorderly disintegration of first the Ottoman and then the British Empires, most news coverage never stretches back beyond a brief mention of the 1967 war. More, and more informed, historical and political context is desperately needed. But necessary, too, are the pen portraits, the focus on the individual life, and its nights and days of frustration and anxiety, which communicate more personally. Longley neither pretends to be impartial nor apologizes for his sympathies, and pays his potential audience the compliment of confidence in their intelligence and reason. He presumes that we can see and appreciate his portrait of the families of Gaza as only one contribution to the world's scant knowledge of the human cost of "the Middle East crisis." — 12 September 2002
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Surplus: Terrorized Into Being Consumers DVD.ISO

Category: Documentary
Description:
Why is the lifestyle of consumerism a source of such rage today? How is it the privilege of buying goods does not automatically lead to happiness? Why all this emptiness despite our wealth? Erik Gandini's approach through Surplus is to portray this issue from an emotional rather than a factual perspective. Shot in the US, India, China, Italy, Sweden, Hungary, Canada and Cuba during three years. Surplus is the result of a complicated editing process by talented music composer/editor/percussionist Johan Söderberg. George W Bush's famous "shopping-speech" calling for a war against terrorism that deters the nation from the fear of consumption. Castro responding with hymns to the anti-consumerist, advertising-free island of Cuba. Bill Gates and Steve Ballmer preaching that the computer will give us peace on earth "bringing people together" while Adbuster Kalle Lasn warns that advertising pollutes us mentally, that over-consumption is unsustainable and that we are running out of oil. Surplus' main man is John Zerzan, controversial philosopher whose call for PROPERTY DAMAGE has inspired many to take to the streets. "That is not violence. Sitting there doing dope and watching MTV . Then you go and get a job. Just schlep along. To me that is violence," says Zerzan. "We are terrorized into being consumers." In November 2003 Surplus was awarded with the most prestigious prize a Documentary can get, The Silver Wolf at Amsterdam's IDFA, and has spread widely around the globe since then. Year.............: 2003Country..........: SwedenAudio............: DD 5.1Subtitles........: Eng/Fra/Spa/Por/Ita/SweVideo Format.....: 16:9DVD Source.......: DVD5DVD Format.......: NTSCDVD distributor..: http://www.atmo.seExtras...........: YesDuration.........: 52 minutesMenus..........: [X] Untouched, intact.Video..........: [X] Untouched, intact. DVD-extras.....: [X] Untouched, intact. DVD-Audio......: [X] Untouched, intact. If you need a break from heart-wrenching, angering documentaries about suffering around the globe, try SURPLUS! MEGA-Thanks to BhangWalla for all of their original efforts ripping, encoding, & upping this. ;; Only $12 from: Support what you love..........................................................destroy what destroys you.
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PBS The Merchants of Cool

Category: Documentary
Description:
PBS The Merchants of Cool 2001 May be viewed as segments or purchased at: http://www.pbs.org/wgbh/pages/frontline/shows/cool/view Support productions of this kind. SYNOPSIS: They spend their days sifting through reams of market research data. They conduct endless surveys and focus groups. They comb the streets, the schools, and the malls, hot on the trail of the "next big thing" that will snare the attention of their prey--a market segment worth an estimated $150 billion a year. They are the merchants of cool: creators and sellers of popular culture who have made teenagers the hottest consumer demographic in America. But are they simply reflecting teen desires or have they begun to manufacture those desires in a bid to secure this lucrative market? And have they gone too far in their attempts to reach the hearts--and wallets--of America's youth? FRONTLINE correspondent Douglas Rushkoff examines the tactics, techniques, and cultural ramifications of these marketing moguls in "The Merchants of Cool." Produced by Barak Goodman and Rachel Dretzin, the program talks with top marketers, media executives and cultural/media critics, and explores the symbiotic relationship between the media and today's teens, as each looks to the other for their identity. Teenagers are the hottest consumer demographic in America. At 33 million strong, they comprise the largest generation of teens America has ever seen--larger, even, than the much-ballyhooed Baby Boom generation. Last year, America's teens spent $100 billion, while influencing their parents' spending to the tune of another $50 billion. But marketing to teens isn't as easy as it sounds. Marketers have to find a way to seem real: true to the lives and attitudes of teenagers; in short, to become cool themselves. To that end, they search out the next cool thing and have adopted an almost anthropological approach to studying teens and analyzing their every move as if they were animals in the wild. Take MTV. Long considered to be the arbiter of teen cool, the late 1990s saw MTV's ratings on the wane. To counter the slide, MTV embarked on a major teen research campaign, the hallmark of which was its "ethnography study"-- visiting teens' homes to view first hand their lives, interests and ask some quite personal questions. But what lessons do MTV and other companies draw from this exhaustive and expensive study of teenagers' lives? Does it result in a more nuanced portrait of the American teen? In "The Merchants of Cool," FRONTLINE introduces viewers to the "mook" and the "midriff" -- the stock characters that MTV and others have resorted to in order to hook the teen consumer. The "midriff"--the character pitched at teenage girls, is the highly-sexualized, world-weary sophisticate that increasingly populates television shows such as Dawson's Creek and films such as Cruel Intentions. Even more appealing to marketers is the "midriff's" male counterpart, the "mook." Characterized mainly by his infantile, boorish behavior, the "mook" is a perpetual adolescent: crude, misogynistic--and very, very, angry. But also very lucrative. To appeal to the "mook," MTV has created programs such as Spring Break -- a televised version of teen beach debauchery--as well as a weekly program capitalizing on the current wrestling craze. "What this system does is it closely studies the young, keeps them under constant surveillance to figure out what will push their buttons," says media critic Mark Crispin Miller. "And it blares it back at them relentlessly and everywhere." Of course, there is resistance to the commercial machine. FRONTLINE takes viewers to downtown Detroit, where media analyst Rushkoff speaks with teens at a concert by the Detroit-based Insane Clown Posse, purveyors of a genre of music that's become known as "rage rock." When asked to describe what appeals to them about such music, the teens invariably respond that it belongs to them; it hasn't yet been taken and sold back to them at the mall. Full of profanity, violence, and misogyny, rage rock is literally a challenge thrown up to marketers: just try to market this! But marketers have accepted the challenge: rage rock is now big business. Not only has Insane Clown Posse become mainstream, but much bigger acts like Eminem and Limp Bizkit are breaking sales records and winning industry accolades in the form of Grammy nominations and other mainstream music awards. In "The Merchants of Cool," correspondent Rushkoff details how MTV and other huge commercial outlets orchestrated the rise of Limp Bizkit--despite the group's objectionable lyrics--and then relentlessly promoted them on-air. But in doing so, critics ask, is MTV truly reflecting the desires of today's teenagers, or are they stoking a cultural infatuation with music and imagery that glorifies violence and sex as well as antisocial behavior and attitudes? In today's media-saturated environment, such questions, it seems, are becoming increasingly difficult to answer. "It's one enclosed feedback loop," Rushkoff says. "Kids' culture and media culture are now one and the same, and it becomes impossible to tell which came first--the anger or the marketing of the anger." Therein lies the danger of today's teen-driven economy, observers say: As everyone from record promoters to TV executives to movie producers besieges today's teens with pseudo-authentic marketing pitches, teenagers increasingly look to the media to provide them with a ready-made identity predicated on today's version of what's cool. Rather than empowering youngsters, the incessant focus on their wants and desires leaves them adrift in a sea of conflicting marketing messages. "Kids feel frustrated and lonely today because they are encouraged to feel that way," Miller tells FRONTLINE. "You know, advertising has always sold anxiety and it certainly sells anxiety to the young. It's always telling them that they are not thin enough, they're not pretty enough, they don't have the right friends, or they have no friends...they're losers unless they're cool. But I don't think anybody, deep down, really feels cool enough, ever." And as more and more teens look to the media to define what they should think and how they should behave, even some cool hunters are no longer sure that their work isn't having a negative impact. "Even though I work at MTV...I am starting to see the world more like someone who's approaching forty than someone who's twenty," says Brian Graden, the channel's president of programming. "And I can't help but be worried that we are throwing so much at young adults so fast. And that there is no amount of preparation or education or even love that you could give a child to be ready."
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Eye.opening.documentries.about.USA.IRAQ.and.the.media

Category: Documentary
Description:
[This is just a re-up from tpb. Looks useful and seems to be well seeded. Feel free to change it and/or make another torrent out of it. I'm to tired to fiddle with it atm. Anyway it's 7.2GB of fairly wellknown stuff, you can pick and choose. ] This is a collection with eye opening documentaries that I've found on different torrents sites on the internet. If you watch these documentaries you'll get a new view of the world and you'll start to think. -Derren_Brown_Inside_Your_Mind_2003_Unrated_XviDVD-TmN.smartypants This movie will show you how a smart person actually can manipulate other people with what he's saying -Frontline.TVCap.Is.Wal-Mart.Good.For.America.14Jun05.DivX.mp3.smartypants.avi Is it good that a brain washing company imports 90% of their goods from China? -Loose_Change.DVDRip.smartypants..avi Why is it unpatriotic to question and ask for more evidence about what happend on 9/11? -What.the.Fuck.Do.We.Know_-_DVDRip.smartypants.avi What happens if you apply the rules fo quantum mechanics on the brain. What does that say about the reality? -Documentary_-_Stupidity.smartypants.avi Why is it so easy to be stupid and so hard to be smart? What is actually stupidity? Everybody talks about it, but there is done almost no reseach on the subject. -Global.Dimming_-_Tragic.End.of.Humanity_-_BBC.Documentary(2005).smartypants.avi Air polution, like dust, keeps the world cooler, but what happens if we get rid of air polution and only produce more CO2? What impacts will that cause to the world? -PBS.FRONTLINE.Merchants.of.Cool.MTV.divx.mp3.avi How do MTV know what cool is and how can they make money of cool mtv kids? -End_of_Suburbia_DivX511.smartypants.avi What happens in the USA if the oil price gets to high? -If.Drugs.Were.Legal_-_BBC.Documentary.(2005).smartypants What will happen to the world if drugs were legal? -ThePowerOfNightmares.part1-3.smartypants This great BBC documentary explains every thing about the neocons and fundamental muslims. If you see this, then you'll understand what it is all about. [moderator comment: deleted links to fiction tv shows at the end of description]
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Surplus: Terrorized Into Being Consumers [DVD-Rip]

Category: Documentary
Description:
Full info post with links and pics - http://filesoup.com/forum/index.php?showtopic=102074 AVI File Details ======================================== Name.........: Surplus.-.Terrorized.Into.Being.Consumers.-.XviD.AC3.JB.avi Filesize.....: 701 MB (or 718,040 KB or 735,272,960 bytes) Runtime......: 00:51:19 (92,279 fr) Video Codec..: XviD Video Bitrate: 1455 kb/s Audio Codec..: ac3 (0x2000) Dolby Laboratories, Inc Audio Bitrate: 448 kb/s (6 ch) CBR Frame Size...: 576x320 (1.80:1) [=9:5] Why is the lifestyle of consumerism a source of such rage today? How come the privilege of buying goods does not automatically lead to happiness? Why all this emptiness despite our wealth? Surplus approach is to portray this issue from an emotional rather than a factual perspective, shot in the US, India, China, Italy, Sweden, Hungary, Canada and Cuba during three years. It is the result of a complicated editing process by talented music composer/editor/percussionist Johan S?erberg. George W Bush's famous "shopping-speech" calling for a war against terrorism that deters the nation from the fear of consumption. Castro responding with hymns to the anti-consumerist, advertising-free island of Cuba. Bill Gates and Steve Ballmer preaching that the computer will give us peace on earth "bringing people together" while Adbuster Kalle Lasn warns that advertising pollutes us mentally, that over-consumption is unsustainable and that we are running out of oil. Surplus main man is John Zerzan, controversial philosopher whose call for PROPERTY DAMAGE has inspired many to take to the streets. "That is not violence. Sitting there doing dope and watching MTV . Then you go and get a job. Just schlep along. To me that is violence," says Zerzan. "We are terrorized into being consumers." In November 2003 Surplus was awarded with the most prestigious prize a Documentary can get, The Silver Wolf at Amsterdam's IDFA, and has spread widely around the globe since then. "... This film about consumerism totally consumed us. It used the language of music video, propaganda and commercial advertising as a response to the forces of globalisation. It fights fire with fire. The questions it raises are ultimately more important than any answers it might suggest. And we believe audiences can only profit from the debate that will ensue. For its originality, sense of humour, irony, forcefulness and visual virtuosity, the Silver Wolf Award goes to SURPLUS." The Jury of the International Documentary Filmfestival in Amsterdam, Nov.2003. "...juxtaposes images and music with great rythm and technical perfection" Il Manifesto "Surplus is an open declaration of war on terror" Adbusters Magazine Surplus was recently awarded with two major international Environmental film awards, FICA in Brazil and ECOCINEMA in Greece "The Cora Coralina prize and trophy, for the greatest of all the productions presented goes to"Surplus",..... for the creative way in which it denounces the current standards of production and consumption, especially in rich countries, as extremely harmful to the environment and to interpersonal relations. The issue, which justified an inspired and surprising editing work, is absent in the media, badly explored in literature, and of fundamental importance for the understanding of the causes of the civilization dilemma that affects everyone in our days." In October 2004 Surplus was awarded with two Special Mentions at Environmental Film Festival of Torino, the Jury statement is: "Un film che, partendo dai concetti anticonsumistici di un personaggio-contro, sviluppa in maniera dinamica, sarcastica e modernamente aggressiva i pericoli immanenti di un modo di esistere che tutti ci riguarda." :!:Warning Use of Bit Comet, Bit Lord, G3 & versions of Azureus older then 2.3.0.0 may result in IP ban at ConCen tracker.:!: My BW costs $1.00 per GB, anyone with free BW please donate as much to swarm as you can smile.gif PLEASE help the swarm survive, Share at LEAST a 1:1 RATIO & enjoy KARMA bonus Wink.gif
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