Wednesday, March 24, 2004

tadi malam i nonton fim bagus banget...bagi yang sudah muak dengan situasi kesenian modern pasti akan suka sekali dengan film ini...i temukan sinopsisnya di sebuah situs...

Pecker (1998)
The winning 10th feature from John Waters straddles a fine line between the eager vulgarity of his earlier works and the sloppy sweetness of HAIRSPRAY and CRY-BABY. Set, as usual, in Baltimore, the film stars Edward Furlong as Pecker, a sweet-natured young fellow who happily passes the days photographing his surroundings with a cheap secondhand camera. Egging him on are his Virgin Mary-obsessed grandmother (Jean Schertler), his sugar-addicted younger sister (Lauren Hulsey), his kleptomaniac best friend (Brendan Sexton III), and his girlfriend (Christina Ricci), who runs a Laundromat with an iron fist. When Pecker’s works are "discovered" by a slumming NYC art dealer (Lili Taylor), his simple life is turned upside down, and he quickly realizes that he was happier as an unknown.

A valentine to--and satire of--the art world, PECKER makes strangely poignant statements about the nature of art and the value of fame. As someone with a foot in both the New York art scene and the earthiness of Baltimore, the title character obviously has more than a touch of the director in him. As with all other Waters films, those who are familiar with Baltimore culture will be even more richly rewarded.

"Teabagging is forbidden here at the Fudge Palace!"--Tina (Martha Plimpton) to an unruly customer
halam ini akan berisi musisi kontemporer indonesia yang i temukan di beberapa situs...

Composer of intrumental and vocal works
combining traditional Indonesian elements with international resources

The music of Indonesian composer Tony Prabowo has captivated audiences in his own country and on the international scene.

Born in Malang, Indonesia in 1956, he studied music under the guidance of the widely acclaimed composer Slamet Abdul Syukur, and was soon recognized as one of his nation's foremost composers for his numerous collaborations with renowned choreographers, visual artists, poets, theater directors and film-makers.

His music has also been featured at prestigious international festivals in Indonesia, including Art Summit 1998 and the Sacred Rhythm Millennial Percussion Festival in Bali. In addition to his work with Western-style ensembles, he also creates unique contemporary compositions with traditional Indonesian musicians. His longest-standing collaboration of this kind is with the New Jakarta Ensemble, which he founded in 1996. This group has performed in Indonesia, England and the United States and recently released their first CD, Commonality, on Siam Records.

Internationally, Tony Prabowo's music has travelled to the United States, Europe, Australia and South Korea. He first came to the United States for a theater collaboration at the 1988 New York International Festival of the Arts. Other collaborations with Americans include music for

Karen Williams and Tom Andrews' experimental play Blurred Vision (Jakarta Arts Center; Theater for the New City, NYC)

Visible Religion with composer Jarrad Powell and Gamelan Pacifica (Seattle, Minneapolis and Chicago)

Empty Tradition (1998) with Chinese-American choreographer Yin Mei (The Asia Society, NYC and Jacob's Pillow Dance Festival)

Kali: An Experimental Opera (2000) with choreographer Mary Sheldon Scott, composer Jarrad Powell and Indonesian poet Goenawan Mohamad, (On the Boards, Seattle)
Performances of his important concert works include

Dongeng Sebelum Tidur (1992) for soprano and mixed ensemble (Jakarta, the Netherlands, New York)

Autumnal Steps (1996) for chamber orchestra (the New Juilliard Ensemble, the Seattle Creative Orchestra, the orchestra of ISI Yogya in Indonesia)

Requiem for Strings (1988) (the Mannes Orchestra under Co Nguyen, the orchestra of the University of Newcastle-upon-Tyne, England, the 1998 Tanglewood Festival under Tan Dun, the Deutsche Kammerphilharmonie Bremen on their 1999 Indonesian tour)
and his viola pieces Commonality I, Music for Multiple Violas I and II (by Stephanie Griffin in New York, Seattle, Chicago and Jakarta)

Recently Prabowo has turned his attention to vocal music. His first opera, The King's Witch (1999), will be premiered by the New Juilliard Ensemble in Alice Tully Hall this November. In July 2000, his first choral work Meditation on Lu Xun II won a prize at the festival in Linz, Austria, and recently had its Indonesian premiere in Jakarta.

Currently he is working on an oratorio for choir, five soloists and viola, on texts by the Indonesian writer Tan Malaka. Tony Prabowo has received important grants from Meet the Composer, the Ford Foundation and the Asian Cultural Council, under whose auspices he lived in New York from October 1997 to April 1998. Future projects include a commission from the Kronos Quartet, a mixed choir piece for Bel Canto Jakarta Madrigal's French tour, and a Japan Foundation residency in Tokyo in 2002.

kalo kamu beruntung mungkin kamu akan menjumpainya lagi nongkrong di Teater Utan Kayu Jakarta

2. Sutanto Mendut

(orang ini gila banget...)Aku pernah melihat pertunjukannya bersama komunitas tutup ngisor gunung merapi...penuh passion...berjudul kontolarung di Lembaga Indonesia Prancis Yogyakarta...

5 february 1954

Magelang, Central Java, Indonesia

A young and sometimes radical composer. As a student at AMI, the Western music conservatory in Yogyakarta, he created controversy through several pieces that involved surprising not only the audience but the musicians as well. Has worked with experimental theater groups. Played piano concerts in Indonesia with Jack Body, the New Zealand composer teaching at AMI. His works have been played in Indonesia, England, Australia, New Zealand. Also a critic and journalist as well as a composer. Studied Western music for five years at AMI (Akademi Musik Indonesia), then a year of psychology, and two of literature.

Started a cultural center, Ritus Paguyuban (Insititute of Arts and Cultural Studies), with a regular publication, at his home in Magelang to attract young people to the arts, and is currently building a center at his new home near Candi Mendhut (on the road to Borobodur). Now considers himself a "social engineer" rather than a composer; arranges day-long conglomerations of performing groups from all the neighboring villages, including martial arts, folk music, trance dance, and experimental arts groups from the more urban Magelang. In 1989 he created a performance of Wayang Imaginasi, a one-hour shadow puppet play with no shadows and no puppets – as the puppet master tells the story and the gamelan plays, a painter stands at intervals and paints characters onto the screen.


AMI Yogyakarta, studied composition with Jack Body, composer form New Zealand


Apa, 1979; Sketsa Ide ( 3 violin 1979; Wayang Imaginasi, 1989, Senam Flute 1986, Proses 1977,


Musik Opera (Blues in My Shoes (2 guitar, piano and vocal), Waras Vs Gila, Pegawai Sinting) 1981, Suara Orang-orang Luka dan Lebaran ‘82 1982 (tape(music concrete), 50 dancers) premiered 23 july 1982

Ritus Paguyban. for nine different groups, a total of 74 players

3. Syukur, Slamet Abdul

30 June 1935
Surabaya, East Java, Indonesia

Slamet Abdul Syukur is one of those Indonesian composers who was trained in Europe, returned to play an important and active part in Indonesian culture, and maintains active international connections. Active in education as well as performance and composition, he divides his time between his music school in Surabaya, where his father has a medical practice, and Jakarta, where he participates in the avant garde, uban artistic community.

A poem titled Belajar–Musik [Studying Music} begins [translated here from the original Indonesian by Jody Diamond, italics in original]:

Besides studying music to be able to play music
also study about how to listen to music.
just being able to play music
does not mean you understand music
it is just the same as saying words in a foreign language
without knowing what they mean.

1944-52 private piano study
1952-56 Sekolah Musik Indonesia in Yogyakarta, Central Java
1962-63 Conservatoire National Superieur de Musique in Paris; studied organology with Chambure and analysis with O. Messiaen
1962-67 Ecole Normale de Musique de Paris. studied piano, chamber music, harmony, counterpoint, composition. Received in 1965 Licence d’Enseignement de Piano and, in 1967, Licence de Composition

kalo kamu beruntung mungkin kamu akan menjumpainya lagi nongkrong di Teater Utan Kayu Jakarta

Monday, March 22, 2004

ini adalh tentang si gila salvadore ituh...
dari sebuah situs...

Dr. Timothy Leary
Born October 22, 1920 - Springfield, MA


From All Movie Guide: For a self-styled countercultural guru, Dr. Timothy Leary led a highly disciplined and scrupulously conformist early life. After being asked to leave West Point and then being expelled from the University of Alabama, Leary returned to the armed services, then committed himself to diligent study in the field of psychology, earning his PhD from the University of California at Berkeley. During the 1950s, he gained a nationwide reputation for his books on personality disorders, and was a widely respected teacher/lecturer at Harvard University. Then, in the early 1960s, he developed a fascination for mind-expanding drugs; it was he who popularized the phrase "psychedelic." During the Youth Revolution of the 1960s, Leary was at the forefront with his advocacy of recreational use of LSD. His catchphrase was "Turn On, Tune In, Drop Out," which also served as the title of a short film he produced and wrote in 1966. His much-publicized testing and flaunting of marijuana laws led to several arrests, which he welcomed with unbounded delight. Oddly, throughout his experimentation with and advocacy for drug use, he remained a prolific writer and lecturer and was worshipped by a large percentage of those under 30. As the '60s faded from view, so did Dr. Leary. In 1981, he made his formal film debut in Cheech and Chong's Nice Dreams then went on to essentially play himself in such independently-produced efforts as Roadside Prophet (1982) and Shocker (1988). To the very last, the puckish Leary remained good copy. Upon learning that he had inoperable cancer, he publicly declared how excited he was at the prospect of experiencing the "ultimate trip." ~ Hal Erickson, All Movie Guide

malam minggu kemarin ada 2 film bagus di televisi...sleepers dan satunya lagi roadside prophets (1992) dan saudara-saudara teryata salah satu pemainnya adalah si gila Timothy Leary...gilaaaaaaaaaaaaaaaaaaaaaaaa.....adhi...dimanapun kamu berada...apakah kamu menonton juga....

sinopsisnya dari sebuah situs...
A biker is on a mission to sprinkle his best bud's ashes over El Dorado. He hits the asphalt on his Harley searching for his friend's Shangrila. The biker rides through fleabed motels and trashy casinos with a psycho drifter in tow. After meeting a carnival of characters, he finds the weary dump his friend treasured. Now bikeless, he hitches a ride to wherever the road will take him.

ini juga dari sebuah situs...
Bizarre and surreal road movie about a biker and his unlikely sidekick. On a quest to fulfill a friend's last wish, Joe takes to the desert road on his 1957 Harley-Davidson and meets a succession of odd characters, including Sam. Sam begins following Joe, on a quest of his own, which necessitates staying in Motel 9's wherever they go. Themes such as friendship, faith, and isolation are brought into sharp relief by strange situations, the lonely road, and the stark emptiness of the desert. There are also several humorous cameos.

Cast overview, first billed only:
John Doe .... Joe Mosely
David Anthony Marshall .... Dave Coleman
Judyth Thurman .... Stripper
Biff Yeager .... Bartender
Sonna Chavez .... Angie Abbott
Adam Horovitz .... Sam
Erica Rogers .... Housekeeper
JD Cullum .... Mr. Andrews
Ebbe Roe Smith .... Journalist
David Swinson .... Fred Nieman
Aaron Lustig .... Morning Desk Clerk
Arlo Guthrie .... Harvey
Timothy Leary .... Salvadore
Pam Lambert .... Mini-Mart Cashier
Beth DePatie .... Daisy

dari list di atas ketahuan kalo the greatest timothy leary berperan jadi Salvadore...tapi i lupa sama karakter itu...mestinya orang tua sih...yang mana ya si Salvadore ituh....wawaw...jadi penasaran...

ini juga dariu sebuah situs...
Roadside Prophets

1992 - USA - Road Movie/Adventure Comedy/Buddy Film
Reviewed by Stephen Holden


Fine Line Features


Starring Adam Horovitz, Dr. Timothy Leary, David Carradine, Arlo Guthrie, John Doe. Directed by Abbe Wool. (R, 96 minutes).
Screenwriter/electrician Abbe Wool makes her directorial debut with the offbeat road movie Roadside Prophets. Brooding factory worker Joe (X front man John Doe) takes a road trip in order to scatter the ashes of his co-worker Dave Coleman (David Anthony Marshall). Riding his vintage Harley Davidson, Joe leaves Los Angeles and heads for a small Nevada town called El Dorado to fulfill Dave's final wish. His journey is complicated by a small fry named Sam (the Beastie Boys' Adam Horovitz), a wannabe biker who continually lights off fireworks and nurtures an odd obsession with Motel 9. Joe also has to cope with making daily phone calls to Angie (voice of Sonna Chavez), his co-worker back in L.A. who is giving him sick days in exchange for the promise of a hot date. While traveling through the desert, Joe and Sam meet various eccentric characters played by the likes of David Carradine, John Cusack, Timothy Leary, and Arlo Guthrie. They eventually end up at their destination, which turns out to be a washed-up gambling town called Jackpot. ~ Andrea LeVasseur, All Movie Guide

aduh gue jadi panic nih...hallo apakah ada yang tahu si salvadore itu ngpain aja di film itu yah ...

halaman ini i dedikasikan buat band keren dari yogya : MELANCHOLIC BITCH...dapatkan cd live performancenya di distro-distro Bandung dan Jakarta
Artikel di bawah ini i ambil dari Kompas...

Melancholic Bitch
Zaman yang Kian Menajam

Kompas/hariadi saptono

LUPAKAN pameran melodi dan gairah perkusi dari Santana. Lupakan rembesan nada-nada gelisah yang halus membius dari Michael Franks.
Melancholic Bitch, datang dengan menggapai-gapai gagap-karena naluri eksperimental dan ekspresivitasnya, tetapi lalu seperti menancapkan "duri" di kaki-kaki pengelana bebunyian. Ibarat mobil, Melancholic Bitch adalah jenis pengelana bunyi di medan off-road, liar, ribut, tetapi sungkawa untuk mencapai sasaran.

Padahal, di panggung, mereka bertiga: Yosef Herman Susilo (26 tahun, PC programmer, gitar), Ugoran Prasad (23 tahun, lirik, vokal), serta Teguh Hari (25 tahun, bass), berpenampilan sangat sederhana, nyaris wagu (kikuk-Red) untuk sebuah atraksi, dan jenis musik (baca genre) electronic digital, sebuah genre musik yang mulai berkecambah dalam 10 tahun terakhir, tetapi yang tetap bertahan untuk jadi jenis yang mainstream, atau major.

Minggu malam 31 Maret lalu, grup yang didirikan oleh Yosy (Yosef Herman Susilo) dan Ugo (Ugoran Prasad) tahun 1999 itu, tampil menarik sebagai sebuah genre musik baru, notabene untuk Yogyakarta yang selama ini secara keliru dianggap kurang progresif.

Mengambil tajuk pertunjukan Beta Satin Merah, penampilan Melancholic Bitch dengan sepuluh nomor lagu mereka, merefleksikan sejumlah catatan penting tentang pertumbuhan musik elektronik yang menggejala sejak tahun 1998 di Yogyakarta. Pada sisi lain, itulah gambaran kegerahan anak-anak muda yang berusaha keluar, lepas dari situasi sosial, politik, dan semua keadaan yang tak keruan sejak sebutlah gerakan reformasi yang kian menajam tahun 1998 itu, ternyata tidak menghasilkan apa-apa.

Berangkat dari musik analog, seorang pemain gitar (Yosy), seorang penulis lirik (Ugo), dan sejak setahun terakhir mereka menambah seorang pemain bass (Teguh Hari), dua nomor pertama mereka-sebagaimana mereka akui sendiri- belum menawarkan sensasi kekuatan musik elektronik yang mereka sebut rif-hop.

"Kami terganggu monitor panggung, karena level bunyinya kurang keras," ujar Yosy, yang sekaligus PC programmer pertunjukan.

Baru pada nomor ketiga berjudul Tentang Cinta, serta lagu terakhir Kita Adalah Batu, yang namanya genre musik baru-tidak mudah menjelaskannya dengan sederhana-muncul di situ. Dalam rumusan awak Melancholic Bitch sendiri, jenis rif-hop yang mereka sajikan adalah pertautan baru musik elekronik dengan shadow-pop, rap, drum, and bass, dan jenis eksperimental yang lebih menekankan pencarian bunyi. Harmoni tidak ditentukan oleh nada, tetapi sembarang bunyi, lalu ekspresi menjadi hal yang menonjol.

Trif-hop secara khusus memiliki tonjokan yang kuat, yaitu sebuah latar bunyi monoton, dan beat yang dominan dari perangkat komputer/elektronik, serta-yang rada aneh-ialah suasana melankolik yang mereka pilih dari bebunyian, dan lirik. Mirip house-music, tetapi lebih ada isi, yaitu suasana melankoli.

Suasana ini, mungkin bisa terbayang pada lirik yang diteriakkan Ugo, dalam gaya yang kadang tak umum: berjongkok seperti orang ngejan. Rekuiem, lagu keempat yang mereka tampilkan, antara lain begini: jika tak ada jalan keluar/ pada apa kita akan menghindar/ dan susunan bahasa yang kau enggan/ adalah perca yang ingin kuselesaikan/ jika tak ada lagi suntuk penenang/ pada setiap perih yang kau simpan/ dan seluruh kenangan yang genggam/ menyerap luka yang semakin lama semakin mendalam/ bernafaslah denganku/ kuberjanji kita takkan terengah..../ di akhir bagian, terdengar suara engahan Ugo...

Pada nomor kesepuluh, Aku Adalah Batu, engahan dan rintihan itu menjadi jeritan kesakitan yang ditingkahi bunyi gitar dan seperangkat alat elektronik yang keruh dan kasar: setiap awal musim kita siapkan segelas rasa sakit yang kehilangan/ setiap awal musim kita siapkan semangkuk rasa peih dengan kebencian/ kita akan terjaga selamanya... Mereka, tengah menjeritkan kondisi zaman yang kian menajam.

SEJAK mula menggunakan perangkat komputer dan sample musik dari jaringan Internet, kelahiran Melancholic Bitch sebenarnya merupakan bagian pelembagaan sebuah forum atau medan kreasi para pemusik alaternatif Yogyakarta dan sejumlah kota lain, sejak tahun 1999. Forum itu, kini merangkul 18 grup sejenis se-Indonesia, sejak pergelaran Mencari Harmoni I (Mei 1999), Mencari Harmoni II (Juli 2000), Parkinsound III (Juli 2001), dan Parkinsound IV (19-20 Juli 2002). Progam itu tak bisa dilepaskan dari peran Muhammad Marzuki (23), penggagas berbagai performance dan pemilik Performance Fucktory Yogyakarta yang didirikannya bersama Jompet, Ugo, dan Yossy.

Forum musik alternatif itu, juga Performance Fucktory, maupun Melancholic Bicth, muncul dan melembaga berkat kebesaran hati Pascal Elbaz, Direktur Lembaga Indonesia Perancis (LIP) Yogyakarta yang memberi tempat dan dukungan. Jadilah, Melancholic Bitch, sebenarnya tak sekadar musik....(hrd)

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