Read Ebook {PDF EPUB} Lilith by Cláudio Gil Lilith by Cláudio Gil. They debuted with a collection of demented songs, Os Mutantes (Polydor, 1968 - Omplatten, 1999), mostly covers of songs written by Be, Veloso and Gil, a high-volume maelstrom of dissonance and found sounds (Veloso's and Gil's Panis et Circensis and Bat Macumba ), and followed it with an even weirder set, Mutantes (Polydor, 1969 - Omplatten, 1999), that featured Claudio Baptista on electronic and home-made instruments, one of the few albums that compete with Syd Barrett's solo albums (released one year later). A Divina Comedia (Polydor, 1970 - Omplatten, 1999 - Universal, 2006), Jardim Eletrico (Polydor, 1971) and E Seus Cometas No Pais Do Baurets (1972) continued the saga in a less sardonic vein. Everything Is Possible (Luaka Bop) is an anthology. Dois Mil E Nove (Lilith, 2009) compiles Os Mutantes #1, Os Mutantes #2, A Divina Comedia . Barbican Theater (2007) documents a live performance of 2006. Os Mutantes furono un complesso di rock psichedelico brasiliano (Arnaldo Dias al basso e alle tastiere, Sergio Dias alla chitarra, Claudio Baptista all�elettronica e Rita Lee alla voce) che mescol� bossanova, samba e acid-rock. Hanno suonato nello storico album di Caetano Veloso e Gilberto Gil Tropicalia ou Panis et Circensis (1968). Iniziarono con una raccolta di canzoni demenziali, Os Mutantes (Polydor, 1968 � Omplatten 1999), principalmente cover di canzoni scritte da Jorge Ben e dagli stessi Veloso e Gil: un maelstrom ad alto volume di dissonanze e suoni trovati ( Panis et circensis e Bat Macumba , della coppia Veloso-Gil). L�album successivo, Mutantes (Polydor, 1969 � Omplatten, 1999) fu una produzione ancora pi� bizzarra della precedente, con Claudio Baptista all�elettronica e agli strumenti autoprodotti: si tratta di uno dei pochi album in grado di competere con gli album solisti di Syd Barrett (usciti l�anno seguente). A Divina Comedia (Polydor, 1970 � Omplatten, 1999 � Universal, 2006), Jardim El�trico (Polydor, 1971) nonch� E Seus Cometas No Pais Do Baurets (1972) continuarono la saga con una vena meno sardonica. Everything Is Possible (Luaka Bop) � un�antologia. Dois Mil E Nove (Lilith, 2009) riunisce Os Mutantes #1 , Os Mutantes #2 , A Divina Comedia . Barbican Theater (2007) � costituito dalle riprese di una performance live del 2006. Create Your Free Birth Chart. To create your free birth chart (natal chart) enter your name, place of birth (or nearest city), and date of birth below. Entering your birth time is optional, but including it will provide a more accurate birth chart. When a time isn't provided, the time defaults to noon. Recent on Astro-Charts. Sun / Chiron Aspects in Synastry. How to customize orbs in Astro-Charts. The Meaning of MC in Libra. What is a birth chart? Think of it like a map that provides a snapshot of all the planetary coordinates at the exact time of your birth. 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Vu, "New Integer Sequences Arising From 3-Period Folding Numbers" (Abstract, pdf, ps, dvi, tex) Issue 4. Article 16.4.1: Ajai Choudhry and Abhishek Juyal, "Rational Points in Arithmetic Progression on the Unit Circle" (Abstract, pdf, ps, dvi, tex) Issue 5. Article 16.5.1: Leyda Almodovar, Victor H. Moll, Hadrian Quan, Fernando Roman, Eric Rowland, and Michole Washington, "Infinite Products Arising in Paperfolding" (Abstract, pdf, ps, dvi, tex) Issue 6. Article 16.6.1: Naiomi T. Cameron and Jillian E. McLeod, "Returns and Hills on Generalized Dyck Paths" (Abstract, pdf, ps, dvi, tex) Issue 7. Article 16.7.1: Aram Tangboonduangjit and Thotsaporn Thanatipanonda, "Determinants Containing Powers of Generalized Fibonacci Numbers" (Abstract, pdf, ps, dvi, tex) Issue 8. Article 16.8.1: Ranganatha Dasappa, "On a Ramanujan-type Congruence for Bipartitions with 5-Cores" (Abstract, pdf, ps, dvi, tex) User Reviews. In the near future, the Omni Tech Corporation develops an expensive shield to protect Earth from the global warming. However the project fails and all the inhabitants die. In Portland, Oregon, Lilith (Suzanne Tufan) is the only survivor. While she scavenges supplies on the wasteland, she recalls her middle-class life with her husband Simon Prime (Jon Ashley Hall) before the Apocalypse. "Population: 2" is a depressive, boring and messy sci-fi. The plot is confused from the title and there are many unanswered questions. Why population 2 if there is only one survivor? Why Lilith has survived the Apocalipse? Who are the pilot and the guy in the control tower and what is the objective of the flight? Did Simon give a Pandora pill to Lilith in her glass of wine? Is that why he committed suicide? Where are the habitats where the Omni Tech Corporation executives have protected themselves? My vote is three. Title (Brazil): "A Sobrevivente" ("The Survivor") I fast forwarded to the end thinking there might be some 'big' ending but alas. the entire movie was boring and lame from start to finish. Some characters even talked in a monotonic tone as if they were also bored to even be in the movie. Where were the post-nuclear mutations? Rats the size of cars? Come on! If you have some time to waste and you are looking for something to do I recommend going outside and watching the clouds float by as you will find much more entertainment than you might find from watching this movie. or perhaps watching paint dry is your thing. In any event, please do yourself a favor and pretend you never even knew that this movie existed and your life will be richer because of it. I was looking forward to watching this movie. I'm a die hard dystopian/apocalyptic fan, whether that be movies or books, and love a sole survivor style situation; so this should have fit the bill perfectly for me. Now the plot line and the cinematography is good. Most scenes are fairly well shot and the story - although it flits from scene to scene and back and forth between the present and past - is easy enough to follow and blends in quite nicely. Some of the darker apocalyptic scenes are shot very well and show Lilith (Suzanne Tufan) struggling to survive and walking through the apocalyptic wasteland, and bedding down in her basement at night. Suzanne Tufan plays a decent role whilst also narrating many of the scenes well too. But there are one or two that let the whole game down. Well, mainly one, and that's her on-screen husband. It's been a long time since I've wanted to put my fist inside of the TV and punch someone just for the role they play. And I don't mean because of the person he portrays, but because of the way he acted it out. It's like watching Joey from friends when he acts as Dr. Drake Ramoray in 'Days of our Lives'. Just awful. "Population: 2" centers on a woman named Lillith, the only survivor of an ecological disaster that wipes out life as we know it on Earth. We see her past as a series of flashbacks that gradually come to explain how she ended up wandering alone through the tattered ruins of Portland, Oregon. Suzanne Tufan steals the show in her challenging dual-role as Lillith, a woman who is broken in two by tragedy. Before the disaster, Lillith is happy, bright and hopeful. Afterwards she is broken, haunted and struggling to maintain her sanity. As we delve into Lillith's past, we find that the ecological disaster was in part caused by the money-grubbing tactics of a Corporation called OmniTech, whose irresponsible use of "solar shield" technology to deflect the sun's rays and cool the earth backfired disastrously, causing a global meltdown. The evil empire is headed by the villainous Vincent Velo (Shelly Lipkin), who (before the disaster) employs Lillith's husband Simon (Jon Ashley Hall) as his media mouthpiece. Expecting special treatment for his years of service to OmniTech, Simon asks Vincent to ensure space for his family in "habitats" that OmniTech is setting up to help it's most important employees survive the disaster. Vincent tells Simon that he can only offer him one habitat, stocked with enough resources for one person. In an unfortunate twist, this all happens right around the time Lillith discovers she's pregnant. Now we arrive at the point in our story that the writer has been guiding us towards all along: an ultimatum. Early on the film establishes the existence of an over-the-counter abortion pill called "Pandora" (brought to you by OmniTech!). The "Pandora" commercial features a golden- curled young woman dancing in a sea of flowers as a soothing voice-over instructs us that "A pregnancy can sometimes come at the wrong time in your life." When spineless Simon learns of his wife's pregnancy, he takes matters into his own hands and forces his wife to abort by slipping a Pandora tablet into her drink without her knowledge. By the time we arrive at this wildly contrived moment of choice, we have already suspected for some time that this would be a pro-life flick. Or is it? The politics are quite muddled in "Population: 2". Simon takes away Lillith's right of choice by forcing her to abort, and kills himself out of guilt. How would this exchange have played out differently if Lillith were the one who wanted to abort and Simon had tried to stop her? Does the fact that Simon's choice ultimately saved Lillith's life mitigate his crime? And what does all of this have to do with the environment, corporations and the threat of destructive technology? And why the recurring religious themes? Where is "God" in this movie? Technically, "Population: 2" is one of the more impressive local features I've seen. The photography is solid, capturing some surprisingly haunting images of loss and destruction. The editing is a little uneven, and like many independent films relies too heavily on digital filters and color- correction. Overall the special effects were serviceable and managed to breath some authenticity into the filmmaker's vision of post-apocalyptic Portland. I think the strongest scenes in "Population: 2" are when Lillith is alone in the ruins of Portland. Tufan's nuanced performance is really what makes this film work, and other actors and dialogue and preachy political ideologies seem to only get in the way. Gilberto Gil; Devendra Banhart; the Album Leaf. Early in his set at the Hollywood Bowl, Gilberto Gil explained Samba's birth. In Gil's telling, as various African, European and Caribbean cultures made their way to South America, they left their mark, with the result a music Gil celebrates for its diversity. Devendra Banhart and the Album Leaf, featuring Mike Heron, showed how that diversity continues into the present day. Steven Mirkin. Latest. Early in his set at the Hollywood Bowl, Gilberto Gil explained Samba’s birth, starting with the Portuguese arriving in Brazil (Bahia, to be specific) and spying the local Indians dancing in a circle, or “samba.” In Gil’s telling, as various African, European and Caribbean cultures made their way to South America, they left their mark, with the result a music Gil celebrates for its diversity. Devendra Banhart and (to a lesser extent) the Album Leaf, featuring Mike Heron of the Incredible String Band, showed how that diversity continues into the present day. Gil, a onetime musical insurgent and leader of the Tropicalia movement, has been Brazil’s minister of culture for the last four years, and his set uncomfortably straddled both his musical and more recent activities. His band (which includes his son, Bem, on guitar) and new Warner Music Latina album are called “Banda Larga Cordel,” Portuguese for broadband; he opens the show by turning the Nokia ringtone theme into a playful fanfare, followed by “Pela Internet,” which includes the yearning refrain “I can’t get no connection.” But the show quickly turned into a history lesson performed to a pan-Caribbean beat, as Gil interspersed material from the new album, such as “O Oco Du Mundo,” with a selection of older Brazilian hits, including “Chiclete Con Banana” and “The Girl From Ipanema.” The latter was performed with a light Reggae beat as part of a tribute to Bob Marley that also included two Marley covers, “Three Little Birds” and “Kaya.” It was pleasant enough (perfect, actually, for a soft early summer’s night under the stars) but a little bland — a bureaucrat’s version of the music, easily digested and inoffensive. Gil is still a commanding figure onstage, singing in his wonderfully gravelly voice and punctuating the songs with falsetto woops and hollers. But his band was little more than professional, freighting the music’s slippery rhythms with layers of synthesizers and ’80s rock guitar, which robbed the music of grace and impact. Banhart had the opposite problem in his 45-minute perf. The Topanga Canyon-based musician’s typically shambolic perf shared with Gil a questing curiosity and musical crossbreeding, but at this point in his career, he lacks the seasoning to hold an audience the size of the Bowl’s. Barnhart spent his childhood in Venezuela, and Latin rhythms bubble under his folky psychedelia. But Banhart takes the music into unexpected directions. The roiling, oceanic drums, electric piano and slide guitar of “Bad Girl” recall George Harrison’s mid-’70s output. The epic “Seahorse” and a medley of “Long Haired Child” and “Shabop Shalom” were pleasingly loose excursions, while the raving Latin rhythms of “Carmensita” were given a jolt of soul by a guitar solo from Noah Georgeson right out of the Isley Brothers’ “Who’s That Lady.” Folk and psychedelia connect San Diego’s Album Leaf to Banhart. Their short opening set featured ponderous drums and misty melodies reminiscent of Pink Floyd; when joined by Heron, a song like “Always for You” turned toward the aerosol headiness of Brian Eno. The best music of the evening was saved for last, when Gil was joined by Banhart and guitarist Rodrigo Amarante for “Barracos.” The energy picked up as Gil and Banhart danced ecstatically around the stage, arms waving in the air, buoyed by the music, audience and the moment. No better illustration of the musical alchemy both Gil and Banhart reach for can be imagined.