Punk Music 2016

2016 Punk Music

VS Daft Brothers (Musical Box Mashup). as single on September 22 and November 17, 2016. Myinki Jyväskylän: a punk documentary. Password chiave del film: punk music, punk cinema, self making, independent film. Discover the releases of the Planet Punk Music label.

Music festival MelaSòno: Ska Punk al #MelaSono16

Here is the photographic representation of what MelaSòno 2017 was: good music, nice people and lots of party! The Vallanzaska, on the stage of the MelaSòno Music Festival, were spectacular. The concert, the concert covering the 25 years of the group's history, delighted the audience, made them dance and led them to the most famous songs of the last quarter century of the Italian shka scene.

L'Orage is not just a group, but a large multi-instrumental ensemble that was able to involve the MelaSòno Music Festival audience in an unforgettable evening. The audience danced with her folk-rock and she was thrilled. Big reggae evening on 10 July 2016 at the MelaSòno Music Fest with the 71JPM, enthusiastic audience for the final concert.

This photo gallery shows all the energy that Causa Ska Punk gave to the audience of the MelaSòno Music Fest 2016 during its performance on July 8th. Poetry, energy, storytelling and social commitment: L'inquelenati opened on the evening of 9 July at the MelaSòno Music Fest 2016. The great talent of Lorenzo Niccolini fascinated the audience of the MelaSòno Music Festival 2016 and wrapped them in the velvety notes of his guitar.

Handcrafted beers from the agricultural brewery J63, 0 km of products, sandwiches and cocktails for every taste... everything you need to enjoy the great music of the festivals to the full! Our store, our jerseys and our fantastic volunteers..... Many thanks to you, our audience and our volunteers for the success of the two-year anniversary year.

We dedicate this photo gallery to you to share and remember the most beautiful moments of the 2016 edition.

Kowalski, you' re punk fucking punk fucking moon.

Although he doesn't like to be called a punk director, Lech Kowalski represented the spirit of this movement better than anyone else. In the late 1970s, the young New Yorker of Polish origin visited the legendary local CBGB and New York Dolls tours; his 1980 film D.O.A. Dead on Arrival is a photograph of the punk movement that immortalized the Sex Pistols during the American tours that led to their dissolution.

But Kowalski's gaze provides interesting socio-anthropological clues, and it is clear that the director's eye is drawn to street life in general and to outsiders living there who are constantly struggling with a violent and unjust life, regardless of the musical content. Punk is therefore not the only area of interest for the director, who also documents the emergence of the hip-hop movement in the short break dance test and then follows the New Yorkers in Rock Soup, the young Krakow anarchists in Boot Factory,

And two more films about punk to tell the story of Johnny Thunders (New York Dolls) and one for the character of Dee Dee Dee Ramone (The Ramones). Somehow the critics agree that the spirit of punk in the USA is thanks to artists, proto-punk, just like Velevet Underground, Iggy Pop, Patti Smith, New York Dolls... Why did you say that the American Sex Pistols tours, an English group, were the inspiration for a documentary about punk?

There was a confrontation between cultures and ways of thinking, and what was particularly interesting was that the Sex Pistols would not play in typical punk clubs like CBGB's in New York. Who would have thought, for example, that there is also a punk community in the south? In fact, there were alternate scenes everywhere, but they weren't clearly defined, like punk, dragg queens, homosexual punks, bikers, rock'n'roll fanatics, bored teenagers, conservative clubs owners, businessmen, the Sex Pistols; and they were all haunted by the music game.

I wasn't interested in a punk story that was only shot in New York. Of course I was interested in music, but I also wanted to find out who would go to the concerts and why. How did you react to the tragic epilogue or the dissolution of the Sex Pistols, with which some even ordered the death of punk?

In everything that has happened in these years, there is nothing tragic except the deaths. There' s no point in thinking it was tragic. It went beyond music, it's been in the air for less than a decade and some were more involved than others. But above all it has left an echo, and that is very important, because all the music and art in general leaves something behind, but then comes the new to surpass it.

The good thing is that the music industry is almost dead now. The film industry is not far from collapsing either, so we need to invent new models. Journalism, for example, as we know it, is in crisis - but that is not good news. Personalmente, no periodic punkstalgia.

I made movies, I documented it in my own way. I don't care if they call me a punk. I wasn't punk: I was something else like I told you before. What could you call punk then? Instead, punk still seems to have its charm and a certain economic return. Punk seems to be giving off that kind of sewage.

What do you think you have in common with other iconic punk documentary filmmakers like Don Letts or Dan Graham? "Nothing. Not that I'm considering a director punk. "I never know how a movie's gonna end, or I wouldn't make it. A good movie, or a good movie, could come out, but for whatever reason, it remains a mystery to me.

And that is the reason why one continues to create: the hope to magically create the center, at least sometimes in life. When I prepare a movie, I go through three different phases. The first is to think about the idea of the film: a feeling, an image or something about the subject. Then there is the second phase: filming.

It doesn't have to have been easy to shoot in close contact with the themes of your films. Especially Rockstars don't like journalists and the medias in general. But sometimes people meet, a spark is thrown and a good movie comes out. Or it could happen, as in Cocksucker Blues, that the movie is beautiful, but the Rockstars don't like it!

But it was complicated to deal with everything that revolved around these issues. There was a feeling of rebellion. Death and, more importantly, curiosity. And yes, there were horrors. Don't postso paralare for a musicalista skirt. But I don't think anyone in any creative effort will say: "I'll take drugs, get drunk and become a skirt musician, guitarist or painter...".

I know many stories about people who have used drugs in other creative areas, and the reason for this has always had to do with a mental structure, with the desire for other sensations, for escape, for feeling something, relaxing, feeling less or feeling more. Let me explain my point of view to you: When you make these speeches, I prefer open-minded people over "narrow asses", judgments and all sorts of opinions about the feelings that people want to feel and the mental states that you want to experience.

If you put it that way, I think everyone would find the answer to your question why did musicians drink or use drugs. It seems that the themes of your films share your same perspective, your same passion. "Generally, I only make films about subjects that I feel particularly close to, or with which I feel particularly connected.

Maybe I do promotion for my subjects, but that's fine with me; I try not to make this mechanism obvious. I wouldn't make a movie about a congressman, a politician or something like that because the subject and its world would be boring for me. Something the creator doesn't understand how to approach, except through a movie.

Do you think a music journalist can be a good documentary filmmaker? The two characters have nothing to do with each other. When a journalist understands movies, it's obvious that he can make a movie. The big difference is that in the movies it's important to skip things, you don't have to put too much meat on the fire.

"Courage is the most important quality of a filmmaker, regardless of technology. There is no other reason to be creative, and if there is an end product, it will simply be this: a product. I' m sure most good directors only make a few good movies, and that's more than enough.

I don't think it's important in that respect. I don't want to be nostalgic because it doesn't make sense. The creative part is the most important. But if I can't find an easier one, I can easily make a good movie with the old one; maybe it's even better because I'd be forced to program everything more precisely.

The motifs of your films are often outsiders caught in their daily battles. Is it true that the only thing your movies have in common is passion? There is one movie in particular, Story of a Junkie, which is hard to digest for anyone who has never used drugs before. Obviously there is "hidden" wisdom and the eye of the camera identifies with the border figures who occasionally show their "accidental poetry" (the discussions about the political conscience, the protagonist's confession to his ex).

But what is the "passion" behind the protagonist and the raw portrait of life as a drug addict in the East village? In the broadest sense, it's a movie about how to survive. And it took some time for us to get to know each other and reveal ourselves by telling each other about our lives. For this reason, it is easy to see compassion in history.

Their latest movie, Drill Baby Drill, is about a farmer's rebellion. "It' part of a trilogy of films in which I see breeders and farmers as the punks of the moment. The second movie is called Holy Field Holy War and the third tails democratic. On my page you can find information and watch some movies for a small fee.

It is important that the audience gets used to paying for an independent movie. Though YouTube is created by entrepreneurial thinking, if people want to see cult movies or listen to independent music, they must at least be willing to pay a minimum. I recently wrote a script and would like to make an optimistic movie about an extreme act of rebellion.

I also did a project in Mexico City about a new non-religion and a personal movie about memory and how my journey was in the last 15 years. What is it? Vai ancora a wedere concert? Ascotti Che music? "Sometimes I like live music: experimental music and opera.

I liked Nirvana, but I didn't like most grill music. It' s hard to say that I like music because good music is good music and with time you learn to distinguish it. When you are young, you like the music that meets you for a certain reason, because it is connected to you on a certain existential level that you are not fully aware of: it becomes your music and you become part of that scene.

Certainly my music is the'roots' of the Blues, the Jazzy, the first Raggae. I think I'm gonna use a skirt musician in a new movie. May non saraà un movie skirt. But in this movie I want to find the essence of what true ''Rock'n'Roll'' can be. At least in one part of the movie.

Something important will be the heartbeat. And I' m not talking about happy people who go to Hollywood or make popular music, which will certainly bring in a lot of money. Which means they can't pinpoint exactly where he is. There is no market system for this type of expression, and I believe that the web plays a fundamental role here.

But there is something cold about it, something reminiscent of corporate communism in a negative sense, a kind of Stalinism. The first thing I would say to myself if I were young is: There is no democracy.

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