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Monthly Archives: December 2009

Happy New Year from us all at Картошка 167!
Take control of your lives in 2010. Fight oppression and illegitimate authority wherever you see it. Try and cause as little suffering as possible. Be free… and don’t forget to listen to Bossa Nova music!
Love from Joao, Mrs Kartoshka and Mattinho…

The Western genre evolved in the mid-nineteenth century via the emerging penny dreadfuls and later dime novels. Such books were mass produced at a low cost, and drew their inspiration from events that were current on the western frontier of the USA, a wild and romantic contrast to the industrialised noth east where the vast majority of Americans lived.
By 1900, the new medium of pulp magazines also helped to increase the readership.
Popularity grew with the publication of classics such as Owen Wister’s The Virginian (1902) and Zane Grey’s Riders of the Purple Sage (1912). When the popularity of pulp magazines exploded in the 1920s, western fiction was a staple.
Contemporary with these developments was the growth of the movie industry and the resultant emergence of global media. Western stories provided popular material for movies from the earliest days of the cinema industry. Indeed 1903’s The Great Train Robbery was the first narrative movie .By the 1950’s 30 percent of all Hollywood films involved a Western scenario , and in the USA Between 1952 and 1970 no less than 11 Western TV series were on the air in any single year.
The cowboy was the ultimate hero-a modern knight errant-the white male hero in arms, he faced adversity alone in a harsh world- the symbols were easy to read and the moral battles that lay at the heart of the stories were clearly laid out- there was seldom any ambiguity.
The figure of the cowboy became stylistically idealised to fit in with contemporary fashions and the rough clothing of a nineteenth century cattle herder gave way to narrow jeans, short jacket, flamboyant neckscarf and neat,rakish stetson above a well tended quiff.

Dealing with the most virile aspects of the masculine image, it was inevitable that the American cowboy should appear as a sex symbol as well as being an idealised and resolute father figure conferring on his followers the approved way to think, work, and fight.
The cowboy remains a potent symobol, artist Richard Prince , for example, identifies the cowboy as being a role model and a sex symbol who embodies adventure, spirit and freedom.

So here begins an occasional series in which we will bring you : Cowboys.

Our first Cowboy is Justus D. Barnes (1862-1946) in his uncredited role as Bandit Who Fires at Camera in Edwin S. Porter’s The Great Train Robbery (1903).

Not for the purists, perhaps, but here’s one for your new year’s parties…

This LP is from 1999- so by Kartoshka standards it is virtually brand new!
Bossacucanova are:
Márcio Menescal – bass
Marcelinho da Lua/DJ Dalua- turntables
Alexandre Moreira- keyboards

The trio were studio technicians working with bossa artists such as Carlos Lyra, Wanda Sá and Roberto Menescal (Márcio Menescal’s father).

We loved those songs, but we were also listening to funk, hip hop and acid jazz , says Márcio.

Features: Carlos Lyra, Wanda Sá, Roberto Menescal, Astrud Gilberto, Silvio Cezar, Claudia Telles, Os Cariocas, Cris Delanno


Well, here in the northern half of the planet we are now in the grips of winter…when everything is grey and bleak just remember- after 23rd December summer is on it’s way!

In the picture are: Sylva Koscina, João Gilberto, Tom Jobim & Mylene Demongeot

The 1958 tournament saw the arrival of Pele, and also a significant development in the birth of the modern game…
In the early 1950’s the Hungarians under Cebes had made tactical advances, subtly changing the traditional W-M formation thus allowing a more fluid approach to play. Hungarian coaches such as Bela Guttman and Dori Kurschner influenced the development of this system in Brazil. This gave rise to a new formation. During one of his spells as the Brazilian national coach Flavio Costa published an article in the newspaper O Cruzeiro introducing the “diagonal system”. Modern football, according to Costa, “has lost its improvisation”, and he made it his motto that a team should “defend well so that they can attack even better.”
In the diagonal, the central square of the W-M became a rhombus, with one of the wing-halves slightly deeper than the other, and one of the inside-forwards slightly advanced, Costa thus began the evolution to 4-2-4, the first ‘numbered’ system. The defensive half-back eventually became a second centre-back, and the advanced inside-forward a second striker.
Six men defended, six, or even seven would attack.Now in 1958 Brazil, under Vicente Feola played 4-2-4: Four defenders, two midfield runners and four forwards. This first appearance of a ‘back four’ meant that defence became more robust and cohesive, with defenders also having an attacking role.
There was more fluidity , with emphasis being on short passing and thrusting runs.
Players had to cover more ground. The game became faster and Comfort on the ball and greater technical skills were required in all positions.
The First round game between Brazil and England saw the first goalless game in World Cup finals history.
England went out in first round but were represented in the final in the person of Sweden’s manager George Raynor, a Yorkshireman with a curious managerial career that took him from Iraq to Doncaster Rovers via Juventus and two world cup campaigns with Sweden.
Just Fontaine of France set a record that is unlikely to be beaten, scoring 13 goals in the tournament.
Pele, of course, arrived- the 17 year old got a deflected winner in the 66th minute of the quarter final with Wales, and then banged in a hat trick in the semi final against France. He netted twice in the final.
Waldyr Pereira, aka Didi was the player of the tournament and Garrincha’s mesmerising dribbling was on show- allegedly he didn’t realize that the game against Sweden was the final, thinking that it was some sort of round robin format.

Vicente Feola -4-2-4

For those seeking more empowerment…

We have mentioned before the importance of guitarist and composer Luiz Bonfá (1922 – 2001) in the evolution of the Bossa Nova genre.
In 1996 he was in the studio with carioca Ithamara Koorax recording a selection of his works.

It’s an honor and a privilege to work with such a great artist as Ithamara, one of the best singers in the world-Luiz Bonfá.
Some impressive talents on show here:

Torcuato Mariano -acoustic guitar, keyboards (also arranger)
Deodato – piano,keyboards (also arranger)
Larry Coryell -electric guitar
Sidinho Moreira- percussion
Jamil Joanes -electric bass
Marcos Suzano -percussion
Ithamara Koorax -vocals
Shigeharu Sasago -acoustic guitar
Luiz Bonfá -acoustic guitar (also arranger)
Nelson Ângelo -acoustic guitar
Carlos Bala -drums
Arnaldo DeSouteiro -percussion
Ron Carter- acoustic bass
Sadao Watanabe -alto sax
Ivan Conti -drums
Paulo Malaguti -keyboards
Arnaldo DeSouteiro -arranger/producer

I don’t for one minute imagine that this book was produced for anything other than titillation purposes.
However, $500 a week? Might be worth a look,
and what about Tempest Storm? sounds interesting…

Born in 1928, Annie Blanche Banks went to Hollywood as a 20 year old, working as a chorus girl and cocktail waitress. She moved into Burlesque, tempted by a $60 a week wage, and adopted the name Tempest Storm in 1950. She went on to star in a number of Burlesque movies, working with legends such as Russ Meyer and Irving Klaw. She allegedly insured her breasts for one million dollars. A tour of the Burlesque venues of San Francisco between September’57 and Spring ’58 landed her $100,000. Storm officially retired in 1995 at the age of 67, but has done occasional stage performances since, notably a show in 1999 at San Francisco’s O’Farrell Theatre to mark the club’s 30th anniversary, on which the mayor of San Francisco declared “Tempest Storm Day” in her honour.
So maybe, with the opportunity of making big money and with a degree of job security it was a viable career move after all, and Strippers School Book may have proved to have been $2.98 well spent ?

In the annals of cinema it would be harder to find a more stylish film than Luis Bunuel’s 1967 masterwork Belle de Jour.
Catherine Denueve, of course, looks marvelous throughout, but here I will concern myself with another equally irresistible carachter, Marcel, played by Pierre Clémenti (1942 – 1999).
Marcel is a hoodlum.
His hair swept forward almost down to his interrogating eyes, he has something of a look of Scott Walker. His crowning glory is his mouthful of metal teeth (knocked out at one blow… he explains with his customary dismissive braggadocio).
With his long leather trenchcoat and his swordstick , there is a somnambulistic strangeness about his swagger, this lithe dark predator whose pained features might have been drawn by Cocteau.
The devil is in the detail-his menacing lowslung belt,his vagabond boots and garish ties- the suit he wears with loose disdain.
But what I admire most about him is his passion, and his death, gunned down in the street by a cop, is flawless.
For all his otherworldliness Marcel has a hole in his sock,just as you or I might have. Towards the end of the film we see Severine whiling away the time, penitently sitting with the husband that Marcel has crippled. She works at an embroidery.In a happier world she would be darning that sock.

Just in case you missed it?
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