– Edsger W. Dijkstra (1975)
How do we tell truths that might hurt? src
â€œIt is practically impossible to teach good programming to students that have had a prior exposure to BASIC: as potential programmers they are mentally mutilated beyond hope of regeneration.â€
– Edsger W. Dijkstra (1975)
“… a little bit of New Order. Where are the rest of them”
“In bed I hope”
“It’s a bit late for (?) really. Barney on the (?)”
“No, I think he’s getting drugged(?) tomorrow, so he has to go to bed early”
“he has to go to bed early. However we will be hearing a performance… you always kept music live, so these machines will be playing this live”
“they are actually alive, these machines”
“they are alive, these machines”
“all great friends of mine”
“we’re looking forward to this. Thank you Peter. This bit of New Order, because he’s sitting down he won’t be doing… you won’t be doing that will you” <mimics Hook’s stage antics> “fine, see you in a minute, Peter, thank you very much, I’ll go back to my seat over here.
A first tonight… moaned(?) about me having Joy Divison and New Order on every show I’ll do my long preserved reticence about putting on groups I’m involved with has vanished into the mysts. It’s with great pleasure that OSM now presents a performace by New Order, or a bit of New Order and some of their equipment.
When they were recording their latest album in Majorca last spring New Order’s manager Rob Gretton became particularly fond of a track whose working title was ‘The Happy One’. In truly cooperative New Order style, the group sabotaged its own(?) by recording no overdubs or vocals and not mixing it. But it must be heard. It may explain why the leading contender for that post Joy division name until they came up with New Order, was ‘The Witch Doctors of Zimbabwe’”.
This song is now dedicated to two Manchester City fans, to Mr Gretton himself and to one Frank Newton and his Awakated Faith(?) Banana. Mr Hook please…”
Nicole Kidman, che ha sofferto molto sul set di â€œDogvilleâ€: â€œLars mi metteva in situazioni sempre piÃ¹ dure â€“ ha raccontato l’attrice – PerÃ² ho capito che come Kubrick anche lui Ã¨ uno di quelli che mette su pellicola i suoi concetti filosofici. Sul set, una volta mi ha detto che voleva legarmi e farmi frustare… ma questo Ã¨ Lars e a volte potevi anche vederlo girare completamente nudo. Ãˆ come un bambino, farebbe qualsiasi cosa. Molte volte a cena sul set scoppiavo in lacrime, perchÃ© lui mi sedeva accanto e cominciava ad ubriacarsi ed essere alquanto duro con me… poi me ne andavo, ma la mattina seguente si ricominciava da capo.
He represents Italy in the world.
The sound engineer commented that “On a couple of songs, the guitar man used a broken amplifier that had a really brutal sound and he was talking about how he had to keep it away from the technicians that they toured with because he was afraid that they were going fix it.” According to the same sound engineer the “strained, distorted guitar sounds” came from the use of a Fender Twin Reverb amp, with three of its four power tubes broken or missing. Everything was recorded on a vintage 24-track analog board.
There was no studio trickery utilized during recording. The only special effect he could recall was a vocal effect on two songs. Reading his notes from the recording sessions, he observes that “There’s a really dry, really loud voice at the end of those songs where the guitar man wanted the sound of him screaming to just overtake the whole band.”
The sound engineer estimates that it took four or maybe five days to record the basic tracks, a couple of days for overdubbing and a final few days mixing. They finished slightly ahead of the two-week deadline. The album was mixed in under a week. The guitar man added additional guitar tracks to about half the songs, then added guitar solos, and finally vocals. The total recording costs for the record were $24,000. On top of that, the sound engineer took a flat fee of $100,000.
The sound engineer refused points on record sales since he considers the practice to be immoral.