#para: sympathy for the devil

[nevenkebla]

Cada día sería interesante

Fantastic Four in…Ataque Del M.O.D.O.K.! (2010) #1 Tom Beland (Escritor), Juan Doe (Dibujante)

— Susan Storm: Bueno… Te toca preguntar. — Reed Richards: Pensé que te tocaba a ti. — Susan Storm: No, yo te hice mi pregunta en el Fantasti-Car, ¿Te acuerdas? ¿Quién es tu matemático favorito? — Reed Richards: Ah sí. Johann Carl Friedrich Gauss. Entonces… Me toca a mí… — Susan Storm: Y que sea buena, mi amor. Es la veinte. Tu última pregunta. — Reed Richards: Hmm… Déjame pensar. — Susan Storm: ¿Demasiadas opciones? — Reed Richards: No, ya la tengo. Si estás dispuesta a contestarla, quiero decir. — Susan Storm: Oh, qué poco me conoces. Te contesto cualquier cosa. — Reed Richards: Bien. Aquí está. Es sencilla. ¿Te acuerdas en qué momento supiste que yo era el hombre para ti?

— Susan Storm: ¿El momento exacto? Guau. Qué romántico. Eso salió de la nada. Pensé que me ibas a preguntar sobre cosmología teórica. — Reed Richards: Estoy esperando. — Susan Storm: Ok. ¿De verdad quieres saber? El mes era abril… un jueves. 9:30 de la mañana. Me acababa de mudar a mi primer apartamento. Y Johnny, claro, me abandonó por una pelirroja que acababa de conocer. Y no ensambló mi estéreo como había prometido. Estaba furiosa con él ese día. Tú ofreciste montármelo para que por lo menos pudiera oír música mientras trabajaba. Después de un par de horas, estabas listo para prenderlo.

— Reed Richards: Ok… ¿Estás lista? — Susan Storm: ¿Para qué? ¿Y dónde están mi tocadiscos y mis álbumes? — Reed Richards: Toma. Lee esto. — Susan Storm: Ok… Eh… “Sistema…” — Reed Richards: Un poco más alto. — Susan Storm: “Sistema… toca Rolling Stones… Sympathy for the Devil.” — Reed Richards: Se llama un Analizador de Comandos de Voz. Utiliza el audio de tu voz para activar una acción en el sistema. — Susan Storm: Pero… ¿Dónde están mis discos? — Reed Richards: Digitalizados. Todos. Es un proyectito que tengo con unos amigos en Palo Alto. La música se almacena como un archivo de audio, y después… — Susan Storm: Reed… Esto es… increíble…

— Susan Storm: En ese momento, contemplé lo que sería una vida con alguien como Reed Richards. Que nunca seria aburrida. No con alguien como una mente así. Cada día sería interesante.

[jonfucius]

Great Star Trek Rewatch - Discovery S1

Originally posted on Twitter 8 July 2020 - 21 July 2020

Star Trek: Discovery is up next in my Great Star Trek Rewatch. As with Star Trek: Enterprise, mini-reviews will document my progress.

The Vulcan Hello: Strong introductions to Burnham, Saru, Georgiou. Breathtaking spacewalk. The new aesthetic takes some getting used to, but it’s window dressing. T’Kuvma helps explain why TOS Klingons are different from TNG Klingons. Burnham’s mutiny is unprecedented. 6/10

Battle at the Binary Stars: Georgiou’s demise was a surprise, but T’Kuvma’s death was the big shock given the marketing campaign. A life sentence for mutiny is excessive, though not surprising given the scale of consequences from Burnham’s mutiny. 7/10

Context is for Kings: The true pilot of DSC, this episode gets Burnham onto Discovery and introduces the rest of the crew. The mycelial network is inventive. The horrors aboard the Glenn are Trek body horror at its most grisly. Lorca is immediately intriguing. 8/10

The Butcher’s Knife Cares Not for the Lamb’s Cry: RIP(per) Landry. Shades of “The Devil in the Dark” as Burnham comes to understand the tardigrade. Klingon machinations begin as Voq and L’Rell are betrayed by Kol. Culber immediately joins the pantheon of great Trek doctors. 7/10

Choose Your Pain: Lorca is captured by L’Rell and meets Harry Mudd and Ash Tyler. This Mudd is as devious as his TOS incarnation, but still garners sympathy when Lorca leaves him with the Klingons. Stamets becomes one with his shrooms as Ripper leaps away. 7/10

Lethe: A question that has lingered for fifty years is finally answered: what drove Sarek and Spock apart? Incredible connections to TOS without feeling like a blatant retcon. Lorca is a “broken man” indeed. Burnham and Tyler’s mess hall scene is classic Star Trek. 10/10

Magic to Make the Sanest Man Go Mad: A classic Star Trek trope gets a uniquely Discovery twist. Mudd may get off easy for all his villainy, but it's a very TOS ending. Loved seeing the crew let their hair down and party. 10/10

Si Vis Pacem, Para Bellum: Saru finally gets a moment of peace on Pahvo. Doug Jones’ finest work is in his confrontation with Burnham. A classic Star Trek tale with Discovery’s trappings. Shoutout to Jayne Brook and Mary Chieffo’s scenes - what a fantastic pairing! 9/10

Into the Forest I Go: RIP Kol and the gorgeous Sarcophagus ship. The jump sequence is a nail-biter, as is Burnham’s fight with Kol. Tyler has some severe PTSD from L’Rell’s torture, but is able to pull it together thanks to Cornwell. But where in Hell is Discovery? 8/10

Despite Yourself: Mary Wiseman steals the show, impersonating “Capt. Killy.” Tyler’s PTSD/brainwashing comes to a head as he shockingly murders Culber. What is L’Rell’s hold on him? Hard to see Stamets so debilitated as well. 7/10

The Wolf Inside: Tyler is becoming unraveled as Burnham tries to get a handle on the Terran universe. Having Georgiou be the Emperor is brilliant. 7/10

Vaulting Ambition: Kelpien sushi is disgusting. So is the sickness engulfing the mycelial network. And the torture L’Rell inflicted on Tyler. Lots of pieces move into place here as Lorca’s true nature is revealed. This reveal still doesn’t quite stick the landing for me. 7/10

What’s Past is Prologue: the extended MU jaunt ends with a stunning set piece: Discovery riding a mycelial shockwave as Stamets guides them home, with vital assistance from Culber. Sad to see Lorca go, but we get Georgiou again. 9/10

The War Without, The War Within: Discovery’s been gone 9 months and the war is in the Klingons’ favor. But is genocide the right answer? Great visual effects with the prototaxites regrowth, but this is a filler episode through and through. 6/10

Will You Take My Hand?: Most of Season 1's threads get wrapped up here: L'Rell becomes chancellor, Georgiou acclimates to "our" universe, and Burnham and Tyler part ways. Burnham's speech and Saru's stand (We Are Starfleet) are the highlights of this episode. As is the tag. 9/10

And with that, Season 1 of DSC comes to an end in my Great Star Trek Rewatch. Final score: 7.80/10. Highest score(s): "Lethe," "Magic to Make the Sanest Man Go Mad." Lowest score(s): "The Vulcan Hello," "The War Without, The War Within".

[musicrhythm]

HALLOWEEN! 🎃👻

O Halloween (conhecido no Brasil como o Dia das Bruxas) é uma celebração tradicional de origem norte-americana, que também se tornou popular mundialmente (mesmo ainda sendo mais forte nos Estados Unidos). Ela é comemorada anualmente no dia 31 de outubro.

O nome "Halloween" é uma abreviação de um conjunto de frases "All Hallows 'Eve" ou "All Hallow's Evening", que significa "Noite de Todos os Santos".

O Halloween vem de um antigo festival pagão, celebrado pelos celtas há 3000 anos atrás, chamado Samhain, que significa "fim do verão", marcando a chegada do inverno.

Acredita-se também que o Samhain celebrava o início do ano celta, e que nessa época do ano, os mortos podiam andar entre os vivos. Naquele tempo, as pessoas iam de porta em porta e faziam o "souling": encomendando pequenos pães e bolos chamados "bolos das almas" em troca de orações. Os adultos faziam o mesmo, só que com comidas e bebidas em troca de danças e músicas. O festival acontecia nos atuais territórios do Reino Unido, Irlanda e noroeste da França.

Uma tradição bastante conhecida no Halloween é o "doces ou travessuras", que geralmente é praticado por crianças. Elas se fantasiam (com temas de terror ou não) e vão batendo na porta das casas (geralmente da rua de onde moram) e fazem a famosa pergunta: "doces ou travessuras?". Quando o pedido dos doces é negado, elas fazem travessuras que vão desde tocar a campainha da casa diversas vezes ou até brincadeiras mais elevadas, como jogar papéis higiênicos molhados no telhado da casa.

Outra tradição são as "Jack-o-'lanterns", que são basicamente as abóboras utilizadas como lanternas, esculpidas com caras sorridentes. Além disso, esse costume acabou se tornando um dos principais símbolos do Halloween.

Apesar do forte da noite de Halloween ser as fantasias, as decorações, os doces e as histórias, as músicas não ficam de fora. O Spotify organizou uma lista com as 20 músicas de Halloween (feitas nessa data ou com esse tema) mais ouvidas. A lista foi feita com base nas maiores visualizações, que faz parte dos usuários do Canadá, Irlanda, Estados Unidos, Reino Unido e Itália. Quem lidera a lista é Michael Jackson, mas também encontra-se outros nomes famosos:

Thriller (Michael Jackson).

Ghostbusters (Ray Parker, Jr.).

Monster Mash (Bobby "Boris" Pickett & The Crypt-Kickers).

(Don't Fear) The Reaper (Blue Öyster Cult).

Highway to Hell (AC/DC).

This Is Halloween (The Citizens of Halloween).

Werewolves Of London (Warren Zevon).

Somebody's Watching Me (Rockwell).

A Nightmare on My Street (DJ Jazzy Jeff & The Fresh Prince).

Black Magic Woman (Santana).

Superstition (Stevie Wonder).

I Put a Spell on You (Screamin’ Jay Hawkins).

Evil Woman (Electric Light Orchestra).

Psycho Killer (Talking Heads).

Sympathy for the Devil (The Rolling Stones).

Bark at the Moon (Ozzy Osbourne).

Dead Man’s Party (Oingo Boingo).

Zombie (The Cranberries).

Time Warp (Little Nell).

Freaks Come out at Night (Whodini).

Com isso, curtimos o Halloween em grande estilo e diversão! Pode não ser tão forte no Brasil, mas vale a pena tirar o dia para se fantasiar e sair! Feliz Halloween!

Fontes:

https://www.promoview.com.br/categoria/entretenimento/confira-as-20-musicas-de-halloween-mais-tocadas-no-mundo.html

https://www.todamateria.com.br/historia-do-halloween/

https://brasilescola.uol.com.br/halloween#amp_tf=De%20%251%24s&aoh=16992206960799&referrer=https%3A%2F%2Fwww.google.com&share=https%3A%2F%2Fbrasilescola.uol.com.br%2Fhalloween

https://www.significados.com.br/halloween/

https://www.cnnbrasil.com.br/entretenimento/halloween-descubra-as-origens-significado-e-outras-curiosidades-sobre-a-data/

[kacic1]

A todos, boa noite!

Hoje convido vocês a visitarem Os Filmes do Kacic, para conferir minha nova crítica sobre este thriller estrelado por Nicolas Cage e Joel Kinnaman, e que chega para download e em VOD na próxima sexta-feira, 28 de julho.

Crítica: SYMPATHY FOR THE DEVIL (2023)

🎬🎞🎥📽📺

[johnhercar]

Sábado, aquí vamos de nuevo

Abrí los ojos seis minutos antes del mediodía y no salí de la cama hasta pasada la una veintitrés. Evité hacer planes este sábado porque quería visitar a Daniel, pero dos horas antes de lo pactado me avisó que tenía que acompañar a su mamá a la quimioterapia. 

Daniel vive a cinco minutos de mi casa, por eso le dije que cuando volviera del hospital me mandara un mensaje a ver si íbamos a casa de Franco. Dijo que sí. Luego le llamé a Sara para saber si estaba en su trabajo o de nuevo había faltado para ir con Salomé. No me contestó y asumí la segunda opción.

Me paré a servirme un plato de cereal y volví a la cama. Pensé en Lana y ese beso que me dio el martes antes de subirse al Uber. “No nos vamos a ver pronto”, así se despidió. La frase que no salía de mi cabeza, quería verle un lado positivo. 

Sonó el teléfono: Sara. Me dijo que estaba – como pensé – en misión S.S. (como Salomé y ella se nombran estando juntas), que iban de salida a comprar unas cosas a San Lorenzo y en dos horas regresaban. Quedo de marcarme a ver si en la noche íbamos al taller de Carmen. Le dije que sí sabiendo que, como siempre, en dos o tres días iba a reaparecer para contarme otra “aventura bien pinche loca”. Tan predecible entre su vorágine.

- ¡Tristán, te toca sacar a los perros! –, gritó mi hermana desde la planta baja. 

No respondí. Me puse a ver un video de Hanna en TikTok: un baile en ropa interior junto a su novio. Le di 'Me gusta'. Luego apareció un video de un tipo que, ante alguien preparando un pastel, se limitaba a hacer gestos. Vi otros dos tiktoks de él. Me aburrí y le marqué a Raquel.

- Hoy no puedo, Tris, tengo dos consultas, y después quedé de cenar con mi papá – dijo ante mi propuesta de ir al billar de su novio, mi primo.

- Salúdame a los loquitos – bromeé. Soltó una carcajada y colgó. 

A las dos recibí un WhatsApp de David: iba a ir a comer con su mamá y quería ver si el domingo me quedaba mejor. No le contesté, aunque la respuesta era no porque ese día tenía el baby shower de Alex. 

“La época en que tus mejores amigos comienzan a tener bebés es el principio del final”, pensé. Luego reviré y me dije que Alex, desde que lo conozco, siempre ha querido un hijo.

“Esas responsabilidades son la mejor forma de madurar”, lucubré antes del grito que me hizo volver a la realidad:

- Carajo Tristán, saca a los perros a que caguen.

Le mandé un mensaje a Lana a ver si estaba libre, pero para darle emoción a la respuesta apagué mi celular. Me puse otra camiseta y busqué las correas de Arya y Tony Soprano. 

“A veces todo se siente en calma, pero afuera alguien está cogiéndose a quien amas”, fue idea que pasó por mi mente antes de salir con mis perros al parque frente a mi casa, que en realidad es un camellón con hojas marchitas y aguas negras corriendo en su centro. 

"Bonito viernes", pensé. Luego casi me atropella un camión que, con todo y sus bocinas tronadas, traía a tope ‘Sympathy for the devil’, de los Stones.

[gunsnfuckinroses]

GN'R Y EL CINE- SOUNDTRACKS

No es en vano afirmar que el cine y la música han sido grandes compañeros. Y no sólo por la importancia de la banda de sonido elegida para representar a un film, sino también porque muchas veces los músicos han sido influenciados por películas para elaborar su propio material. Guns N´ Roses no queda exento de esta característica. Por eso a continuación se destacan los films que han marcado la carrera de la banda. Para la canción “Civil War” contenida en el disco “Use Your Illusion” la banda utilizó para comenzar el corte un fragmento de un diálogo de la película "Cool Hand Luke" de1967, protagonizada por Paul Newman. En el corte “Breakdown” de la placa “Use Your Illusion”, Rose reproduce con su voz el fragmento que dice: "There goes the challenger being chased by the blue blue meanies on wheels...", extraído de la película "Vanishing Point" de 1971. En el corte “Madagascar”, que será parte integrante del disco “Chinese Democracy”, se aprecia el fragmento utilizado en “Civil War” y un fragmento extraído de la película "Casualties of War" de 1989, protagonizada por Michael J. Fox. En la gira de la nueva etapa de Guns N´ Roses, la banda ha abierto sus conciertos con un fragmento de la película “The Exorcist III”, tomado de una escena entre George C. Scout y Brad Dourif, protagonistas del film. Slash realiza una pequeña aparición en la película "Private Parts" de 1997. Otra aparición de Slash, pero esta vez como parte integrante del elenco, es en la película "The Underground Comedy Movie" de 2000. Asimismo es muy conocida la escena de la película "True Lies" de 1994, en la que Arnold Schwarzenegger menciona: “Look, Axl Rose is her father and Madonna is her Mother!" Soundtracks En cuanto a aparición como banda de sonido de películas, hasta la fecha han sido las siguientes: "Dead Pool" de 1988, con "Welcome To The Jungle". Además hay una aparición de los miembros de la banda en un par de escenas. "Lean On Me" de 1989, con "Welcome To The Jungle". "State of Grace" de 1990, con "Sweet Child O' Mine". "Days Of Thunder" de 1990, con "Knocking On Heavens Door". "Cape Fear" de 1991, con "Patience". "Terminator 2" de 1991, con "You Could Be Mine". "The Program" de 1993, con "Welcome To The Jungle". "Interview With The Vampire" de 1994, con “Sympathy For The Devil". "Selena" de 1997, con "Welcome to the Jungle". "Grosse Point Blank" de 1997, con “Live and Let Die”. "Can't Hardly Wait" de 1998, con "Paradise City". "Big Daddy" de 1999, con la versión de "Sweet Child O' Mine" interpretada por Sheryl Crow, y fragmentos del mismo corte interpretado por Guns N´ Roses en el concierto de París de 1992. "End Of Days" de 1999, con "Oh My God" "Longest Yard" de 2005, con "Paradise City".

[elefantebu]

A deusa do Storytelling

Por Djenane Arraes

No ano em que Taylor Swift passou a ser a maior artista da atualidade, levando em consideração popularidade, vendas e publicidade, fiquei a pensar porque essa cantora americana chegou ao Olimpo. Afinal, Taylor Swift não é a mais bela entre as mulheres, e muito menos é sexy, atributos vendidos por cantoras como Madonna, Shakira, Ariana Grande, Jenifer Lopez e por aí vai. Ela também é uma cantora okay. Quando eu digo isso, quero dizer que Taylor canta direitinho, mas nem de longe tem voz marcante como Amy Winehouse, Beyoncé, Christina Aguilera (independente de gostar ou não, não se pode negar que ela canta pra caramba), Tina Turner, Whitney Houston... bom, você pegou a ideia. Puxa vida, até mesmo a voz de fumante de 80 anos da Miley Cyrus é mais marcante do que da Taylor Swift

Taylor Swift começou a carreira cantando country, transitou pelo pop country até se estabelecer como um ícone da música pop. Aos 33 anos, pode-se dizer que ela vivencia o auge da carreira. A idade em que ela se encontra não tem nada de extraordinário, pois o final dos 20 anos até meados dos 30 costuma ser o ponto alto de artistas pop. Os Beatles, Bob Dylan, Madonna, Michael Jackson... de um jeito ou de outro, todos esses artistas se estabeleceram no Olimpo mais ou menos nesta janela de idade. Não conheço nenhum hit hiper mega impactante dela. Eu não creio que ela tenha alguma canção que vá ser lembrada daqui a 50 anos, como Yesterday ou Like a Rolling Stone, Billie Jean ou Bohemian Rhapsody. Se ela não é a mais bonita, ou não tem a melhor voz, muito menos tem o hit dos hits, então por que Taylor Swift conseguiu o Olimpo?

Não preciso dizer que um excelente gerenciamento de carreira e produção tem grande responsabilidade nisso. Mas ao ouvir as canções de Taylor Swift, entendi que por trás de uma roupagem pop que não me atrai, existia canções de boa qualidade. Mais do que isso: Taylor Swift é uma compositora muito competente, talentosa e que tem grande domínio da técnica de storytelling. No meu entender, esse é o ponto que a difere de todos os outros artistas que atingiram o Olimpo. Mas o que diabo é storytelling? Trata-se de uma técnica em que articula-se a emoção com as informações, fatos e ações que constituem a estrutura narrativa da história, seja ela real ou ficcional. A técnica do storytelling é usada na publicidade, nos artigos científicos (naqueles que se consegue ler), nos roteiros, nos quadrinhos, e na música.

Se você pegar aquela edição das melhores músicas da língua inglesa segundo a revista Rolling Stone, vai perceber que boa parte das eleitas usam a técnica do storytelling para abordar os mais diversos temas: Heroes (David Bowie), Hotel California (The Eagles), Like a Rolling Stone (Bob Dylan), Sympathy for the Devil (Rolling Stones), In My Life (The Beatles). Taylor Swift usa e abusa do storytelling para criar empatia e fazer com que os ouvintes consigam se relacionar com a mensagem que ela quer transmitir, algumas delas usando experiências pessoais. Dois álbuns são dignos de estudo nesse sentido. O primeiro, 1989, representa o amadurecimento dela como compositora. É um disco todo bom. Não no sentido sonoro, mas nas composições. Em 1989 pode-se achar versos muito bacanas como: “Remember when we couldn’t take the heat? / I walked out, I said “I’m setting you free”/But the monsters turned out to be just trees / When the sun came up you were looking at me (Out of the Woods), e "You understand now why they lost their minds and fought the wars / And why I've spent my whole life trying to put it in words." (You Are in Love).

O album dela que eu mais aprecio é Folklore, por ser o trabalho mais indie e, portanto, o que mais se aproxima do meu gosto musical. Nele encontramos versos como: When you are young, they assume you know nothing/ But I knew you/ Dancin' in your Levi's/ Drunk under a streetlight” (Carddigan), e "I'm still a believer but I don't know why / I've never been a natural / All I do is try, try, try” (Mirrorball). Você pode ser avesso a essa bobagem de esteria a uma celebridade, ou mesmo não gostar da roupagem pop de Taylor, mas eu duvido que você não consiga se relacionar com nenhuma das passagens aqui exemplificadas. Talvez um fã desses mais histéricos não pare para pensar nas palavras porque essa pessoa só se importa realmente com o hype. Por outro lado, o leitor atento vai entender que Taylor sabe mesmo contar uma boa história em forma de música, e este vai ser entretido.

Taylor Swift merece o lugar conquistado no Olimpo. Os grandes sempre demonstram um atributo diferenciado para chegar até lá. Taylor ganhou o seu pedaço na história da música não por fazer uma obra sensacional e um som revolucionário, mas pelo talento para contar histórias e pela coleção delas que ela registrou ao longo dos discos. Em outras palavras: Taylor está no Olimpo pela consistência, e isso é muito raro.

[gonzalo-obes]

Rolling Stones The Rolling Stones es una de las bandas de rock más icónicas del Reino Unido, la más longeva y de las de mayor éxito en todo el mundo, con unos doscientos millones de copias vendidas y un largo historial de premios. Entre sus muchas y míticas canciones están Satisfaction, Paint It Black, Like a Rolling Stone o Sympathy for the Devil, una pequeña muestra de lo que han dado de más de sesenta años dedicados a la música. El origen de la banda se remonta a la década de los 60, en la que Mick Jagger y Keith Richards, compañeros de la escuela primaria, comenzaron a tocar juntos por afición en la banda Little Boy Blue and the Blue Boys. Pasado un tiempo, durante una actuación en un local nocturno, Richards quedó impresionado por un grupo formado por los músicos Brian Jones, Ian Stewart y Geoff Bradford, por lo que comentó a Jagger su interés en contactar con ellos para crear una nueva banda todos juntos. Puedes comprarla aquí: http://tienda.obesia.com/index.php/musica/151-chuck-berry

[fmrockola]

The Rolling Stones anuncian un evento virtual e “inmersivo” para recordar su concierto más estelar

'GRRR Live' es la grabación del concierto 50º aniversario de The Rolling Stones, que se dieron un baño de masas rodeados de estrellas de la música. The Rolling Stones than confirmado hoy un evento online en directo en celebración de la edición de 'GRRR Live!'. El concierto tendrá lugar el 2 de Febrero a las 21:00 horas (España). Grabado durante la gira de la banda 50 & Counting Tour, el concierto GRRR Live! contó con la participación de The Black Keys ("Who Do You Love?"), Gary Clark Jr & John Mayer ("Going Down"), Lady Gaga ("Gimme Shelter"), Mick Taylor ("Midnight Rambler") y el héroe local Bruce Springsteen ("Tumbling Dice") en uno de los shows más memorables de la historia de la banda. No ha estado disponible para los fans desde que se emitiera en televisión de pago en 2012. La experiencia 'GRRR Live!' llevará este concierto histórico a los fans de todo el mundo en RollingStonesNewark.com a través de la tecnología de transmisión global live de la empresa de vídeo interactivo Kiswe. El repertorio del show incluye algunas de las mejores canciones de toda su carrera, como "It's Only Rock 'n' Roll (But I Like It)", "Honky Tonk Women", "Start Me Up", "Gimme Shelter", "Sympathy For The Devil" y "(I Can't Get No) Satisfaction". A diferencia de las actuaciones que se pueden ver en otras plataformas, Kiswe Live permite a los espectadores formar parte de la experiencia. Los fans de todo el mundo podrán subir vídeos cortos de sí mismos celebrando a la banda, las actuaciones, verse a sí mismos en la pantalla y ser vistos por otros en todo el mundo, junto con la actuación. Las entradas salen a la venta el 15 de diciembre en RollingStonesNewark.com. Mientras tanto, podemos disfrutar de las dos canciones ya reveladas del esperado nuevo lanzamiento en directo “Grrr Live!”: “Happy” y este nuevo “It’s Only Rock ‘n’ Roll (But I Like It)"

Sobre Kiswe

Kiswe es la empresa de vídeo interactivo que transforma los eventos retransmitidos en directo en experiencias inmersivas, conectadas socialmente, de forma fiable y a gran escala. Con su galardonada tecnología vídeo en la nube, Kiswe ha realizado los mayores eventos digitales de emisión pago del mundo y presta servicio a las principales empresas de deportes, medios de comunicación y entretenimiento con sus soluciones de producción, distribución de contenidos, participación de los espectadores y datos de audiencia. Kiswe tiene su sede en Nueva Jersey (EE.UU.) y oficinas en Nueva York, Seúl y Hasselt. Más información en http://www.kiswe.com.

Sobre Mercury Studios

Mercury Studios es un polifacético estudio de contenidos creado para desarrollar, producir, distribuir globalmente e invertir en narrativas innovadoras basadas en la música a través de diversos medios, como el cine, la televisión, el podcasting, la edición y las actuaciones retransmitidas en directo. Mercury Studios, toma su nombre de la emblemática discográfica Mercury Records, está impulsado por Universal Music Group y crea un espacio abierto a la experimentación para dar alas tanto a los artistas emergentes como a ya los consagrados. Con oficinas en Londres y Los Ángeles, Mercury Studios aprovecha su consolidada relación con los mejores talentos de la música y el cine, para tender puentes entre ambos y crear una comunidad de pioneros completamente distinta, impulsada por la propiedad intelectual original, la innovación y la colaboración. Read the full article

[wvbuvei]

martes 15 de noviembre

segunda entradita

HOLAAA cómo están?? yo estoy demasiado feliz como para ahber roto mi dieta, tenía que comer 70 kcal y comi 90.. super decepcionante pero que se le va a hacer, lo hecho esta hecho y por mucho que me odie no puedo deshacerlo. El lado bueno es que hice una caminata de 2.5 km asi que yeeeii ejercicio, YYY es sin contar que jugué futbol en el colegio, corrí harto asi que ha sido un dia harto productivo, mañana intentaré regularme pq es fastingg dayy.

decidí ir al mall, me sente a estudiar en las mesas de los locales de comida chatarra para mi prueba mañana, siento que me va a ir bien, estuve ahi casi 2 horas viendo a gente comer y comer comida chatarra y yo solo tomé agua, estoy bien orgulloso ya que un mes atrás probablemente estaría tragando también.

se que es muy pronto y probablemente me lo esté imaginando, pero me siento super ligero y cuando estaba en ese patio de comida pensé en comer algo y me dio asco en solo pensarlo, ya no siento ese impulso de comer siempre y hasta hoy tuve que obligarme a comer algo ya que me sentía un poco mareado despues de hacer tanto ejercicio, lo que causo que me pasara de las calorias, mañana trataré de no hacer tanto para no sentirme asi y no marearme.

bueno,, creo que eso es todo sobre mi dieta/salud/vidasuperdeportiva .

en lo personal, no tengo nada super importante, interacciones con mi crush de todos los dias pero eso nomass cada dia estoy mas feliz al lado de el y ojalá podamos tener algo, LO MALO es que tiene polola asi que bueno.. no se ella lo saco a el de sus historias destacadas asi que A LO MEJORRR algo malo pasa por ahi, en el mejor de los casos, que terminen, yo lo puedo consolar.

eso es todo y escribo mañanaaa

SE ME OLVIDOO DECIRLES que le escribí un comentario al actor de soap del call of duty nuevo que salio (mw2) Y ME CONTESTOOO y wnn q felicidad, ahora si q me voy

cancion del dia

[monkeyandturtle-blog]

Miles Kane - Arenal Sound Festival, Burrania, Spain, Day 1/ August 1st, 2014 (Part 1) 🇪🇸 Una piscina atestada, como en aquellas fotos de grandes albercas chinas pero en una versión mucho más desenfadada y lúdica. Y una explanada concurrida tan solo de forma muy relativa, en la que actuaciones como la de Miles Kane pueden ser degustadas a escasos metros del escenario, sin agobios ni apreturas, al contrario de lo que ocurriría en el FIB. Esas estampas delimitan los dos extremos entre los que se mueve la oferta del Arenal Sound, ese certamen al que el grueso de su jovencísima clientela acude con el mismo pálpito con que afrontaría un viaje de fin de curso a Magaluf. Desde aquella fallida tentativa de 2010 (The Cranberries, Bebe, Simple Minds), esa ha sido su fórmula. Y su nómina de músicos internacionales suele pasar algo desapercibida para una gran mayoría, pese a derroches de clase como el de Miles Kane el viernes. El compañero de correrías de Alex Turner sabe cuál es su linaje (el guiño al Loaded de Primal Scream o su remake del Sympathy for the Devil de los Stones) y no lo malbarató, al servicio de un energético y rotundo set que haría las delicias de cualquier fan de Paul Weller, Small Faces o The Who. Su sobresaliente actuación fue lo mejor de una velada que osciló entre el desarmante candor teenager de los prometedores Peace (cruzando del ensueño shoegaze al calambre afro pop de unos Bombay Bicycle Club) y un nuevo capítulo del sainete Por qué lo llaman grunge cuando quieren decir metal, servido por los excesivos Biffy Clyro: un superávit de épica y riffs paquidérmicos que, a estas alturas de festival, se antojó indigesto. (Diario "El País" España, 03 de agosto, 2014) #mileskane #milesfuckingkane #milespeterkane #mileskaneconcert #2014 #georgemoran #mileskaneandgeorgemoran #arenalsoundfestival #spain #burriana #castellonburriana #playadeburriana ##burrianabeach #milescrispykane #mileskaneandalexturner #alexturner #tlsp #milexisreal #milexissofuckingreal #jaysharrock #benparsons #philanderson #show #mileskanelive https://www.instagram.com/p/Ci_lk2zuHOz/?igshid=NGJjMDIxMWI=

[laylacooke]

Sympathy For The Devil || Ariana, Ulfric, & Layla

timing: Friday night (6/19) parties: @letsbenditlikebennett, @big-bad-ulf, & @laylacooke summary: Ari & Ulf vs. Layla. What’s the worst that could happen? warnings: violence, including a rock being used as a weapon.

“I can smell you, Little Wolf. You might as well come out to play.” Layla’s eyes scanned the area for her best friend. Since the fight at the arcade, all had been revealed about who the redheaded wolf had become, and the only worry she held was the fear of having to give up the one thing that was giving her freedom from feeling anything at all; the fidget spinner. “I know you brought the Big Red Mutt with you, too, because, you know...being inseparable and all.” She continued to look around waiting and watching for what the other teenage werewolf had up her sleeve, but Layla had a plan of her own in mind, and if all went accordingly, she wouldn’t be the only heartless monster walking White Crest.

If there was one thing that never failed to make Ariana become annoyed, it was being called little. The fact she was also calling Ulfric a mutt and making their connection seem like a bad thing only furthered the swell of anger that threatened to spill over. She stifled a growl, keeping herself hidden in the brush, waiting for the perfect moment to pounce. She’d been a little suspect when Blanche told her about the car thing, but when Layla admitted to killing a man and how much she seemed to enjoy talking about, Ariana was sure she’d done something with that damn fidget spinner. She’d warned her to be careful with it and now here they were, having to hunt her down to keep her from going psycho wolf on the whole town. She looked to Ulfric and mouthed, “Sorry,” for Layla’s rude comment and gave a firm nod, to communicate they’d let her get a little closer before revealing themselves. 

Ulfric felt himself bristle at Layla’s words, letting out a low hiss from between clenched teeth. He knew though, that it was just a tactic to get them to give away their position and the advantage that came with the element of surprise. If it weren’t for the antagonistic context in which they were being employed, he might have felt proud of the young redhead’s adept understanding of battle strategy. As it was, he forced himself to release some of the tension the taunts had stirred within him, digging his heels firmly into the forest floor to ground him and shrugging in Ariana’s direction to let her know he could take whatever she was dishing out. He held up one finger, obscured by the large oak he was crouched behind to signal to Ari to wait. As soon as Layla stepped just a bit closer, or turned her back on them, they’d pounce, and they could dispose of the nefarious and utterly ridiculous toy that was apparently behind all this. 

“Oh, come on. Like I said, I can smell you both. Barely. Considering you broke my fucking nose, Ariana. And neither of you don’t exactly smell like daisies and sunshine. Really should do something about that dog smell, if you want to play hide-n-seek.” She paced the area getting impatient with their games. She knew the reason they had come to play. The fidget spinner, and this time Layla wasn’t taking it out, until she knew she had an airtight hold on Ariana. The device had already been damaged in the previous fight, and Layla had started glitching in terms of the way she felt and the clarity of her mind; a simple hairline crack already doing plenty of damage. And as she continued to scour the area with narrowed eyes and her usually highly sensitive nose, now damaged, she finally picked up on a scent, “And Bingo was their name-o…” Stepping closer, she forced her claws to come out; the control over herself, greater than it once was, and now on the ready to attack and use force if need be.

Ariana rolled her eyes at the whole dog smell thing. As if that was supposed to be some kind of insult. She was a wolf, smelling a bit animalistic was part of the package and she saw no shame in that. It was evident Layla wanted to get a reaction out of her and her annoyance spiked, but not enough to completely reveal herself before she had the ideal position to pounce. Peeking through the leaves, she saw Layla extend her claws. When did she get so good at that anyway? She was honing in on their scent, but she was close enough for her to grab her before she realized it. If Layla was going to be fighting with claws again, Ariana figured it’d be best for her to follow suit, not willing to give her any advantage. This ended tonight. She looked to Ulfric, communicating with a nod, before reaching out and snatching at Layla’s ankle to pull her down to the ground. Now that she was finally revealed, she grumbled, “Oh, shut up already.” 

The boldness and control Layla displayed now was surprising, the opposite of the frightened, turbulent teenager he had come to know. Was that what she’d wished for when she’d used the hypnotic prize on herself? To be everything she wasn’t. Ulfric felt a sharp tug of guilt at the thought, knowing the words he’d said and his distrustful attitude towards her when she first arrived had likely played a part in fueling that desire within her. One distinction between the girl who goaded them now and the one he’d gotten familiar withstood out as possibly giving him and Ari an edge though; while Layla was usually a ball of insecurities this version had taken that to the other extreme and was absurdly arrogant. It will be her downfall, the older wolf thought just as Ari grabbed her ankle to cause her to literally stumble. “Where is it? Where is the gadget spanner?!” He roared, bursting from his hiding place on the opposite side to shoulder charge the girl and help the purple-haired wolf pin her to the ground. “Hand it over, now!”

They still refused to come out and her patience was wearing thin. However, one swift jerk to the leg and she was down with a bit of a yip as she felt Ariana’s claws slightly dig in. Huffing after having the wind knocked out of her, Layla realized if she didn’t want to get caught, she was going to have to scramble fast. And even though the other young wolf had a death grip on the redhead’s ankle, she tugged, feeling skin and jean being ripped, but before she could get away, she felt the weight of Ulf pinning her as well. Letting out a growl, she squirmed managing to at least free one arm where she revealed her own claws and pulled a hand back ready to give Ulfric a swipe, “You’re never going to find it, so let me go!!!” With everything in her, she fought to free herself and keep the precious fidget spinner safe.

Under better circumstances, Ulfric’s booming voice calling it a gadget spanner would have put an amused smirk on her face. At the moment, her anger toward Layla took precedence and she kept a firm grip on her ankle, her claws causing skin and jeans to rip as the red headed wolf tried to rip herself free from her grip. Ariana let out a low growl as Layla tried to break free from their grip. She snarled, “Just give it up, Layla. You’re only making it worse for yourself.” Why she even bothered trying to reason with her, she wasn’t sure, but she quickly yanked on Layla’s leg, claws sinking in just a little deeper when she saw her going for Ulfric. It was clear she wasn’t willingly going to hand the fidget spinner over or leave with them. Ariana was still crouched low to the ground and used her knee to fully pin her other leg to the ground, not daring to give her the chance to run off and do any real damage. 

Ulfric’s growl echoed with the other’s as he just dodged Layla’s strike, her claws dragging and then snagging in the thick khaki fabric of his jacket sleeve. He quickly took advantage of the disruption to her momentum to seize hold of that arm, the arm that she’d injured early into her stay in White Crest and roll away with her, holding it in a contorted, uncomfortable position. “Have you forgotten amidst your little spree,” the wolf’s low voice rumbled in between grunts as she struggled between him and Ari. “That you’re not the only one capable of inflicting damage?” When necessary, he added internally not wanting to dilute the threat implied in his unflinching hold and words. He found it wasn’t difficult to conjure enough anger to seem menacing though, the mounting frustrations he’d felt building up over the last few week’s provided authentic fuel, even he remained reluctant to cause the redhead harm. “You want to be the big bad wolf, Rødhette? Well, if you don’t tell us where the device is will give you something to really howl about.”

The young wolf cried out in pain as Ariana’s claws dug deep into her leg, immediately bringing blood to the surface. Twinzies. It was only fair though. She had done a number on the wolf the other night at the arcade. And any attempt to remove Clifford from the picture was out of the question as he pinned her arm. The God-awful angle it was at had her quivering. Between claws in her leg and the threat of her arm and hand being broken, Layla was trapped. She whimpered as she knew defeat hung heavy in the air, but her mind was telling her otherwise, like a rabid animal with no sense of self-control, and she snarled as her breathing quickened, and she tried to force a shift. Body beginning to ache and the earliest signs of lycanthropy coming into play. Without the fear that had once lingered in her small form, she had more control and power over herself, and if it was going to be an all-out wolf fight, then so be it. 

The whole intimidating vibe Ulf was giving off was clearly working. Ariana could feel Layla squirming underneath her grip as she tried to transform. This wasn’t a side of Ulf she was familiar with, but she didn’t find herself frightened by it. It wasn’t directed at her and she doubted it ever would be. She tried to mirror it, her own growl coming out louder as she focused on keeping Layla’s legs still. They weren’t deep enough in the woods for an all-out wolf brawl. “Ulf,” she urged, “You have to knock her out. She’s trying to fully shift.” 

Ulfric hesitated for a moment at Ariana’s plea. As much as the overheated blood pumping through his veins sung out that he needed to hit something, the thought of directing that energy at Layla gave him pause. Layla had undoubtedly been spurred on to using the hypnotic toy by being unable to cope with her first taste of blood, which had only happened because Celeste hadn’t been there to help her at the full moon, which had only happened because he’d failed to keep her safe. How much further would the ripples of pain from that one-night spread? How much more suffering would he have to inflict on his charges before the mistakes he’d made then were finally dealt with? Layla strained and growled beneath his grasp. Guilt wouldn’t slow her down in her rampage against them and the entire town, he reminded himself as he scrambled for large rock with his free hand, he couldn’t afford to let it hold him back now either. He struck, and the arm he was holding went limp.

“Get the ropes from the back of the truck. Quickly.” Ulfric instructed Ariana between huffs. “I’ll search for the damned devil widget.” With all the tact and patience, he could muster, which was close to none, he searched the young redhead’s pockets until he found it. He only glanced at the device to confirm it, unsure of how easily it’s power could be triggered. It felt so light though, so flimsy between his fingers compared to the rock that weighed heavily in his other hand. All it would take was one good whack and it would be smashed to pieces on the forest floor. He stood and surveyed Layla’s unconscious form, in sleep she resembled the frightened girl they knew much more than the force of destruction she’d been moments before. With aggravated yell that dissipated into a resigned sigh, he threw the rock into the trees away from them, zipping the device securely inside his inner jacket pocket. As much as he wanted all this to be over, he couldn’t risk losing that girl. 

Calmer now, he stooped to pick the young redheaded wolf up. Like the cursed toy, she too felt worryingly light and breakable in his arms. Clutching her tighter, he carried her over to where Ariana was waiting at the truck, readying the restraints. “What are we going to do with you?” He murmured to Layla. It wasn’t the first time he’d asked himself since they’d become acquainted, but he found himself more disturbed than ever at not knowing the answer.  

[mperosx]

(Reverse) [ wall ]

--* Eros is no stranger to the red light district of the city. Not merely because some of his closest friends work there or because he is well aware of the products pushed there, but also because there's a curious dark shop there. Those that know him well are aware that Eros has always been in the business of magick as a love witch, but not that, occasionally he goes out to source some of his more....interesting supplies. It's on a regular late night that he realizes that he is missing part of the mixture that he needs to make a salve for Theeli's legs that Eros ventures out. The shop won't be open for another ten or so minutes he knows, but he figures he can meander the area while he waits. However, when he nears the shop it seems the dim glow it gives from the front space tells of activity inside. He draws closer and sees something move inside. For just a moment worry crosses his mind that someone might be rummaging around in the shop. Stealing it's goods. Mount Phoenix was not as bad for crime as some of the places he had traversed in the mortal world but it was not without it's fair share of unsavory happenings in this district. His concern grows when he sees movement again and he quietly pushes the door open to slip inside. "Hell--" The god's words are cut off as his body is moved suddenly, the rattle of things he can't see behind him as he connects with the wall. He's not scared but he's shocked as hell and almost lets his wings manifest into visibility to defend himself when he realizes it's not some horrible thief but the owner who is gripping him. "Stop!" he says quickly because though they don't talk save for the usual business talk of transactions, Eros knows his appearance (pink hair and different colored eyes) is enough to be recognizable as often as he shops there. "I thought someone was stealing so I came in to make sure you were safe!"

[spoiledhastings-blog]

sympathy for the devil.

Life in sunny California was never what Spencer Hastings had been made for. 

The air was too arid, dry, the sun too high in the sky and bearing down upon her. She was a girl who needed weather, who needed autumn and falling leaves, who craved snow and ski pants for months instead of the occasional week in January her family would take to Colorado. 

Most of all, she craved something other than the isolation. She found it hard to believe that anywhere else could be as focused on nothing but themselves, that people might actually connect, that if she lived in another town, another life, she might be capable of connecting more with the world around her. 

Instead, she was facing expulsion from her third private school, the summer before her taunting her with nothing else than her own loneliness to mull over, her sister in London with a new husband while her parents spent their every waking hour at work. 

It was enough to drive anyone crazy. 

The Pines rarely saw new residents; in the ten years the Hastings had been living there, only a handful of others had moved in. The cost for a private community with their own golf course, tennis court, a community pool in addition to those that dotted most backyards - only those with serious money could afford a home in The Pines, and even in California, it was few and far between. 

(Sometimes, Spencer thought she could briefly remember life back in Pennsylvania, where she’d been born. Sometimes she thought she could picture the life she was supposed to have out there, before her father moved his practice to California for one specific client, before her mother decided to run for senate in a state she had a better shot at winning in.) 

It made the Marin’s an immediate eye catcher. 

There was a girl, probably Spencer’s own age, a little heftier than was normally accepted in the neighborhood but seemingly happy nonetheless. On her daily walks around the sidewalks, her dollar store flip flops smacking the pavement, Spencer could see Hanna through the gaps in fences, reading fashion magazines in the backyard. 

They could probably, at some point, be friends. If Spencer wanted to bother trying, again to find a new friend. 

(What was the point when something would inevitably happen, whether it be an illegal relationship or an addiction to amphetamines, that would kick Spencer out of a public school and she’d have to start all over again.) 

But it wasn’t the young blonde that caught her eye. It wasn’t even the mother, a typical middle aged banker who made money, sure, but not nearly enough to afford a house in The Pines. No, it wasn’t her job that had brought them to their community. 

It was his. 

Technically, they called his position ‘community adviser’, someone who would work between those who lived in the neighborhood and the billion dollar company who built their houses, their walking paths, their tennis courts. But she found out that he was primarily there for installing security, top notch and even more impenetrable than what they’d had before. A series of cameras had gone up in the neighborhood, hidden and undetected to most, but Spencer trawled the grounds more than enough to see them. 

It was how she had spotted him in the first place. 

If she had to guess, he was in his mid-30s, no older than 33, clearly the step father to the blonde with the fashion magazines. And suddenly Spencer had a reason to befriend Hanna; if she could find a purpose to be at the Marin house, she had a reason to be around Caleb. 

And she definitely, desperately wanted to be around Caleb. 

Her therapist had called her obsessions ‘addictions’, but how could she be addicted to someone she’d barely interacted with yet? Their one, brief encounter had been at the restaurant by the golf course, a shared lunch of roast beef sandwiches and Lays chips and lamenting the lack of chili cheese fries. 

(Spencer fell in love with his sly smirk immediately, the crinkle of his cheeks when he laughed, even the few scattered greys that seemed to dot his dark hair. He felt safe and dangerous at the same time, and she knew as they bonded over their love of grease, she would make him her own.) 

It started innocently enough; she’d pop in his office to say ‘hello’ on her way to practice her tennis swing against Alex, the boy who worked the courts, dropping her racket so she’d have to bend over, her skirt already dangerously short. And though he tried to pretend he hadn’t, she could see the slight blush on his cheeks, the quick darting of his pupils - he had been looking at her. 

Hanna had shown up for a small gathering of The Pines teens, Noel Kahn passing her a joint that she didn’t take as Spencer sidled up to her, taking note of the crinkle of her nose and letting Mona take it from her without her own hit. They talked about inane things, but just enough to bond, for Hanna to say the magic words: “why don’t you come over sometime, just the two of us?” 

Spencer grinned in response. 

Caleb wasn’t around the house that often, but that was okay; she could sneak through the master bedroom on her way through the house, lurk through his things. One day, she took a teeshirt that smelled strongly of the soap she could tell he used, wearing it to bed that night and fingering herself to orgasm after orgasm, picturing him as she cupped her own breast. She spent nights there, her shorts shorter than necessary, her bras long forgotten at home as she ate popsicles late at night with Hanna, eyes focused on her stepfather beyond them as she swallowed it down. 

Deny it as he might, he hadn’t told her ‘no’. And she hadn’t exactly been subtle. 

Still, it wasn’t until almost a month after they’d moved in, the late summer afternoon hitting the water while Spencer bounced up and down on their diving board. She had seen him walk into the kitchen, seen him and Ashley Marin watching her and Hanna as they talked. And as she dove, she let her top move, not bothering to fix it until she had resurfaced, Hanna laughing in mock horror as her entire breast was exposed. Small, maybe, but enough - out of the corner of her eye, she could see Caleb stalk off, a smile toying at her lips. 

He would cave, before long. They always did. And Spencer always, always got what she wanted. 

[saladieciocho]

Jean-Luc Godard en ‘Habitación 666′

Extracto de Habitación 666, vía MUBI.

Escribe: Luis Vélez.

En 1982, en pleno Festival de Cannes, Wim Wenders invitó a quince cineastas a entrar por turnos a un cuarto de hotel, dejándoles un escrito con interrogantes acerca del futuro del cine, en un tiempo de inflexión tecnológica (similar al presente), de debate sobre las estéticas de los soportes de la materialidad audiovisual y de cómo el hecho de ver películas en una sala de cine, ante al advenimiento de más dispositivos para el disfrute en casa, se convertía en un dilema social de implicancias creativas, económicas y hasta políticas. 

El resultado del registro de las diversas reflexiones respondiendo a las inquietudes del director es la hoy imprescindible Habitación 666 (Chambre 666). Por ahí desfilaron Werner Herzog, Steven Spielberg, Ana Carolina, Michelangelo Antonioni, Rainer Werner Fassbinder, Susan Seidelman y Jean-Luc Godard. Con este último se da inicio al documental y la principal preocupación de Wenders, hace exactamente 40 años, era "la muerte del cine como lenguaje o forma de arte", a lo que Godard contestó tan sencilla como sabia y relajadamente: 

"Las películas se crean cuando nadie está mirando. Ellas son lo invisible. Lo que no puedes ver es lo increíble y es la tarea del cine mostrarte eso. Mostrarte lo que no puedes ver. 

Estoy sentado aquí en frente de la cámara, pero en realidad, en mi cabeza, estoy detrás. Mi mundo es lo imaginario y ese es un viaje entre avances y retrocesos, entre hacia y desde.

Como Wim, soy un gran viajero.

Nos vemos luego. Chau". 

Para Godard el cine siempre estuvo más vivo que nunca y apreciando sus últimas dos películas, Adiós al lenguaje (2014) y El libro de imágenes (2018), es posible sentir ello en sendos manifiestos revolucionarios de forma y sonido.

Por cierto, varios clásicos de Jean-Luc Godard están disponibles (Incluyendo Perú) en la plataforma QubitTV aquí. Pueden verse, entre otras películas del maestro, Sin aliento (1960), El desprecio (1963), Banda aparte (1964), Pierrot el Loco (1965), Alphaville (1965), La Chinoise (1967) y Sympathy for the Devil (1968). 

En MUBI se encuentran en streaming: Masculino-femenino (1966) y Dos o tres cosas que yo sé de ella (1967), mientras Adios al lenguaje se puede comprar en Apple TV.   

[morrigand]

concerning the Devil

this list includes movies, tv shows, books, comics and songs where the devil (or the antichrist) is mentioned and/or a character in the stories. I'll also write down the name of the original work the movies were based on (in the case they were adaptations). I won't include the books that I already mentioned as adaptations to the list of that name.

MOVIES

Angel Heart (1987) | dir. Alan Parker | Falling Angel by William Hjortsberg

The Name of the Rose (1986) | dir. Jean-Jacques Annaud | The Name of the Rose by Umberto Eco

End of Days (1999) | dir. Peter Hyams

Horns (2013) | dir. Alexandre Aja | Horns by Joe Hill

The Prophecy (1995) | dir. Gregory Widen

The Omen (1976) | dir. Richard Donner | The Omen by David Seltzer

Rosemary's Baby (1968) | dir. Roman Polanski | Rosemary's Baby by Ira Levin

The Devil's Advocate (1997) | dir. Taylor Hackford | The Devil's Advocate by Andrew Neiderman

The Exorcist (1973) | dir. William Friedkin | The Exorcist by William Peter Blatty

Constantine (2005) | dir. Francis Lawrence | Hellblazer by Alan Moore & Stephen R.

Bedazzled (2000) | dir. Harold Ramis

The Hunchback of Notre Dame (1996) | dir. Kirk Wise | Notre Dame de Paris by Victor Hugo

Bedazzled (1967) | dir. Stanley Donen | Faust, german legend

Red Dragon (2002) | dir. Brett Ratner | Red Dragon by Thomas Harris

Legend (1985) | dir. Ridley Scott

The Ninth Gate (1999) dir. Roman Polanski | El Club Dumas by Arturo Pérez-Reverte

Gokseong (2006) | dir. Na Hong Jin

Lords of Salem (2012) | dir. Rob Zombie

Fantasia (1940) | dir. Ben Sharpsteen

The Adventures of Mark Twain (1985) | dir. Will Vinton | Many stories by Mark Twain

TV SHOWS

Lucifer (2016-2021) | The Sandman by Neil Gaiman

Good Omens (2019) | Good Omens by Neil Gaiman & Terry Pratchett

American Horror Story (2011-) / seasons 2 and 8

Chilling Adventures of Sabrina (2018-2020) | Chilling Adventures of Sabrina, Archie Comics

BOOKS

The Mysterious Stranger by Mark Twain

The Divine Comedy by Dante Alighieri

Paradise Lost by John Milton

The Gentleman by Forrest Leo

The Master and Margarita by Mikhail Bulgakov

The Weirdness by Jeremy Bushnell

I, Lucifer by Glen David Duncan

Johannes Cabal the Necromancer by Jonathan L. Howard

SONGS

Me and the Devil blues by Robert Johnson (and many covers)

Sympathy for the Devil by The Rolling Stones (and many covers)

Devil's Advocate by The Neighbourhood

The Number of the Beast by Iron Maiden

Hellfire by Alan Menken

The Devil in her Heart by The Beatles

Devil's Dance by Metallica

Devil's Playground by The Rigs

Devil's Trill Sonata by Giuseppe Tartini

You're the Devil in Disguise by Elvis Presley

Highway to Hell by AC/DC

Raining Blood by Slayer

Elixir by Ghostemane

Esto no para by Kase.O

The Life and Times of a Teenage Rock God by Rob Zombie