American blackout documentary full album,earthquake preparedness checklist lic 9148 upgrade,emergency survival weapons 75,emergency preparedness and response philippines - Reviews

The film, which premiered at the Midnight section at the Sundance Film Festival, will be released in theaters and on demand on July 8. Fox follows a group of friends whose experience with Blackout becomes deeply personal, developing into an obsession that hijacks their lives and blurs the line between reality and paranoid fantasy.
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Though lasting only two days, the ’77 Blackout happened at a time when NYC was virtually bankrupt, undergoing financial and political woes with seemingly no easy solutions. Then, on July 13, 1977, lightning struck an electrical line in Westchester County, which led to more downed lines from an overload of demand, and suddenly, the city was thrown into darkness. And yet out of the chaos emerged one of the most creative times any city has ever encountered. Out of chaos came creation, and the emergence of hip hop, punk and disco, graffiti art, and sexual liberation. NY77 used never-before-seen footage with a unique and unconventional narrative approach and groundbreaking animation to help tell the story. Burstein: Well, finding Grandmaster Caz and DJ Disco Wiz ended up being a gold mine of stories.
A bitter mayoral election was made even more bitter by the overall poverty that had gripped the city.
Con Edison engineers were forced to disconnect customers to prevent a total failure of the system.


His most recent feature is the Farewell to Hollywood doc, about the life and death of Reggie Nicholson.
When I first went into documentaries, I never wanted to do historical archival pieces, but I found that it actually can be more liberating than just filming verite. What was unique about popular music at that time that allowed for these underground movements to spring up? It seemed like music was only for those really talented musicians who played 20-minute guitar solos. How important was it to balance the focus on the social and political as well as the creative output? Their personal experience really brought that time to life for me in a way I’d never read about. We were always trying to take the style of the character of that period and do things with it that you couldn’t do then. Also, you had an economic climate that was such that young artists were given total freedom. So these deejays decided to make their own music by using samples of Motown and other older recordings they weren’t hearing on the radio. The same with hip-hop — it was about parties that involved dancing and graffiti and spinning records and rapping. Wyeth Hansen, who was the head art director, is totally in love with this period of time and has really studied it.


He’s also worked for over twenty years at mostly reissue record labels -- prior to that he worked in bookstores and record stores, going all the way back to the original vinyl daze. I first discovered it with The Kid Stays in the Picture [which Burstein co-directed], and now I feel like I’ve gotten a lot more sophisticated with it. Punk musicians went back as well, taking old rock and roll from the ’50s, stuff like Chuck Berry riffs and rudimentary rock chords, and then just speeding it up.
He used influences from the way Sesame Street productions were designed to how they would use chyrons in local news back then.
Elaborate, finely crafted graffiti art decorated the subway cars and break-dancers shimmied in the streets. So we really tried to emulate that time period, but then make it more visually dynamic, because it is 2007 and there’s so much you can do now to make these things come alive.
Not only that, but NYC was being plagued by rampant street crime, and the Son of Sam, New York City’s most notorious serial killer, was still on the loose. The sexual revolution was in full swing too, from Studio 54 to Plato’s Retreat — all in the pre-AIDS era. His sense of sarcasm about what the city is like now as opposed to what it was then really matched the way we felt.




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