“I wasn’t born to be afraid” Diipak begins in “Live Today”, the last song on his first full-length album, Dogma. “Wow” I thought when I heard it. “What a great lyric!” With these few words Diipak sums up the current debacle of our times. Although the level of material wealth is at a all-time high, peoples’ lives are simply not better.

It’s not hard to understand, just look at a newborn infant. Infants crave to be close to their parents, because when they are alone they feel insecure. They are comforted by the feeling of security that comes from knowing that they will be protected.

In our current version of a market economy, the reining doctrine is that of efficiency. Efficiency rules our lives: the companies that are more efficient make more money, and more efficient workers make for more efficient companies.

Now, with what tool do companies hone their efficiency? They use the fear of losing one’s job. And it is this very fear that drives the employees to be ever more efficient.

Now is efficiency that endgame of humanity? Certainly not, the arts, education, research, simple sympathy are more defining of the human experience than efficiency.

This mania of efficiency is a dogma.

This and other dogmas, are the bogeymen that Diipak is railing against. Along with the substance of his lyrics, Diipak gives us an eclectic mix of musical styles in his first full-length album.

The Indian / Oriental influence is clear in the opening number “Greenest Grass”, which clearly has its roots in Indian bhajans. Among the 12 songs, others have a strong reggae feel to them.

The dominant style, however, is that of a simple folks singer. Diipak is a spiritual Jackson Browne, an oriental Phil Ochs, or a modern Woody Guthrie.

Diipak’s first class performance is matched by a silk-smooth production, something the earlier folk-singers could only dream of.

An impressive first album, listening to Dogma is an active first-class demonstration of Diipak’s fine, profound spiritual indie roots.

reviewed by Gary Levinson

http://www.Diipak.org

The people who go to see Sons of Norway can be divided into two groups.  The first is the group of people who may have heard of the punk movement, but who really don’t know much about it.

For these people, Sons of Norway is an entertaining flashback to the time when punks were trying to stand for something.  Perhaps the search for freedom, but absolutely certainly, the denial of respect for authority.

Unless of course it’s the authority of the group.  Nikolai (Aasmund Hoeg) is beholden to this I-want-to-be-like-all-the-other-punks pressure.  When Magnus (Sven Nordin) his father offers to play the drums for their group, Nikolai protests saying he doesn’t look like a punk.  Fortunately, the somewhat older Anton (Trond Nilssen) has words of wisdom to share: Being a punk is not a question of how you dress, or what you look like on the outside, being a punk is a question of how you think, of your inherent disobedience for convention, of your lack of acceptance for what has come before.

Sons of Norway is the story of the end of the hippie movement.  This being superseded by the punks.  The hippies were good hearted and warm, caring individuals.  The punks just got fed up with all this and said: Blah!  The film’s seminal movement is when Nikolai gets his long hair cut, signifying the change from hippie to punk.

It’s really the story of Nikolai’s trying to find himself, of his journey of self-realization.  First hippie, then punk, then some sort of post-punk being.

The journey takes us to a nudist camp, where people seek freedom by leaving the heavy wrappings of a modest society behind.  Magnus takes it a bit too far, returning to society on his motorcycle (with sidecar), in the buff.  But Nikolai keeps his genitals covered with his British flag bathing bikini.

Anyway, Nikolia gets fed up of the punk scene too, has a breakdown, and ends up in a hospital.

The post-punk phase is introduced by his holiness Johnny Rotten (aka John Lydon) the high-priest of the punk movement.  Johnny Rotten’s benediction: freedom comes when you are yourself as you truly wish to be.

The second group of people are those who’ve been there and done that.  For this group of people the film sheds light on a period they may rather forget.  If you were there, you can’t help but get the feeling that the punk movement was a waste of time.  It becomes obvious that just destroying, just rebelling, is not enough.  What is necessary is rebuilding.

“Now wait a minute,” you say “this is supposed to be a review of the film, not a critique of the punk movement!”  Right you are.  The film is very well made, with good casting, camera, lighting, and editing.  Magnus, played by Sven Nordin, is really convincing.

Nikolaj Frobenius has written into the script two really tragic occurrences.  In order not to give the plot away for those about to see the film, I’ll just say that I think the story could have worked just as well - or even better - without these two tragedies.  As it is, these happenings, almost crushingly, bring out the Buddha-nature of life, and cast a pall over the rest of the film.

In any case, the film is worth seeing, and in addition to comic relief provides ample food for thought.

reviewed by Gary Levinson

http://www.sons-of-norway.de

Diane Arbus’s work is proof that over the past fifty years, society has made a noticeable change for the better.  Her photos take us back to a time in the USA, when people who differed from the norm were looked upon, not for being people, but for their differences.

In her work Arbus shows us the human in these people, for example, portraits of circus freaks who are shown to have a quite normal person inside.  However, not all her photos bring out this human side:  a number of her photographs just emphasize the difference and not the human-element in these people.

A great deal of her work also questions our basic tenants of sexuality: photos of transvestites, hermaphrodites, and female impersonators.  She questions ourconcept of modesty with a number of photos shot in a nudist camp.  (One wonders if she was dressed at the time…., was she an outsider photographing nudists, or was she just “one-of-us” photographing others.)

Another of her favorite themes was photographing people from circuses, bringing us the freaks, the outsiders, the people from the fringe.  I imagine she derived a bit of voyeuristic pleasure herself from looking at these images.

Her work is a trip back into the politically-incorrect world of the 1950s, 60s, and early 70s.  A time when a photo of a young boy would be entitled, based on the boy’s skin shade, “Black Boy” and a photo of a weight-challenged young girl would be entitled “Fat Girl” (I didn’t really see her as fat.  Is this because of a societal change in perception, or is it simply because the whole of society has gotten fatter so this young girl looked rather normal?)  If in the 50s and 60s one would say ’she spent her life photographing weirdos’, today one would say ’she spent her life bringing humanity to our perception of people with differences”.  For you to make the call.

Smoking was not a sin back then, and it was interesting to see photos of people lighting up everywhere, at the counter in a cafeteria for example, and not being ashamed.  Today, it’s the smokers who have become the outcasts.  Kinda of shocking for me was to see a photo of Susan Sontag smoking a cigarette; also conspicuous was a photo of Norman Mailer smoking.

As usual, the Martin-Gropius-Bau brings us an exhibition of one of contemporary arts major figures.  According to the the director of the Martin-Gropius-Bau, Gerson Sievernich, this particular show is the first major exhibition of Diane Arbus in Germany, and shows her to be a “seismographer of American society.”  “The most beautiful photo exhibition we’ve ever had” he added.

This is a very large show, of Arbus’s work, and along with the 2 smaller rooms at the end of the show that exhibit some of her historical information, some of her cameras, and some contact sheets, a rare chance to see some of her less well-know works, according to Jeff Rosenheim, curator for photography from the MOMA.  All of the 200 black and white photos were printed by Neil Selkirk, an artist in his own right, who spent much time experimenting to find  just the right way to emulate Arbus’s own printing style.

An important show, it is especially interesting for its historical value, making us acquainted with the work of this important artist.  The show is really a trip back into the past, and I had a few “Ah ha! moments when I recognized some of my own past in some of her prints.  “They are proof that something was there and no longer is…” said Diane Arbus about her photos.  And so they are.

exhibition from 22nd June 2012 to 23rd September 2012

reviewed by Gary Levinson
copyright Levinson 2012

http://www.berlinerfestspiele.de/de/aktuell/festivals/gropiusbau/programm_mgb/mgb12_arbus/ausstellung_arbus/veranstaltungsdetail_mgb_ausstellung_19926.php

I never thought I’d publish a review like this, and I certainly never planned to write one.  But this film just pushed me a step too far.  I’m fed and sick up of talented film directors making films with garbage stories.

Periferic is one such film.  Bogdan George Apetri has given us a really well-made film, with good actors (Ana Ularu’s skill at expressing the quiet acceptance of the tedium in ones life is excellent), good casting (Mimi Branescu , being a bit fat - like Harald in Jesus Christ Superstar - makes for a fitting Paul and his eye-rolls are memorable), beautiful locations (showing us the exotic Romania), good camera angles, types of shot, and types of camera.  Excellent editing and production.

But the story is appalling, dredged out of the bottom of the reject wastebasket at a tabloid newspaper.

All the worst possible cliched vices that exist in society are present in this film.  Where should we start?  How about just with smoking and cigarettes.  Not only do the main characters in this film light up every few minutes, but the heroine - a mother - shares a smoke with her 8 year old son!  The list of depravity continues: prostitution, guns, children with guns, theft, prostitution, child prostitution, pedophile prostitution, juvenile delinquency. orphanages, car crashes, etc.

Romania is today a part of the EU, but still a rather unknown part for the vast majority of EU citizens.  Apetri portrays his own country in a very negative light.  After you see this film you wonder what this country is doing in Europe.

Apetri should be ashamed of himself for making such a film.  Open your eyes Apetri and use your considerable talents for something good.  Your film is well-made, and made with much talent, but it has a trash-can story.  Please reappraise what your doing, and make us a progressive film the shows the beauty and goodness that exists in people, that emphasizes the positive things in life, that shows your native Romania in an affirmative, constructive, beautiful light.  Make a film that your mother would be proud of.

Apetri is not alone in having nothing to say.  All too many filmmakers start out wanting to make a film, and finding the financing before they have a story.  It should be done the other way around: A filmmaker must first have something the he or she wants to say, and then go about arranging to make the film.  The making of a good film is not enough, there also needs to be a good story.

reviewed by Gary Levinson
review copyright Levinson 2012

En kongelig affaere is the story of Denmark’s 18th century king Christian VII, the rise to power in his court of his Enlightenment-minded personal physician Johann Friedrich Struensee (played by Mads Mikkelsen) and the ensuing relationship with Queen Caroline Mathilde (Alicia Vikander). Beautifully made, and with production values equal to the most magnificent Hollywood film, director Nikolaj Arcel brings us a fresh look at this well known story.

Throughout the film are many elements from the recent Danish cinema. These elements came into fashion with the Dogme 95 dogma created by the directors Lars von Trier (one of this film’s producers) and Thomas Vinterberg. This dogma made popular the use of hand held cameras, natural lighting, and on location filming.

Make no mistake, however, this is in no way a Dogme film.  Although its modern Danish heritage is clear to be seen with the use of some of these characteristic Dogme elements, its very nature as an historical-drama disassociates it from that movement.

And although the acting is brilliant (Mikkel Folsgaard won the Berlinale Silver Bear for his role as Christian VII), the filming inspiring, and the production coffee-table perfect, the film has a singular problem: how can a film that attemps to be historically accurate (at the press conference director Arcel assured us it was) be, at the same time, artistic?

Knowing Danish history and the story of Christian VII, I spent much of the time comparing what I was seeing on the screen with my internal data-bank of Danish history. I was sitting among an audience watching a film, instead of immersing myself in the story and becoming a part of it.

If Arcel wanted to bring us his artistic interpretation of the past, why didn’t he use a unique story; or if he wanted to bring us Christian’s story, why didn’t he make it a straight documentary? To wit: can an historical-drama be art?

Be that as it may, some of the art is wonderful. Dogme-like is the pair’s compelling horseriding scene, which exhilaratingly joins beauty with motion. It’s a visual treat and a must-see.

Completely out of touch with the current day’s PC mores, however, is the use of a small African boy as Christian’s personal pet.   What was Arcel thinking?

En kongelig affaere is truly an international, or rather European, effort, being a production from Denmark, Sweden and the Czech Republic and shot on location in the latter.

“It ain’t just black and white,” according to Iggy Pop. So it is with this film: If you’re Danish or a Danish-history buff, and you like to keep your history separated from your drama, you probably don’t need to see Christian’s story one more time. If however, you don’t know the story, or are a fan of historical-dramas, then this film is a beautifully well-made way to get acquainted or reacquainted with this important time from the not-too-distant past.

reviewed by Gary Levinson

review © 2012 Levinson

http://www.zentropa.dk/titles/film_undervejs/?movieId=650

It may seem incongruous to start a review of an Indie music album - especially a spiritual Indie music album - with a quote from Steve Ballmer, but it is the first thing that came to mind upon listening to Dada Veda’s new album “As the World Spins Around”. Mr Ballmer once said something like ‘hard work, hard work and discipline is the key success’. Dada Veda has applied this to the making of music, and his third album. After a widely acclaimed debut album ,”Brighter Than the Sun”, and a very successful second, “Love is the Best”, most artists would simply follow their ‘formula’, and make a third album based on their previous successes.

Not Dada. With this album he gives us another impressive insight into the depth of human potential. The vocals, lyrics, and music on this album are all a degree more sophisticated, and a fathom deeper in thought; closer to the revelatory nature of music, especially spiritual music, as a medium.

Dada’s singing is more refined, his guitar playing more skillful, and his lyrics are as keen as ever. The production is so slick, that one may step back and say “Whoa! What kind of folk singer is this?” But Dada has evolved and his strong vocals and guitar can support such a multi-layered sound.

The opening track “As the World Spins Around” is a more sophisticated reprise of the same track from his first album. “It’s the System” is a play on Bill Clinton’s ‘It’s the economy’ line, with the pejorative interjection that follows left tastefully out. “I’d Really like to Know” is a great vegetarian anthem. My favorite track, not surprisingly is the closing “Live Kiirtan”, with its sing along nature and memorable rhythm.

Many artists on bringing out a third album would have nothing new to offer. Dada on the other hand shows us what hard work, hard work, and discipline result in: an impressive achievement. One of the best Indie albums of 2011.

Actually, I was going to end the review there, but after thinking about it, I have two favorite songs, “Live Kiirtan” and “As the World Spins Around”. No, no, wait a minute, three favorite songs, “Live Kiirtan”, “As the World Spins Around”and I”’d Really Like to Know”….

reviewed by Gary Levinson

http://www.DadaVeda.com

As I was watching it, I didn’t expect to be writing a review about Hüllen (”Coverings”). After all, it’s not a fictional piece, but rather a sociology-documentary. Sometime later I realized that the seeing of this film had changed my way of thinking about religion and ethnic traditions.

B.H. (before the seeing of Hüllen), I was of the Northeastern US Ivy League liberal-arts college mindset, which promulgates the simple acceptance of others’ religious traditions without questioning them. After seeing this film, I am of the opinion that even traditions based on a religious nature are not sacrosanct, and that in a modern global world - even in religious quarters - the eminent prerogative is to question authority.

Hüllen traces the story of Emel Zeynelabidin, who grew up following the family’s traditional mores until one evening 30 years later she exerts her right to self-determination in an Italian restaurant.

The story of three generations, Hüllen will leave you thinking about the price that we all pay for allowing dogmatic religious tradition to set the rules for our lives.

reviewed by Gary Levinson

I thought the title of this CD was quite interesting: At first glance, I read it as “God versus Satan”, a simple good over evil story. Then on a second - closer - look, I realized it was “God verses Saturn“, a God teaching Saturn (the Roman God of agriculture) story.  Intriguing.

If the title is intriguing, the music is also inspiring. The singer, Mike Gemzik, has a vocal style similar to Kurt Cobain. Deep, enthralling, and guttural. Like someone trying to look out to the world through a narcotic haze. Emotive if not understandable. I really liked it.

Homeless Yellow does sound like Nirvana, perhaps with a nuance of America (the Anglo-American group from the 1970s) thrown in.

If you like the way Kurt Cobain’s vocals for Nirvana sound, you won’t be wasting your time by giving Homeless Yellow a listen.

reviewed by Gary Levinson

http://www.myspace.com/homelessyellow

reviewed by Gary Levinson

First class production, and catchy melodies make Sahara’s There is this place I go a very pleasant listen.

Singer/Songwriter Dave Long’s voice shines, reminding one of the Simple Mind’s Jim Kerr. In fact, the whole sound of the CD is rather similar to the 1980’s sound of that Scottish group. This is perhaps not just a coincidence, as Sahara’s members Dave and Trish Long, have been playing together since 1984; and hailing from Dublin, they also have Celtic roots.

The duo plays a variety of instruments including human voice, flageolet, guitar, sax, flute, recorder and electronic sequencing.

Their music is very melodious, and with the already mentioned super clean production, it has a contemporary sort of easy listening sound.   Somewhat different than the Simple Minds, the album has 2 rather slower numbers, with more of a folk music character.

The lyrics have a metaphysical / devotional aspect to them, with the particular motive of the songwriting on this album being “the long road to healing”.

Smooth, seamless and satisfying, Sahara’s music goes down real easy, like ice cream on a hot summer day.

reviewed by Gary Levinson
http://www.saharamusic.com.au

Some people just like more of the same. They’re comfortable with it. It’s what they know. They even think they like it. (When what they really like is not having to be confronted with anything different from what they already know.) Luckily for us, Alex Wroten is not one of these people.

His new album Not Necessarily Like This is a breath of fresh air. His sound textures (music is something less complex) are a welcome break from what can be the pablum - singing, percussion, guitars, keyboards - of formulated contemporary music.

The electronic sounds and rhythms on this album were made by Wroten on synthesizers, vintage keyboards, drums, guitars, and with some human voice (electronically treated). It immediately reminded me of Hubert-Félix Thiéfaine’s sound on Soleil cherche futur.

Further, it suggests elements of Emerson, Lake and Palmer, without the vocals; of early Pink Floyd’s Alan’s Psychedelic Breakfast from their album Atom Heart Mother; and of some of the hallucinogenic material on Led Zepplin’s third album.

The only track on the album to which I took a dislike (and a strong dislike in that) was the sixth song double talk in which a modified human voice - though “robotized” - can be heard speaking quite understandable English. Why Wroten added this verbiage to a perfectly innocent sound texture is hard to understand.

In any case, if you’re tired of mainline mush, give your hearing faculty a break and listen to Not Necessarily Like This. You won’t be bored.

reviewed by Gary Levinson

http://www.AlexWroten.com