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Let's talk a Finnish icon: The Ismo Alanko primer

2020.09.19 17:52 creatinsanivity Let's talk a Finnish icon: The Ismo Alanko primer

I was challenged into writing a primer on one of Finland's primary songwriters of all time by u/Zhanteimi at the LetsTalkMusic discord. So here's an album-by-album runthrough of his career!
No artist's career begins with the first album, so naturally nor did Alanko's. Long story short, he was born in a highly artistic family (mother a poet, all siblings musicians), picked cello as his instrument of choice, found rock (especially the Hurriganes debut) and picked a guitar, wrote his first song 'Suck and Fuck All Night Long' (no recordings of this exist, but apparently one of his bands named itself after the song), and formed a number of bands with varying levels of success. His most succesful pre-Hassisen Kone band was a prog band called Sight, which got on the second place in the prog section of Finnish Rock Championship competition (in 1977 or 1978). After he finished high school in the spring of 1979, he moved to Stockholm for the summer. This turned out to be the decision that became the catalyst for huge parts of his career, including...
Hassisen Kone - Täältä tullaan Venäjä
While in Stockholm, Alanko caught wind of a new wave of rock beginning in Finland. A breath of fresh air in the previously stale rock scene. He returned to Joensuu and put together a band from his bandmates from Sight (Reijo Heiskanen and Harri Kinnunen), and Harri's then 17-year-old brother Jussi. They eventually named the band Hassisen Kone, after a sewing machine store in town (the deeply religious shopkeeper was not amused).
The band recorded an album-length demo in 1979 and were signed on a label relatively quickly. They were also qualified to enter the 1980 Finnish Rock Championship competition (even though the judges nearly disqualified them, for they thought they might be professional musicians performing under fake names), which they won, gaining reputation preceding the recording of their debut album.
In August of 1980, the band released Täältä tullaan Venäjä. Propelled by arguably the biggest hit single in Alanko's career, Rappiolla [which was hilariously covered by Metallica recently (which was spontaneously responded to by Ismo Alanko himself)], the album became a smash hit. The album provides variety from straight-up new wave punk to talkingheadsian grooves, schlager punk, simplified swing jazz, ska-infused rock, to whatever you'd categorise 'Viimeinen rock ennen aivokuolemaa' as. It's an ambitious yet consistent whole but, in my opinion, the weakest of the three Hassisen Kone albums. The youthful anarchic feel it has can be refreshing every now and then, but this burst of energy from an obviously young (only two of the bandmembers even in their 20s, band only half a year old) band is redirected better on the follow-up.
Hassisen Kone - Rumat sävelet
Following the release of their debut, the band found themselves in a position that many acts today would both fear and envy: they played hundreds of gigs in the second half of 1980 and the first half of 1981. The gruesome touring around the country took a toll on the young band, but that's only barely comparable to the toll that the audience took on them. For example, as time went by, the band grew tired of the audience drunkenly demanding 'Rappiolla', so they stopped playing the song altogether. This time of maturing and growing more and more cynical reflected on their sophomore effort.
Rumat sävelet should not necessarily be described as bleak per se, but it is certainly darker, tighter, and more mature than the band's debut. The band tackles sounds ranging from quasi-prog expression to post-punk, punk, psychobilly, and they take the talkingheadsian qualities into a sharper direction. The lyrics touch upon issues like love, exploitation, and sex (it's curious to think that probably the most explicit Finnish song about sex before this album was about "curly armpit hair", while Alanko dares to sing about penetration itself). I have to admit that I have a bit of a bias when it comes to this one though, as it's undoubtedly my favourite album of all time.
Hassisen Kone - Harsoinen teräs (and High Tension Wire)
In 1981, the band participated on a riverboat tour with a couple of other punk acts. During this tour, the bassist broke (drugs), Alanko met "Safka" Pekkonen, and the band was generally put under huge stress as the diet consisting mainly of alcohol began burning them down and their every move was documented by either film makers Mika and Aki Kaurismäki or the columnist documenting the tour for a zine. Despite all this, some of the better live recordings of the band come from this tour, and both the live album and the Kaurismäki documentary are worth digging up for the music.
After the tour, the band expanded into a septet with the addition of a keyboardist (Pekkonen), a saxophonist (Antti Seppo), and a percussionist (Hannu Porkka). The final form of the band was shaped during the rehearsals by the departure of guitarist Heiskanen, who was replaced by the guitar wizard Jukka Orma.
Released in March of 1982, Harsoinen teräs is the band's most artistically ambitious work. It's an album combining the band's prog leanings seamlessly with the band's new wave leanings, a polished whole that takes cues from I don't even know where. Reggae at least on a couple of tracks, prog and new wave on most, but the general sound is unlike anything I've ever encountered. The album was re-recorded in English as High Tension Wire later on in the year, after a tour had slightly tightened the band's sound. The decision to do so apparently came after the decision to disband the band, which makes it a very baffling addition to Hassisen Kone's discography. You'd think that they'd release an album in English as an attempt to break into international markets, right?
Sielun Veljet - Sielun Veljet
After Hassisen Kone was disbanded (in August 1982), Alanko had a schlager rock project that eventually turned into Sielun Veljet by December. The band was comprised of Alanko, Orma, a drummer veteran Alf Forsman, Alanko's Stockholm contact Jouko Hohko on bass, Vinski Viholainen doing lighting, and a future cult legend Jouni Mömmö doing "weird noises".
Sielun Veljet were signed in early 1983, but they refused to record a studio album because Viholainen's lighting work wouldn't show in a studio recording. Instead, as a compromise, they agreed on recording a live album where "the lighting would affect the ambiance". They set out to do this on a tour they began on March, planning on recording the first show and the last one. However, fate interfered and Orma accidentally cut tendons from his fingers during the tour while cutting bread, which made the recordings from the last show basically unusable due to his difficulties in adjusting to the situation (a very punk move to finish the tour even with torn tendons, by the way).
The live album is punk/post-punk goodness. It's noisy, no-wavey rock that really shows how the band took all the drugs in the process of writing these harsh, repetitive songs. It also shows that Alanko wished to abandon messing around with intricate compositions in favour of a more stripped and primal expression.
Sielun Veljet - Lapset
In summer of 1983, the band brightened up a bit to record this odd EP in a style following directly from the debut. It's angular and distorted, yet the melodies are more melodic and jamming less bleak. It's also the home of the only a capella punk song I've ever heard.
Sielun Veljet - Hei soturit
In 1984, Sielun Veljet took their first coherent step toward a pop/rock idiom with their first studio album. Hei soturit is the awkward outlier between the band's grimy punk era and commercial rock era. It feels like a punk band working with a producer who doesn't understand punk, but even the clumsy production doesn't entirely hide the fact that some of these songs are absolutely iconic. From punk to garage rock, general oddness, and flirting even with metal, this selection of songs does provide good variety for anyone digging deeper in Alanko's body of work.
Sielun Veljet - L'amourha
The Sielun Veljet breakthrough album! The beginning of their rock era of albums, an only mildly angular affair with anthemic choruses and a muscular production. It was recorded after the band had toured all over Europe, honing their sound and Alanko finding a lot to say about international affairs and the human condition.
There are a plenty of anecdotes from the time of release of this album. The song 'On mulla unelma' was written by Alanko in Spain, when he was recovering from a disease (can't remember which one. Dysentery?) and bitter about nationalism, and it caused quite a scandal when the band unexpectedly debuted it on live television. They performed an impromptu Red Riding Hood play on their album release party instead of playing music. One of the members went missing in Russia for days after the band found a corpse. All of their instruments were stolen in Spain. There'd a lot to unpack from 1984-5 alone.
Sielun Veljet - Kuka teki huorin
The follow-up to L'amourha takes the band to a funkier place. It's a minor downgrade from the previous effort, a slightly directionless and overpolished effort that has diverse variety from RHCP-like funk rock to tango-infused rock, tribal chants, and what's essentially watered down imitation of their earlier work. It's an easy album to criticise, yet I don't find ever to be outright bad. A lot of it is extremely forgettable though
L'amourder - Ritual and Shit-Hot
Sielun Veljet recorded a bunch of their songs in English as L'amourder. Most of them follow the originals very closely, but there are a few surprises. The biggest change is on the translation of 'Tuulelta vastauksen saan', which has been turned into a cover of Bob Dylan's 'Blowin' in the Wind'.
Sielun Veljet - Suomi - Finland
Suomi - Finland begins the last era of the band, as this album brings more acoustic instruments to the mix and begins to flirt with psychedelia in a way that will culminate on the follow-up. It feels like a breaking point for the band, as it sprawls on multiple directions at once, the musicians seemingly having lost focus. It feels like a band slowly drifring apart, yet it remains consistently captivating as the different influences come together in this chaotic work.
"Various Artists" - Onnenpyörä
Sielun Veljet performed under a number of false identities on their Onnenpyörä-tour, four of which make an appearance on this recording. All of these are cover bands of sorts, and each one of them had a different repertoire of songs they played on these wildly differing sets. The most noteworthy of these personae are the pavillion dance band Kullervo Kivi ja Gehenna-yhtye and the rock band Leputation of the Slaves, the two having the most songs on the record.
Sielun Veljet - Softwood Music Under Slow Pillars
Who would have thought that the noisy punk band in 1983 would eventually release what could be called a psychedelic flamenco album in 1989? Many factors come together here, as the band continues on their effort to sell their music internationally by making the biggest left turn in memory. Orma's fascination with flamenco combines here with influences Alanko picked up in India and what could be called a somewhat logical progression from the budding psychedelia of Suomi - Finland. It's a weird album, that's for sure. A bit inconsistent, but easily among the strangest albums I've ever heard.
Ismo Alanko - Kun Suomi putos puusta
In 1990, Alanko found himself in a situation where Sielun Veljet had almost run its course and he could finally start building a solo career. He recorded this solo debut as a quasi-concept album about rural flight, combining the various interest he wasn't able to pursue with the band into a unique singesongwriter album of sorts. It's a classic album and, in some ways, an ideal entry point into Alanko's work as it feels like it's his personal expression in its purest form.
The music on the album sounds mainly like pop rock of sorts, but it also takes cues from melancholic singesongwriter stuff, joyous showtunes, post-punk akin to Nick Cave's work, and some field recording experiments. It finds a good balance between artistic ambition and catchiness, and it's home to some of the most iconic tracks in Ismo Alanko songbook.
Sielun Veljet - Musta laatikko
Do you know Tom Waits' Orphans? This one is kind of like that. Three discs filled with random stuff recorded over years.
The first disc, "Muistinmenetys", is one third a new studio album (very weird new direction to take, something that feels like a cross between chill hippie jamming and 80s dance pop), one third music from some production, and one third short excerpts from live performances. The second disc, "Taudinkuva", is mainly live performances of late 80s Sielun Veljet songs, Tuomari Nurmio covers, and some other oddities. And finally, the third disc, "Isältä pojalle", is a full pavillion dance set, the band LARPing as a suave and jazzy house band playing waltz, tango, schlager, and anything that's really expected of them.
This album is definitely a skippable one, but there are a few gems that an Ismo Alanko fan might get a lot out of. The flamenco pieces are cool, the Tuomari Nurmio covers are nice (more about those later), and that pavillion dance set is unexpectedly fun, especially if you're not already familiar with the tradition.
Ismo Alanko - Jäätyneitä lauluja
Alanko goes electronic! This album was originally lauded as cutting edge and a sign of significant artistic growth, but it has definitely fallen in popularity over the years. It sounds extremely like a product of its time, so if you like non-industrial synthpop-y rock from 90s, this is exactly your thing. Overall, it's still very surprising how many Alanko live staples come from this album though, and how some of his live bands have improved on all of them.
Ismo Alanko - Taiteilijaelämää
If someone doesn't think that Kun Suomi putos puusta is Alanko's magnum opus, they usually pick this one. Taiteilijaelämää feels like a combination of the first two solo albums (acoustic, electric, and electronic joining hands in harmony), but brought into the mid-90s rock idiom. The result is an interesting album that lacks real highs but remains consistently accessible, and the one Ismo Alanko work I've heard to have resonated with Beck fans for some reason.
Ismo Alanko - I-r-t-i
I made the mistake of learning that this album was written in only two weeks (because Alanko wanted to test himself), and now that's all I can think of while listening to it. This does feel halfbaked. The accessible rock sound it has is underproduced and covers up lazy songwriting more than once. That said, Alanko has later on proven that some of these songs can be absolutely amazing live, and the demo-like quality many of these tracks have can be seen as a feature instead of a bug. Pushing its flaws aside, I feel that it is underappreciated as an album, and feel like its high points deserve more attention.
Ismo Alanko Säätiö - Pulu
Säätiö was an interesting group. I'm honestly still a bit unclear whether they should be considered Alanko's backing band, a band that just happened to capitalise on his name, or a fullblown collective of musicians. Alanko's statements concerning the group together with the changing lineups on Säätiö albums both point to all three options. What I do know is that the band has two distinct eras, the first one kickstarted by Pulu.
I genuinely believe that the first iterarion of Säätiö is the most important band Alanko worked with. The amount of pure talent in that band is staggering with Jussi Kinnunen (Hassisen Kone) on bass, Teho Majamäki (HC Andersen, Tapani Rinne, Ismo Alanko Teholla) on percussion, Kimmo Pohjonen (you will want to check his solo stuff) on accordion, and Marko Timonen (Värttinä, Tuomari Nurmio) on drums giving Alanko's songwriting a fascinating folk rock spin, reeking of schlager and eastern mysticism. Pulu is an album that seeps nostalgia, is radical enough to upset traditional folk nerds, is accessible enough to have produced multiple Alanko live staples, and is significant enough a twist on Alanko's tropes to sound fresh even in his eclectic body of work. Yet, I feel like it's so self-referential that I feel like recommending it as anyone's first Ismo Alanko album could be a mistake.
Ismo Alanko Säätiö - Luonnossa
Säätiö playing acoustic renditions from the entire Ismo Alanko songbook, from Täältä tullaan Venäjä to Pulu. An exciting set, and definitely one of the best live albums I've ever heard. The band reworks this wide variety of songs into captivating folk rock, transforming the music into forms that defy expectations. There are some duds though, but not all fan favourites can sound great with just one band.
Ismo Alanko Säätiö - Sisäinen solarium
This is possibly the weirdest Ismo Alanko album to this date. It continues with nearly the same lineup as on Pulu, but takes the music in a radically new direction, exploring what modernised folk could be rather than wallowing on nostalgia. This means updating the largely acoustic instrumentation with both electric and electronic instruments, and creating an unpredictable tapestry of music with influences that are surprisingly difficult to pinpoint. Some say this kind of experimentation cheapens traditional folk (which is something I can agree with regarding some songs on this album), but I'm not sure if such a clearcut statement can be made of the full album. It's certainly aiming for a sound of its own.
Ismo Alanko Säätiö - Hallanvaara
This is where Säätiö's status as a band becomes complicated. There's absolutely no reason to call this anything but an Ismo Alanko solo album, so marketing it as an Ismo Alanko Säätiö album is baffling to say the least. I mean, the only constants on this album are Alanko himself, the producemulti-instrumentalist Riku Mattila, and various symphonic elements (I don't want to downplay the work the symphonic orchestra and the string section do on this album, but they have been used quite haphazardly). There are three members from the previous Säätiö albums involved in this project: Marko Timonen on nine tracks, Samuli Laiho on seven tracks, and Kimmo Pohjonen on one track. In addition to this, there's the bassist of the next iteration of Säätiö, Jarno Karjalainen, on six tracks. Thus, there are Säätiö band members playing on the majority of these tracks, but never as a full band.
That all being said, I believe this to be the best Säätiö album. The melancholic pieces are beautifully fragile, the pop tracks are catchy, the massive songs are massive, and the atmospheric pieces are chillingly well-arranged. And even the weaker songs here are excellent live, making this album probably the richest one to mine for a live set of any kind.
Ismo Alanko Säätiö - Elävää musiikkia
Honestly, this feels like a bit of a throwaway live album. On one hand, these rock renditions of a great setlist of songs are unique but, on the other hand, none of these performances improve on the studio recordings. 'Kansallispäivä' and 'Julkinen eläin' come really close though, both being sharper and meaner than the 80s versions.
Ismo Alanko Säätiö - Minä ja pojat
The first album with the second iteration of the band. Fuzzy rock in similar vein to Smashing Pumpkins and their kin, but played through the lense of Alanko's style of songwriting. It's never as hard-hitting or catchy as an album by a great rock band would be -- all of the songs soften up during the chorus -- but the youthful and slightly naivistic touch is welcome after a string of artistically ambitious albums. That said, I'm only attached to a single song on the whole album, which is definitely not a good sign.
Ismo Alanko Säätiö - Ruuhkainen taivas
The second (and last) studio album of the second iteration of Säätiö is a different beast than the first one, taking the rock approach to a slightly more complex direction. It's more mature and chromatic than the first album, yet I personally find it to sound slightly less inspired. However, at the same time, it does have more tracks that I would consider keepers and the general sound is harder to define. Thus, it's definitely a divisive album, conflicting.
I'm not sure how to describe the sound of this album. It's unmistakeably early 2000s rock, sounding like an average Finnish rock band from the era, yet the songwriting and the production also remind me of the band Wire out of all things. It's a digestible alternative/indie rock sound, whenever it doesn't abruptly go in a new direction.
Sielun Veljet - Otteita Tuomari Nurmion laulukirjasta
Remember those random Tuomari Nurmio covers on Musta Laatikko? Turns out, Sielun Veljet recorded a full album of those in (I assume) late 80s. They didn't end up using those recordings for anything, so they were packed away and stored somewhere. Years went by and a good portion of those recordings were destroyed due to poor storing conditions, but someone was eventually inspired to put the surviving songs to good use.
You'll be in for a treat, if you like Sielun Veljet and have never heard anything by Tuomari Nurmio. Most of these covers are originally from Nurmio's early 80s albums, his strange new wave turned into the angular rock Sielun Veljet perfected. Some of these songs only barely work, some sound like Sielun Veljet originals, but most are just serviceable covers. It's still a good album though.
Ismo Alanko Teholla - Blanco spirituals
After putting Säätiö on hold (perhaps indefinitely), Alanko joined forces with Teho Majamäki, the first iteration Säätiö percussionist. Together they stripped down a number of Ismo Alanko songbook staples to a form they could perform as a duo, essentially bringing the strengths of Alanko's live performances alone together with the strengths of him performing with a small ensemble. This endeavour proved succesful, so the two recorded two albums of original music as well.
The music of Blanco spirituals is surprisingly full. The two musicians fill space well, with Alanko singing and playing chord instruments (mainly guitar and piano), while Majamäki stretches himself as thin as possible, working a drumset, vibes, an array of percussions, an oscillating delay pedal, and singing backing vocals. It's usually at least two of those at the same time, often three. Him working in a live environment is a sight to behold.
This is honestly one of my favourite Ismo Alanko albums. The stripped down arrangements bring the most out of Alanko's songwriting. The selection of songs highlight very different sides of his style, from theatrical piano ballads to singalong acoustic guitar romps, silly pop songs, and trance-inducing rock. It's by no means a perfect album, but these simple songs all work in one way or another.
Sielun Veljet - Kansan parissa (1-4)
Archival live recordings of sets recorded around 1989-1991. The first one is a typical Sielun Veljet set, the second one filled with Tuomari Nurmio covers, the third one is material from Softwood Music Under Slow Pillars, and the fourth one is a mix of subtle experimentation, new tracks, and deep cuts. Quite a comprehensive collection of live music. However, only few tracks are really worth keeping, including the electrifying high-tempo performance of 'Lammassusi' and the prototypical version of Alanko's 'Don Quiote'.
Ismo Alanko Teholla - Onnellisuus
The simplicity of the previous album is gone, replaced by a polished and highly produced pop sound. The DIY duo sound gives way to a more layered style, where synths, samples, and doubled vocals are added to the band's sound. Acoustic instruments are largely replaced by electric guitars and synths, turning the folksy garage band sound to a sleak and radio-friendly beast. If the fact that I just phrased the same exact thing in three ways didn't clue you in yet, I'm not particularly fond of this change of direction. However, I've seen this ridiculously often called the best Ismo Alanko album since the 90s, so it does appeal to the masses.
If you like 2010s pop and are looking for a decent gateway to Alanko's music, this could be the album to start with. It's accessible.
Hassisen Kone - 20 vuotta myöhemmin
Hassisen Kone had a reunion in 2000. They played a show that was both filmed and recorded. It's an interesting document of musicians playing music they wrote 20 years earlier. However, it ultimately sounds a bit tired compared to both the tight playing on their studio recordings and the energy levels on their 80s live recordings.
Ismo Alanko - Maailmanlopun sushibaari
Remember when I said that most pick between Kun Suomi putos puusta and Taiteilijaelämää as Alanko's magnum opus? Well, this is that one for me. I'm not saying that to imply that it would be his best album, but it's the album where he finally brings his disparate influences together in a coherent but eclectic way. If Kun Suomi putos puusta is where Alanko's artistic voice is at its purest, this is where it is at its maturest and most representative of the multi-faceted artist he has become during his career.
More or less incidentally, this is also Alanko's midlife crisis album. It's not entirely thematic -- who even knows what 'Kuusilmä' is about? -- but it does touch upon themes like growing old, dying, passing the torch, losing one's touch, and liking the colour grey. It's not quite on the nose, but you don't exactly have to dissect the lyrics to find those undercurrents.
So what does the album sound like? It's lighter than you'd imagine based on the central themes. There's rock, funk, subtle latin feel, a capella, pop, traditional folk, and even an ambitious rock opera about what sounds like a zombie apocalypse. It's fairly eclectic, making it a nice first solo album to release in nearly two decades.
Ismo Alanko - 33 1/3: Kolmannesvuosisata taiteilijaelämää
This is the Ismo Alanko live album I recommend people to start with. Are these performances as exciting as their studio versions? No. But I'd argue that they don't have to be. The main strength this recording has is its uniformity. The songs are played in a generic rock band style, but it doesn't change the fact that the setlist is good and diverse. There's no compilation that would dive this deep in such a digestible manner. Essentially, this is the middle-of-the-road pick that gives an excellent cursory look into a prolific artist's entire body of work (up until 2013).
Ismo Alanko - Ismo Kullervo Alanko
Considering how introspective and self-reflective the previous album is, it's surprising that Alanko decided to name this one after himself. It works though. The songs are produced sparser and airier than on any other Ismo Alanko album, making the music feel intimate and almost confessional. It feels like you're sitting in the same room with him, as he opens up to you. Amazingly produced album.
Ismo Alanko - Pannaanko pakasteet pieneen pussiin?
To be frank, I don't think this EP is an essential release. It's noteworthy for the modern hobo blues feel it has, and for having one of the very few covers Alanko has recorded so far, but none of these songs have an iconic feel to them. The best I can say about it is that none of the songs are bad, but neither are they memorable.
Ismo Alanko - Yksin Vanhalla
I wish more band-focused artists performed live alone every now and then. An arrangement stripped down to just vocals and an instrument (in Alanko's case, usually acoustic guitar, piano, or cello) turns every song into something entirely different. However, the lyrics grow in significance as instruments are dropped, so your mileage may vary with this one. I still enjoy it though.
Pohjonen Alanko - Northern Lowland
Alanko collaborates with Kimmo Pohjonen and Tuomas Norvio to bring us an electronic neon-shamanic album. Primal chants and vocalisations blending together with beats ranging from harsh to chill and breakbeat-y. It's a fascinating EP, even if highly gimmicky and lacking a sense of direction. Besides, this stuff will always be better live than on a studio recording.
Ismo Alanko - Minä halusin olla niin kuin Beethoven
And finally, the latest Ismo Alanko album, where he takes yet another left turn. This one was mainly recorded by Alanko alone in a studio, but eventually a drummer and a keyboardist were brought in to round up the sound. And what a sound it is! Youthful indie rock with a production that's stuck somewhere between the 00s and the 80s. If it were not for 58-year-old Alanko's vocals and eccentric riffing, I could very well believe this to be a debut album by ambitious 20-somethings.
Since Alanko's full albums are not readily available on many countries (especially the US), I'll provide a summary that's somewhere between a longish TL;DR, a series of recommendations, and a quick-glance overview of his career.
Album:: Täältä tullaan Venäjä (1980) [new wave punk] Representative track: Rock ehkäisyvälineitä vastaan (a bouncy high-tempo punk track)
Album: Rumat sävelet (1981) [new wave/post-punk] Representative track: Jurot nuorisojulkkikset (a gloomy post-punk-infused rock track)
Album: Harsoinen teräs (1982) [new wave/progressive rock] Representative track: Kupla kimaltaa (a well-flowing new wave track with a progressive song structure)
Album: Sielun Veljet (1983) [punk/post-punk] Representative track: Pieni pää (a noisy punk track with groovy tribal drumming and metallic guitar playing)
Album: Lapset (1983) [punk/post-punk] Representative track: Elintaso (an angular punk track)
Album: Hei soturit (1984) [post-punk/alternative rock] Representative track: Tää on tää (a straightforward punk track with a catchy hook)
Album: L'amourha (1985) [post-punk/hard rock] Representative track: Peltirumpu (a hard-hitting rock song with dissonant guitars)
Album: Kuka teki huorin (1986) [post-punk/funk rock] Representative track: Kristallilapsia (a funk rock track with screechy guitars and an unfunky bassline)
Album: Suomi - Finland (1988) [post-punk/psychedelic rock] Representative track: Totuus vai tequila (a ferocious folk punk track)
Album: Softwood Music Under Slow Pillars (1989) [psychedelic rock/flamenco] Representative track: Life is a Cobra (a psychedelic track combining flamenco rhythms and Indian string sections)
Album: Kun Suomi putos puusta (1990) [singesongwriter] Representative track: Kun Suomi putos puusta (a gentle organ-led track with subtle folk influence and field recordings)
Album: Jäätyneitä lauluja (1993) [electronic rock] Representative track: Pornografiaa (a slightly industrial-tinged electronic rock track)
Album: Taiteilijaelämää (1995) [art rock] Representative track: Nuorena syntynyt (a 90s sounding rock track with a freeform looseness to it)
Album: I-r-t-i (1996) [alternative rock] Representative track: Kriisistä kriisiin (a rock track with a steady dance pulse on the actual rock sections)
Album: Pulu (1998) [folk rock/art rock] Representative track: Rakkaus on ruma sana (a track with pseudo-shamanistic verses and catchy choruses)
Album: Sisäinen solarium (2000) (art pop/folk rock) Representative track: Kirskainen hyvätyinen (a largely electronic and pulsing track that feels one part a strange rock experiment and one part a traditional Finnish folk song)
Album: Hallanvaara (2002) (art pop/symphonic rock) Representative track: Paratiisin puu (a smooth pop track with significant classical influence)
Album: Minä ja pojat (2004) [alternative rock] Representative track: Joensuu (a straightforward and fuzzy rock song)
Album: Ruuhkainen taivas (2006) [alternative rock) Representative track: Paskiainen (a rock track alternating between manic psychobilly and catchy radio rock)
Album: Blanco spirituals (2008) [minimalistic art pop] Representative track: Päästänkö irti (an acoustic rock track with an interesting chord sequence)
Album: Onnellisuus (2010) [art pop] Representative track: Onnellisuus (a danceable and atmospheric pop track)
Album: Maailmanlopun sushibaari (2013) [alternative rock] Representative track: Vanha nuori (an accessible pop track with a funky brass section and theatrical choruses)
Album: Ismo Kullervo Alanko (2015) [art pop/singesongwriter] Representative track: Lintuperspektiivi (a melancholic and sparsely produced track with airy ambience)
Album: Northern Lowland (2018) [glitch hop-y tribal electronic music] Representative track: Northern Lowland (a track with primal chanting and glitchy beats)
Album: Minä halusin olla niin kuin Beethoven (2019) [80s flavour indie rock] Representative track: Transsioletettu tanssi (a funky rock track with a somewhat generic 2000s rock chorus)
What is your opinion on Ismo Alanko? I personally enjoy how prolific and eclectic he has been, and I find it a shame that most of his work has never left Finland. I can especially imagine punk fans easily getting into his 80s work.
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2020.04.16 11:19 Skinigirl80 Torstai 16.4.2020. Meikäläisen päivän bannari tuuria taasen, S.P.FI!

Torstai 16.4.2020. Meikäläisen päivän bannari tuuria taasen, S.P.FI!
Torstai 16.4.2020. Meikäläisen päivän bannari tuuria taasen, S.P.FI! *ÄÄRIRYHMIEN VARJOMAAILMA, USKO TAI ÄLÄ, YLEINEN ADL:n pelkäämä uusnatsiverkosto osoittautui 13-vuotiaan koululaisen johtamaksi nettiryhmäksi\*
*ÄÄRIRYHMIEN VARJOMAAILMA, USKO TAI ÄLÄ, YLEINEN ADL:n pelkäämä uusnatsiverkosto osoittautui 13-vuotiaan koululaisen johtamaksi nettiryhmäksi*

\- Anti-Defamation League - Anti-Defamation League ADL logo (2018).svg Perustettu syyskuu 1913 Perustaja Sigmund Livingston Tyyppi kansalaisjärjestö Päämaja New York City, New York, Yhdysvallat Toiminta-alue Yhdysvallat Puheenjohtaja Jonathan Greenblatt Aiheesta muualla Sivusto Anti-Defamation League, (lyhenne ADL, tunnettiin aiemmin nimellä 'Anti-Defamation League of B'nai B'rith') on yhdysvaltalainen kansalaisjärjestö, joka toimii kansainvälisesti. Järjestö ilmoittaa taistelevansa antisemitismiä ja kaikenlaista kiihkoilua vastaan, puolustavansa demokraattisia ihanteita, suojelevansa kansalaisoikeuksia ja tukevansa Israelia. Järjestö perustettiin vuonna 1913. Järjestöllä on Yhdysvalloissa 27 toimistoa ja yksi toimisto Israelissa. Järjestön pääkonttori sijaitsee New Yorkissa. ADL pitää silmällä erilaisten ääriryhmien ja ääriliikkeiden toimintaa. Vuonna 2008 ADL auttoi tiedoillaan ATF:ää pidättämään äärioikeistolaisiin piireihin yhteydessä olleet 2 pommi-iskuja suunnitellutta miestä. Lähteet ADL helped probe into neo-Nazis, Jewish Telegraph Agency (JTA)(reprinted by the Jerusalem Post), Lokakuun 28, 2008. "ADL Denounces Peta for its "Holocaust On Your Plate" Campaign; Calls Appeal for Jewish Community Support 'The Height Of Chutzpah'" (Press release). ADL. Helmikuun 24, 2003. Aiheesta muualla Järjestön kotisivut (englanniksi)

Kaikki julkaisut Hauska ja kiinnostava kuva Päivän runo Uusi ja hauska video Pelastakaa Piparit 2019 -kampanja Search UUTISIA HAUSKASTI JA KIINNOSTAVASTI Kerromme teille uutisia, joilla on merkitystä. KAIKKI JULKAISUT HAUSKA JA KIINNOSTAVA KUVA PÄIVÄN RUNO UUSI JA HAUSKA VIDEO PELASTAKAA PIPARIT 2019 -KAMPANJA ÄÄRIRYHMIEN VARJOMAAILMA, USKO TAI ÄLÄ, YLEINEN ADL:n pelkäämä uusnatsiverkosto osoittautui 13-vuotiaan koululaisen johtamaksi nettiryhmäksi Date: 11.4.2020 Author: Summerwar2016 12 Kommentit Anti-Defamation Leaguen (ADL) tehtyä hälytyksen vaarallisesta uusnatsiverkostosta, ja paikallistettua sen päämajan, keskuskomitean ja ”fyyrerin” Suomenlahden eteläpuolelle, Viron sisäisen turvallisuuden viranomainen, KAPO, otti asiasta selvää. ”Feuerkrieg Division” (FKD) osoittautui 13-vuotiaan pojan ylläpitämäksi somettamiseksi. ADL on löytänyt uusnatsismia myös Suomesta, ja täälläkin on reagoitu. “Commander FKD”, jonka Viron suojelupoliisi siis tavoitti, asuu virolaisessa pikkukaupungissa, oletettavasti äitinsä luona. Hän käy koulua. Myös nimimerkkiä ”Kriegsherr” käyttänyt poika lopetti toimintansa tammikuussa, viranomaisten puututtua asiaan. KAPO lopetti nimimerkkejä ”Commander FKD” tai ”Kriegsherr” ( ”sotaherra” saksaksi) käyttäneen pojan toiminnan tammikuussa, raportoi virolainen viikkolehti Eesti Ekspress . Poika, joka oli Feuerkrieg-divisioonan johtaja, ei ikänsä takia joudu syytetoimien kohteeksi. Pojan johtama pieni kansainvälinen uusnatsijärjestö perustettiin jo vuoden 2018 lopulla (!!?). New Yorkissa toimiva juutalainen painostusjärjestö, Anti-Defamation League (ADL) kertoo Feuerkrieg-divisioonan edustavan valkoisen suprematistismin äärimmäistä tulkintaa. ”Heidän nykyinen johtajansa asuu Virossa, mutta ryhmän jäsenet ovat yhä enemmän amerikkalaisia. Ryhmä ylistää konsepteja, joita on kirjoittanut yhdysvaltalainen uusnatsi James Mason”, kuvaili ADL ennen järjestön virolaisen fyyrerin vangitsemista. Selostus on ajalta ennen fyyrerin pidätystä. ”FKD perustettiin lokakuussa 2018 Baltiassa, todennäköisesti Virossa. Ajan myötä ryhmä on laajentunut kattamaan Belgian, Yhdistyneen Kuningaskunnan, Irlannin, Alankomaat, Norjan, Latvian, Saksan ja Venäjän. Vuonna 2019 FKD laajensi rekrytointiaan Euroopassa ja Pohjois-Amerikassa, mukaan lukien Kanada ja erityisesti Yhdysvallat ”, ADL totesi. Feuerkrieg-ryhmä on saanut voimakkaita vaikutteita Atomwaffen-Divisionalta (saksaksi ”atomiaser-divisioona”), uusnatsiryhmältä, jonka väitetään liittyvän viiteen murhaan Yhdysvalloissa. ”FKD puolustaa samanlaisia ​​perususkomuksia, ja levittää rasistista ja vitriolista propagandaa sekä (äärioikeistolaisen) alakulttuurin grafiikkaa. Vaikka suurin osa heidän toiminnastaan ​​tapahtuu verkossa, jäsenet ovat ryhtyneet myös jakamaan väkivaltaista, rasistista ja antisemitististä propagandaa ”, ADL kertoi. FKD on määritellyt vihollisikseen mm. juutalaiset, muslimit, LGBTQ-yhteisön, uskonnolliset johtajat ja poliisin. ”He viittaavat väkivaltaan ja pyhään sotaan, jonka he nimeävät ”valkoiseksi jihadiksi”. Yksityisissä keskusteluissa FKD:n jäsenet laativat suunnitelmia, jotka kohdistuvat ”systeemiin”, -mukaan lukien ihmisten sieppaukset, teloitukset tai muuten vahingoittaminen, ja samalla he osoittavat suosiotaan aikaisemmille valkoisten suprematistien iskuille”, ADL kirjoitti . Salatuilla nettifoorumeilla FKD:n jäsenet ovat ylistäneet sellaisia henkilöitä, kuten Christchurch-ampujaa Brenton Tarrantia, ja Charlestonin kirkon ampujaa, Dylann Roofia, norjalaista joukkomurhaajaa Anders Behring Breivikiä, ja Oklahoma Cityn pommittajaa, Timothy McVeighiä. ”Ideologia koostuu mm. James Masonin, Adolf Hitlerin ja Charles Mansonin opetuksista”, kirjoitti ADL. Nuori ”komentaja” näyttää olleen järjestönsä ainoa virolainen jäsen, mikä ei ketään yllätä? Meillä on siis taas uusi komentelija, joka johtaa virtuaalista joukkoaan. -Tai siis oli. Virolaiseen komentajan oppi-isä näyttää olleen yhdysvaltalainen uusnatsi, James Mason. Hänen tekstiään on luettavissa mm. Venäjältä käsin toimivalla mutta englanninkielisellä foorumilla IronMarch, jonka perustaja on uzbekki Alisher Mukhitdinov . Hän käyttää aliasta Alexander Slavros, ja asuu Moskovassa neuvostoaikaisessa kerrostalossa. Myös aiemmin mainittu Atomwaffen-divisioona on siinnyt samalta foorumilta. AD on siis uusnatsiryhmä, jonka väitettiin olevan sidoksissa viiteen murhaan Yhdysvalloissa. AD oli myös FKD:n suuri herätteen antaja- Foorumin keskustelijoita puhutti eniten ”systeemi” l. järjestelmä, joka heidän ajattelussaana tarkoittaa ”juutalaisten johtamaa länsimaista elämäntapaa”, sisältäen valtion, pankit ja yrityksiä. FKD:n komentajan laatiman virallisen vihollisluettelon mukaan vastapuolella ovat (tärkeysjärjestyksessä): Poliisit, poliitikot, rodulliset petturit, juutalaiset, konservatiivit, kommunistit, liberaalit, mustnahalised (mustanahkaiset, vironkielessä ei käytetä n-sanaa), homot, transsukupuoliset. Listassa on vielä arvoituksellinen sanonta ”karvaiset”, jolla mahdollisesti viitataan heavy-metal-faneihin. Siinäpä urakkaa kerrakseen. Viron sisäisen turvallisuuden poliisin, KAPO:n, edustaja Ridamäe kertoi lehdelle, että äärisuuntausten vastustamisessa lasten vanhemmilla on tärkeä rooli: Pitää katsoa, missä jälkikasvu nettisurffailee. Poliittisten ääri-ideologioiden markkinoimista nuorille on tiettävästi esiintynyt myös Suomessa. Suomalaisten yhteyksistä edellä esiteltiin FK-Divisioonaan ei ole havaintoja, mutta moni huomiotaherättävä henkilö on nähty käyneen Virossa. di-gold 13v-fyyreristä kirjoitti 10.04.2020 Estonian World. P.S. Ettei vasen laita liikaa riemastu, muistutamme ilmiöiden symmetriasta: lissu-tuomitsee800445Jesse sanoo: Älkää tuomitko Jaa:
*P.S. Ettei vasen laita liikaa riemastu, muistutamme ilmiöiden symmetriasta: Jesse sanoo: Älkää tuomitko*
### Sulje Et voi julkaista tai kommentoida 24 tuntiin Tämä johtuu siitä, että julkaisit aiemmin jotain, joka ei noudattanut yhteisönormejamme. Tämä julkaisu on vihapuhetta ja alempiarvoisuutta koskevien normiemme vastainen, joten kukaan muu ei voi nähdä sitä. Sanna Piipponen Eilen 2.55 Perkeleen judet!!! Sanna Piipponen 11. huhtikuuta kello 22.47 🙄11.4.2020. "Anti-Defamation Leaguen (ADL)*( = NEW YORKISSA TOIMIVA JUUTALAINEN PAINOSTUSJÄRJESTÖ, ANTI-DEFAMATION LEAGUEN (ADL))* tehtyä hälytyksen vaarallises… Näytä lisää

Minä olen tekstikappale. Kirjoita tähän mitä haluat.Voit kertoa tässä vaikkapa hieman itsestäsi tai sivujesi tarkoituksesta. Sulje Et voi julkaista tai kommentoida 24 tuntiin Tämä johtuu siitä, että julkaisit aiemmin jotain, joka ei noudattanut yhteisönormejamme. Tämä julkaisu on vihapuhetta ja alempiarvoisuutta koskevien normiemme vastainen, joten kukaan muu ei voi nähdä sitä. Sanna Piipponen Eilen 2.55 Perkeleen judet!!! Sanna Piipponen 11. huhtikuuta kello 22.47 🙄11.4.2020. "Anti-Defamation Leaguen (ADL)\*( = NEW YORKISSA TOIMIVA JUUTALAINEN PAINOSTUSJÄRJESTÖ, ANTI-DEFAMATION LEAGUEN (ADL))\* tehtyä hälytyksen vaarallises… Näytä lisää view-source:\_EnW3zOxpsedX0UInTGBEYV-wUe8
### Poistimme julkaisemaasi sisältöä Emme salli tietynlaisia julkaisuja itsemurhasta tai itsensä vahingoittamisesta Facebookissa, sillä haluamme edistää turvallista ympäristöä. Voit lukea lisää tästä yhteisönormeistamme. 16.4.2020. FB-n parhaita ylilyöntejä taasen: Jos olet vaikeassa tilanteessa, haluamme kertoa tavoista, joilla voit löytää apua.

Sanna Piipponen 🇫🇮🤔Miten on mahdollista, että juuri ne ns. ihmisryhmät ovat covid-19 pandemian kuolin- ja sairastumistilastoissa yliedustettuina joissa on pakolaisia / vaarallisiksi terroristeiksikin luokituksiltaan paljastuneita suomessa "turistikierroksilla" vierailutettu? Vanhainkodit, päiväkodit, vammaisten työtoimintakeskukset, naapuriapu kotioloissa kerrostaloissa maahamme ja suomalaisten koteihin kaveriksi sopeuttamiseen. Ja Tampereellakin Rantaperkiössä esim. on asuin alue jossa kuulemani mukaan vaihtuu muslimit koko ajan, toisiin muslimeihin ( arabit? ). Eli onkos niistä asuin taloista / alueista tehty väli etappeja, joista he jatkavat matkaansa eteen päin taas seuraaviin sijoituspaikkoihin ohjeistettuina. Ns. muuttavat pois ja seuraavat muuttavat tilalle, eikä tulijoilla saatika lähtijöillä ole muuttotavaroita laisinkaan, mennen tullen. Mikä on heidän komennuksensa Isänmaassamme Suomessa? Saanen luvan kysyä, voisiko joku kenties mitä kohteliaimmin vastata kysymyksiini? Me koko Suomenkansa vaadimme saada tietää asioista aidon oikean totuuden!
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2018.09.15 15:59 arrow-s Director spotlight: Finland

Recently, a thread was started and deleted about the top directors of different countries. If nothing else, the thread showed a demand for showcasing the most accomplished directors in each country. That's why I decided to write an introduction to the top directors of my home country. Hopefully this will inspire others to do the same, because I would love to read about other countries too in the future.
Director spotlight: Finland
Traditionally, compared to the other Northern European countries, Finland has never been a powerhouse in internationally recognized cinema. In the mainstream, the most recognized Finnish director remains Renny Harlin (Cliffhanger, Die Hard 2 etc) which says a lot. Finland is a very small and isolated market, and therefore the film industry is very much dependent on public funding and subventions, leaving little room for artistic growth. However, despite this, Finland has been able to produce one international star director, Aki Kaurismäki. Unlike in Denmark for example, this hasn't unfortunately created a following of a next generation of directors. A few promising names introduced below will hopefully change this soon!
I decided to focus on active directors, picking a few of the most interesting auteurs in my own subjective opinion. Some of the popular directors I decided to leave out include Aku Louhimies, Lauri Törhönen, Olli Saarela and Markku Pölönen.
Star directors
Aki Kaurismäki
Kaurismäki is a Berlinale darling with an occasional Cannes visit, including a Grand Prix for The Man without a Past (Mies vailla menneisyyttä, 2002). He has an immediately recognizable visual style: minimalist, austere set design stemming from the brutal landscapes of the post-war Finland. His sets are often intentionally anachronistic: for example in his latest film The Other Side of Hope (Toivon tuolla puolen, 2017), supposedly set in the European refugee crisis of 2015, we see government employees use dated office tools from the 1970s. His dialogue and humor are characteristically deadpan (even more so than that of Yorgos Lanthimos), delivered by his actors with minimal facial expression, often while smoking or drinking. Camera rarely if ever moves, and editing is conservative. Another important factor to Kaurismäki's style is the music, ranging from typical Finnish makeshift instrumental rock music (called "rautalanka") to tango. The main feelings visually conveyed by Kaurismäki are often melancholy and despair.
Despite his toolbox looking sinister and depressing on the surface, Kaurismäki is always able to create films with exceptional humanism and hope. In fact, he is one of the most humanistic active directors I can think of. His subject matters are without exception focused on the people at the margins of our society: homelessness, poverty or more recently, refugees. Kaurismäki looks at their suffering with extraordinary altruism and empathy, showing conflicts being resolved by kindness rather than violence. His films are not interested in plot, but in the endurance of these people in constant distress.
Kaurismäki himself has listed R. W. Fassbinder and Luis Buñuel as his main influences. Especially the influence of Fassbinder can be seen in the simple and gloomy set designs. As an often-mentioned anecdote, Kaurismäki is still using a camera he once bought from Ingmar Bergman. In a recent interview he was quoted saying, in his typical deadpan style, "Bergman used the camera in two films, I have now shot 18 of them with it. When can we start calling it my camera instead of his?".
Kaurismäki recently announced his retirement from filmmaking, but I have hope of him being back behind the camera sooner or later. After all, it's his third retirement announcement already and he has always come back.
For newcomers, to get into his filmography I would recommend the following starting points: The Match Factory Girl (Tulitikkutehtaan tyttö, 1990), The Man without a Past (Mies vailla menneisyyttä, 2002), Le Havre (2011)
Established directors
Klaus Härö
Härö is a well established director domestically, who is still waiting for his real international breakthrough. His films are often very emotional historical dramas, set against the backdrops of some of the most painful scars in the history of Finland, Sweden or Estonia. For example, his film The New Man (Den nya människan, 2007) tells the story of a young girl in the 1950s Sweden, where special needs children faced compulsory sterilization based on eugenic reasons. His most successful film is The Fencer (Miekkailija, 2015), set in Estonia under Soviet occupation, earning him a Golden Globe nomination for Best Foreign Language Film.
His best films, in my opinion, are the tearjerkers Mother of Mine (Äideistä parhain, 2005) and Elina: As If I Wasn't There (Elina - Som om jag inte fanns, 2002). The former deals with the despair of a Finnish mother during the World War II, who has to send her son to Sweden to be raised by a substitute mother in safety, and the sense of abandonement of her son. The latter tells the story of a Finnish-speaking girl in the 1950s Sweden, facing discrimination after losing her father to tuberculosis.
Härö's films are interesting and carry an emotional punch, but so far lack an ability to tell an universally compelling and timeless story. With Letters to Father Jacob (Postia pappi Jaakobille, 2009), Härö tackled a Bresson-esque project about a blind pastor and a pardoned convict, but didn't manage to find the theological or philosophical insight to raise the film to the international stage. So far his films, although good, have not been able to take the next step, but I think he has the potential to make it in the future.
Dome Karukoski
Karukoski is a more mainstream director with a good sense of pop culture and the current zeitgeist. He is currently close to an international breakthrough (currently filming a J.R.R. Tolkien biopic in England for Fox Searchlight), but it remains to be seen if he's able to make the cut. In Finland, however, he's a household name with several major hits under his belt. To me, he has been a hit-or-miss director with a couple of noteworthy films.
His best film, in my opinion, is his last. Tom of Finland (2017) tells the story of the titular artist. Growing up in an environment hostile to homosexuals, the film follows his life in a straightforward fashion towards becoming the iconic symbol of homoerotic fetish art and gay culture in the 1970s United States. Although the film has its shortcomings (hello, makeup department), Karukoski manages to tell a compelling story while creating fitting visual homage to the artist himself.
Other noteworthy films of his include The Home of Dark Butterflies (Tummien perhosten koti, 2008), a powerful drama set in an abusive foster home for boys, and Lapland Odyssey (Napapiirin sankarit, 2010), a light-hearted and entertaining comedy about a man trying to please his girlfriend who wants a new digital converter box for her TV.
Rising directors
Juho Kuosmanen
Kuosmanen broke through in Cannes in 2016 with his second feature The Happiest Day in the Life of Olli Mäki (Hymyilevä mies, 2016). He went home with the Un Certain Regard award and later received high praise across the Atlantic from the likes of Barry Jenkins and Sean Baker. The brilliant, unconventional boxing comedy that is completely uninterested in the sport of boxing tells the true story of a Finnish featherweight boxer who is set to fight for the world title. Empire described it as by "as if Aki Kaurismäki remade Raging Bull" and I think this hits the nail on the head. The humanism and downplayed emotions reminded me of Kaurismäki while being something completely original. In addition, the crisp black-and-white photography is alone a reason to watch this film, reminding me of nouvelle vague films at their best. If Kuosmanen is able to keep it up, he will be the next Finnish star director.
Selma Vilhunen
Vilhunen got famous in Finland after winning the Academy Award with her short film Do I Have to Take Care of Everything? (Pitääkö mun kaikki hoitaa?, 2012). I haven't seen any of her films yet, but I'm looking forward to the new film Stupid Young Heart (Hölmö nuori sydän, 2018) which just premiered at TIFF to positive reviews.
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Nuortenkirjoja rakkaudesta ONKS NOLOO OLLA TURHAMAINEN? Milanie - YouTube Ruby Jay - Young Love (Official Music Video) - YouTube Episode 4: OH - TO FIND A CAT - Jani and Riku, the six graders Young, Free, and Amish  National Geographic - YouTube Enni Lavonius - YouTube Himba tribe: Unwanted Marriage - Tribal Wives - BBC - YouTube

Online Dating Suomi Kymenlaakso, Aikuisten Jakobstad

  1. Nuortenkirjoja rakkaudesta
  3. Milanie - YouTube
  4. Ruby Jay - Young Love (Official Music Video) - YouTube
  5. Episode 4: OH - TO FIND A CAT - Jani and Riku, the six graders
  6. Young, Free, and Amish National Geographic - YouTube
  7. Enni Lavonius - YouTube
  8. Himba tribe: Unwanted Marriage - Tribal Wives - BBC - YouTube
  9. Ainoat oikeat
  10. Guys Vs. Girls Back to School PROM! Krazyrayray - YouTube

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