I have a joke that I’m gonna learn how to cook methamphetamine from just watchin’ drug educational videos, not from actual meth recipes you might find on the web. I think this EPA video lays out, more than any other video I’ve seen so far , what ingredients you need, what a proper set-up looks like, ‘n how to dispose of the waste discreetly. Nice bubblin’ mad scientist meth lab effects, also.
Eddie is a Vietnam veteran who loses his arms and legs when he steps on a landmine, but a brilliant surgeon is able to attach new limbs. Unfortunately an insane jealous assistant(who has fallen in love with Eddie’s fiance) switches Eddie’s DNA injections, transforming him into a gigantic killer.
A blaxploitation horror film by director William A.Levey. Written by Frank R. Saletri. Starring John Hart, Ivory Stone and Joe De Sue.
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National Archives and Records Administration
Experimental Compound MER 17 and LSD-25: Psychosis
National Security Council. Central Intelligence Agency. (09/18/1947 – 12/04/1981)
Experimental Compound MER 17 (Frenquel) and LSD-25: Psychosis. ARC Identifier 1634172 / Local Identifier 263.1057. This film examines medical experiments to determine the efficacy of LSD-25 and MER 17 (Frenquel) on treating psychosis.
Tuesday, December 15 at 7:30pm If you’ve seen it, you’ll never forget it. If you haven’t, here’s your chance to discover Alex Cox’s inimitable indie landmark Repo Man starring Emilio Estevez and featuring music by the likes of Suicidal Tendencies and Black Flag. After this special screening, keep rocking with an after-party and open bar (thanks to Stella Artois and 42BELOW) in the Furman Gallery. DJ SeMeN SPeRmS will spin tracks.
Alex Cox’s 1984 debut remains an unclassifiable anomaly—not to mention a cult classic. When punk-rocker Otto (Emilio Estevez) loses girl and job, it’s only the beginning of a most surreal downward spiral. Conned into helping a lizard-like repo man (Harry Dean Stanton), Otto’s situation mutates from merely depressing to life threatening. Shady cops, UFO freaks, CIA operatives, and all manner of additional yahoos converge in a manic hunt for a ’64 Chevy Malibu and the Top Secret Whatsit stowed in the trunk. Cox’s film may be an oddity, but it’s also a spot-on slice of Eighties zeitgeist—an uncanny time capsule of an America in the grips of the Reagan ethos, and all the attendant cultural aggression that era fomented. Shot by the impeccable Robby Müller, the film features music by Black Flag, Suicidal Tendencies, Fear, and The Circle Jerks (who also appear in the film).
Sigmund Freud, the founder of psychoanalysis, changed the perception of the human mind and its workings. His influence on the twentieth century is generally considered profound. The series describes the ways public relations and politicians have utilized Freud’s theories during the last 100 years for the “engineering of consent”.
Freud himself and his nephew Edward Bernays, who was the first to use psychological techniques in public relations, are discussed. Freud’s daughter Anna Freud, a pioneer of child psychology, is mentioned in the second part, as is one of the main opponents of Freud’s theories, Wilhelm Reich, in the third part.
Along these general themes, The Century of the Selfasks deeper questions about the roots and methods of modern consumerism, representative democracy and its implications. It also questions the modern way we see ourselves, the attitude to fashion and superficiality.
The business and, increasingly, the political world uses psychological techniques to read and fulfill our desires, to make their products or speeches as pleasing as possible to us. Curtis raises the question of the intentions and roots of this fact. Where once the political process was about engaging people’s rational, conscious minds, as well as facilitating their needs as a society, the documentary shows how by employing the tactics of psychoanalysis, politicians appeal to irrational, primitive impulses that have little apparent bearing on issues outside of the narrow self-interest of a consumer population. He cites Paul Mazer, a Wall Street banker working for Lehman Brothers in the 1930s: “We must shift America from a needs- to a desires-culture. People must be trained to desire, to want new things, even before the old have been entirely consumed. […] Man’s desires must overshadow his needs.”
To many in both politics and business, the triumph of the self is the ultimate expression of democracy, where power has finally moved to the people. Certainly the people may feel they are in charge, but are they really? The Century of the Self tells the untold and sometimes controversial story of the growth of the mass-consumer society in Britain and the United States. How was the all-consuming self created, by whom, and in whose interests?
“The thesis of this visually stunning documentary feature is that plants have feelings, too, and that they have a variety of ways of expressing them. Based on the best-selling book by Peter Topkins and Christopher Bird, the custom of talking to one’s houseplants is strongly recommended by the filmmakers. Though scientific in tone, the film does not air the opposing view advocated by, perhaps, a majority of scientists. One highlight of the film is its original musical score by Stevie Wonder.” – AMG