And the hits just keep right on comin’ here at Dangerous Minds.net, yesiree Bob! This next little gem is an all singing, all dancing recruiting video for a meat processing company in Fiji. Look how happy you would be if you worked here!

This commercial appears on videos that you rent in Fiji.

How many times in your life have you seen a choreographed dance routine that included carcasses?!?! Don’t answer that…

WARNING: THIS SONG WILL STAY IN YOUR HEAD ALL DAY LONG AND IS NOT RECOMMENDED FOR VEGETARIANS!

Via Cakehead Love Evil

Dangerous Minds pal Chris Campion writes: “Popular entertainment in Australia is clearly a little behind the rest of the world. The speech at the end is priceless too.”

 

 

 

 

 
From The Boston Globe, “Earlier this week, 1.5 million people filled the streets of Berlin, Germany to watch a several-day performance by France’s Royal de Luxe street theatre company titled “The Berlin Reunion”. Part of the celebrations of the 20th anniversary of the fall of the Berlin Wall, the Reunion show featured two massive marionettes, the Big Giant, a deep-sea diver, and his niece, the Little Giantess. The storyline of the performance has the two separated by a wall, thrown up by “land and sea monsters”. The Big Giant has just returned from a long and difficult - but successful - expedition to destroy the wall, and now the two are walking the streets of Berlin, seeking each other after many years apart. I’ll let the photos below tell the rest of the story.”
 
See more amazing photos over at The Boston Globe: The Berlin Reunion
 
(via Nerdcore)

We, the Shamanic Cheerleaders, use the term “Shaman” with great respect for the profound and diverse legacies of healers and mystics throughout the world. We do not claim to be Shamans. We recognize the value and universal nature of Shamanic healing techniques, including their use of intentional song, dance and energy work to promote personal and community healing. We have developed our own unique performance style that has not originated from any one direct lineage but is more a fusion of a wide range of healing and performance modalities.

“After divining, the shaman must address the problems that were uncovered. This is where the shaman may become a trickster. through puns and clever jokes, shamans distract their clients, opening them up to participating in the hard work of admitting some responsibility for their problems. If a patient recognizes her part in creating an illness, for example, she can empower herself to relieve it. In shamanism as in other aspects of life, humor heals.”
quoted from ‘The Woman in a Shaman’s Body’ by Barbara Tedlock, Ph.D.

 
Before there were Muppets, there was Jim Henson, experimental film maker:

Time Piece is nine very weird, sort of beatnik minutes of fast-paced, scattered imagery and sounds all set to the beat of a hi-hat.  He makes music out of everyday sounds.  So you get tapping, tick-tocks, footsteps, drumbeats, car zooms, whistles, screeches, pogo sticks, high heels, typewriters, on/off switches, dings, buzzes, bowling balls, elevators, champagne pops, zippers, dogs panting, rocking chairs, beers opening, tea kettles, crackers, coughing, and a shot of Henson painting an elephant pink.  The only word used in the whole thing is ?

 
I couldn’t be a bigger fan of Japanese director, Hiroshi Teshigahara, or recommend more highly his Criterion-collected films from the 60s: Pitfall, Woman In The Dunes, and The Face of Another.  Teshigahara has a wonderful way of capturing landscapes, and, much like Antonioni, uses them to suggest some aspect—usually existential—of the human condition. 

That being said, I find his documentary on Antonio Gaudi, stunning to watch as a tone poem of sorts, but lacking in terms of providing much context for the Catalan architect.  You can check out the complete documentary over at Ubu, titled, simply, Antonio Gaudi, but I just recently stumbled upon a more illuminating point of entry for the architect.

Ken Russell, the British director of such films as Tommy, Women In Love, and Altered States produced his own “film essay” on Gaudi in ‘61.  Sidestepping his usual “lurid” mode, Russell’s doc provides all the historical/biographical context missing from Teshigahara’s.  Not surprisingly, Russell’s short also accompanies the Criterion reissue of Antonio Gaudi.

For Russell’s take on some truly fantastical buildings, Part I of his film essay follows below with a link at the bottom to Part II.

 
Ken Russell’s Antonio Gaudi Part II