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Jamal Subin
Jamal Subin

One Day - D Mob - Erick Reel 2 Dub Mix

Hope everyone is well out there and you are finding the time to do the things that make you feel happy and fulfilled. I'm happy to say that I recently did so by flying over to Europe to attend this year's Suncebeat '22 festival in the beautiful Tisno, Croatia, followed by a trip back to the UK to visit family and friends.This month's mix is a celebration of the music and vibes from the week-long party. This is the first time I've appreciated the people and connections as much as the music. It's an older crowd so refreshingly there isn't the ego you get on a typical night out, just happy friendly people with amazing life stories. Loved catching up with friends old and new, missing you all already!The highlights for me were the excellent Deep Into Soul boat party with some of the UKs finest talent on display. The music they played really fired me up which I really needed. Another was Kenny Dope's kick-ass set at Barbarellas at 4am for two reasons. Firstly, the music was amazing, but I got to meet someone that has been listening to my mixes over the years and have chatted with online. We didn't recognise each other but were dancing near each other for over an hour! My friend got chatting to him and introduced me. He said he was Paul, I could hear he had a North American accent. I asked where he was from, he said "Canada". I asked if he was called "Paul F*" as I remembered talking to him a couple of months earlier online. That blew his mind!! He asked how I knew so I told him who I was - his reaction was priceless and something I'll never forget. We shared a BIG hug and took photos. It was a beautiful moment, a real connection with someone I have shared a virtual connection through our shared love of music. It's something I could never have imagined when all this began.I couldn't wait to do this show, it's the most excited I've been in a looong time. I loved mixing it live on Pressure and I'm so happy with the result. I hope you come to love it as much as I do.Finally a big shout to Andreas Hilden, who answered my cry for help and gave me some of my mixes that I have misplaced so I can restore the full c2eMusic collection on Podomatic.Credit and thanks to Ben Brophy for the cover picture and for allowing me to use.Please share the love and the music - let's make this world a better place one house mix at a time.Tracklisting,1: Horatio Luna - Patrice2: Nikitsch, Kuna Maze - Hey This Must Be Deep3: Black Sonix - Danny-s Jam (Sean's Inverted Dub)4: Caiiro - The Akan5: King Kooba - Slightly Burnt6: Neil Pierce - Rok Da Riddim7: Schmoov - Put Your Mind8: Dabous - Groundware9: Demarkus Lewis - Universal Language10: Grant Nelson - NineFour11: Emmaculate, Kaye Fox - Do It (Instrumental Mix)12: Demarkus Lewis - Too Many13: Ross Couch - Music Heals14: Nebraska - Aglio e Olio15: Danny Tenaglia - The Brooklyn Gypsy16: Emmaculate - Konga Madness17: Benny Maverick ft Dladla Mshunquisi & Spiritbanger - Memeza18: Col Lawton - Feel In Love19: CarlInTheHood - Feel The Heat (Zetbee Mix)20: Luxury - J.A.W.S21: Kink - Pocket Piano22: Mochakk - Da Fonk ft Joni23: Babs Presents - Jazz Night24: Moodymann - TributeEnjoy!

One Day - D Mob - Erick Reel 2 dub mix

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It takes a lot to make it into the c2eMusic Legends hall of fame. I've listened to house music for well over half my life now and would be lost without it. During that time I've lost count of the number of artists I've bought and supported. Anyone can easily reel off dozens of famous producers in the scene. However I am always in favour of diversity during a set and this is what makes it tricky.

Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics.

Based on the Pulitzer Prize-winning novel by Robert Penn Warren and directed by Robert Rossen, "All the King's Men" was inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. The thesis is basically that power corrupts, with Stark presented as a man who starts out with a burning sense of purpose and a defiant honesty. Rossen, however, injects a note of ambiguity early on (a scene where Willie impatiently shrugs off his wife's dream of the great and good things he is destined to accomplish); and the doubt as to what he is really after is beautifully orchestrated by being filtered through the eyes of the press agent (Ireland) who serves as the film's narrator, and whose admiration for Stark gradually becomes tempered by understanding. In addition to its Oscars for Crawford and Mercedes McCambridge, the film won the Best Picture prize.

"Battle of the Century" is a classic Laurel and Hardy silent short comedy (2 reels, ca. 20 minutes) unseen in its entirety since its original release. The comic bits include a renowned pie-fighting sequence where the principle of "reciprocal destruction" escalates to epic proportions. "Battle" offers a stark illustration of the detective work (and luck) required to locate and preserve films from the silent era. Only excerpts from reel two of the film had survived for many years. Critic Leonard Maltin discovered a mostly complete nitrate copy of reel one at the Museum of Modern Art in the 1970s. Then in 2015, film collector and silent film accompanist Jon Mirsalis located a complete version of reel two as part of a film collection he purchased from the Estate of Gordon Berkow. The film still lacks brief scenes from reel one, but the film is now almost complete, comprising elements from MoMA, the Library of Congress, UCLA and other sources. It was restored by the UCLA Film and Television Archive in conjunction with Jeff Joseph/SabuCat. The nearly complete film was preserved from one reel of 35mm nitrate print, one reel of a 35mm acetate dupe negative and a 16mm acetate print. Laboratory Services: The Stanford Theatre Film Laboratory, Deluxe Entertainment Services Group, Cineaste Restoration/Thad Komorowksi, Point 360/Joe Alloy. Special Thanks: Jon Mirsalis, Paramount Pictures Archives, Richard W. Bann, Ray Faiola, David Gerstein.

John Huston's documentary about the WW II Battle of San Pietro Infine was considered too controversial by the U.S. military to be seen in its original form, and was cut from five reels to its released 33 minute-length. powerful viewing, vivid and gritty. Some 1,100 men died in the battle. scenes of grateful Italian peasants serve as a fascinating ethnographic time capsule. Filmed by Jules Buck. Unlike many other military documentaries, Huston's cameramen filmed alongside the Army's 143rd regiment, 36th division infantrymen, placing themselves within feet of mortar and shell fire. The film is unflinching in its realism and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. Because it showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film. The depiction of death would inspire them to take their training seriously. Subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major.Expanded essay by Ed Carter (PDF, 423KB)View this film at National Film Preservation Foundation External

In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians.

As gifted in their repartee as they were in their physical antics, Stan Laurel and Oliver Hardy were the perfect team for the transition from silent film comedy to sound. Their legendary career spanned from 1921 to 1951 and included more than 100 films. This two-reeler finds the duo attempting to sell Christmas trees in sunny California. Their run-in with an unsatisfied customer (played by James Finlayson) lays the groundwork for a slapstick melee eventually involving a dismantled car, a wrecked house and an exploding cigar. The film was produced by the team's long-time collaborator, Hal Roach, the king of no-holds-barred comedy.Expanded essay by Randy Skretvedt (PDF, 308KB) 041b061a72


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