*.MPEG PRODUCTION

Merupakan gabungan dari GreenHouse Picture, MIX Picture dan Sobat PENA yang berkolaborasi dalam membuat sebuah karya dalam bentuk film yang saat ini sedang dalam tahap pra produksi.
*.MPEG PRODUCTION juga merupakan kumpulan dari anak - anak muda yang kreatif, gila, gokil, mau berkarya dan entah apa lagi kata untuk mendeskripsikan mereka...

Bangkitlah Indonesia

Ini film yang menceritakan tentang seorang gelandangan yang prihatin akan bangsa Indonesia.
Bangsa Indonesia yang telah lama mati...
Film ini berdurasi 12 menit. Diproduksi oleh MIX Picture yang berkolaborasi dengan
GreenHouse Picture. Disutradarai oleh Angga Prayudha Sakti dan telah di launching pada tanggal 23 Januari 2009 bertempat di Waroeng Potjie, Jl Nusa Indah, Condong Catur, Yogyakarta.

His Moment of Destiny

There are four men in the cramped Sun Records studio: bassist Bill Black, guitarist Scotty Moore, producer Sam Phillips in the back, and the sexy young kid thumping his guitar as he sings, nineteen-year-old Elvis Presley. It's 1954. Sam Phillips is doing all right for himself. He has been among the first to record men who will be giants in the world of postwar blues: B.B. King, Junior Parker, and Howlin' Wolf. There are many others ready to follow in their footsteps, but he has deeper aspirations. In Presley, he sees the new world order: a white boy, culturally influenced by country and gospel, who can sing the blues.

The four of them, having reached a momentary musical impasse, take a break. They all seem to realize that they're on the brink of something big; however, they can't quite seem to put it all together. Their conservation--about music, naturally--comes around to the blues, interpreters like Arthur Crudup. You know that one song he did? It goes like this! Presley picks up his guitar and starts riffing. In a second he is singing, "That's all right, mama, that's all right with me..." Black and Moore pick up the groove behind him.

Their hijinks get Phillips' attention. Liking what he hears, he encourages the musicians to try it one more time without any changes--this time with the tape machine running. The song is cut in rapid order. They all listen to the playback, make a few comments, and then leave the studio.Phillips further ponders the implications of what he has captured on tape. Would he be able to get any radio stations to play such a record? White disc jockeys probably would avoid it because it sounded like black music, whereas blacks were likely to consider it too hillbilly. Still, it sounded great!Phillips went ahead and released a run of records. In doing so he ushered in the heyday of Sun Records and the rockabilly sound. The music had a fast, aggressive feel: simple, crisp drumming, vibrant guitar licks, wild country boogie piano. The music spurred a generation of young Southern musicians to search out Phillips and his imitators in hopes of building their own legacy.As a creative force, rockabilly faded almost as soon as the general public became aware of its existence. The total output was slim; even with Presley's Sun singles included, the genre sold less records than releases of Fat Domino alone. Nevertheless, it fixed, in the words of Greil Marcus (Mystery Train), "the crucial image of rock 'n' roll: the sexy, half-crazed fool standing on stage singing his guts out." Marcus further elaborates,

Most significantly, the image was white. Rockabilly was the only style of earlyrock 'n' roll that proved white boys could do it all--that they could be as strange, as exciting, as scary, and as free as the black men who were suddenly dominating America's airwaves. These were two kinds of white counterattack on the blackinvasion of white popular music that constituted rock 'n' roll: the attempt to soften black music or freeze it out, and the rockabilly lust to beat the black man at his own game.