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Welcome to the final episode of series 50, everyone! This series, we welcome Aram and Dylan from the Kill Every Monster Podcast, to revisit Dungeons and Dragons 5E by utilizing supplements to enhance your games. This episode we discuss how the process went and try to make sense of whatever this was in our fanfic portion!
Welcome to the final episode of series 50, everyone! This series, we welcome Aram and Dylan from the Kill Every Monster Podcast, to revisit Dungeons and Dragons 5E by utilizing supplements to enhance your games. This episode we discuss how the process went and try to make sense of whatever this was in our fanfic portion!
Character Creation Cast on Apple Podcasts (The best place to leave reviews for us)
Character Creation Cast on Podchaser
Character Creation Cast on Facebook
Aram Vartian @AramVartian
Dylan Malenfant @DJMalenfant
Kill Every Monster @KEMPodcast
Dungeons and Dragons 5E:
Monsters of the Multiverse (Orc Ancestry):
Guildmaster’s Guide to Ravnica (Loxodon Ancestry):
Tales of Arcana 5e Race Guide (Hologod and Vroom vroom Ancestries):
Planet Apocalypse (Blood of the Lost Sorcerer Variant):
Nightfell (Rogue Variant, Backgrounds):
Dragon Stew (Baker Background)
Character Creation Cast:
Amelia Antrim 0:01
Welcome to the final episode of Series 50. And also apparently our 200th Episode somehow,
Ryan Boelter 0:08
something like that. Yeah, with
Amelia Antrim 0:12
round numbers. We had a fantastic discussion for this one, it was a great time it was we thought it would be a short recording, and it was not shocking, I know. But first, you have to suffer through this cold open. But we can't wait for you to hear what we have in store. So let's go. Let's do it. Announcements.
Ryan Boelter 0:34
All right, first up, we are excited to announce that we will not be taking a two week break at the end of this month, we normally would no more work. But instead we are going to be releasing some answers to a bunch of your questions. Will it be two episodes? Absolutely. Will it be more than two episodes rather probably. So stay tuned for those. We had a lot of fun recording this. And we hope you have a lot of fun listening and getting to know us better and and hopefully taking away some we think good advice along the way.
Amelia Antrim 1:13
Honestly, in also like a quick thank you. They were really thoughtful questions. I mean, most of them. And then also Jude submitted some questions, but they were really thoughtful. And I think we had to we had to really put in some work to come up with good answers for some of them. So yeah,
Ryan Boelter 1:28
I really enjoyed it. Thank you. I'm
Amelia Antrim 1:31
exciting. We have new merch available. I'm so excited about this. After four long years of waiting, you can now own more than one c three shirt. And thanks to a bout of very serious insomnia. We have great stuff for you. Our newest design is based off series 41.3, where we created the Sims four esports team. Yeah, when we played postmatch interview, we thought we were hilarious. And I don't know if our listeners loved it as much as we did, we had like the best time. And so when I got the chance to like start playing around with some potential shirt designs, that's where my brain went. So that's what I made. So that shirt is available in the One Shot T public store now and you can find a link in our show notes. If you would like to wrap your Sims for Esports pride.
Ryan Boelter 2:27
Yeah, absolutely. Another announcement is I have a new game out in the world right now. It is a micro RPG, that where you play as actual bees that can magically transform into magical Guardian bees. But you're on vacation, and, you know, vacation from saving the world. Constantly. Don't
Amelia Antrim 2:53
take vacations tonight, it's
Ryan Boelter 2:55
a nice time to unwind at the beach, or wherever you want to go on vacation. And your arch nemesis just cannot stop. So what balance Come on, are you to do exactly. So it's a it's it should be a really fun two to four hour game where you could create characters in minutes. And I created my own dice resolution system. For this. I am planning to make more games with this dice resolution system. And I'm just calling the whole group of games powered by the hive. Because it's a dice pool mechanic where you build a dice pool and the more dice you have, the more interesting results you can get. So I'm really I'm really excited to see what people think about it. I think it's adorable. I really want to play it. And I did the graphics for it and but it was not a fun
Amelia Antrim 3:52
graphics for things like we I made a t shirt.
Ryan Boelter 3:56
You did you made multiple shirt designs. And eventually we will get around to posting those. Well, we didn't want to we wanted the tests to see how the process worked with this one shirt design. Now we know and now we have a better idea what to do when we start submitting groups of shirt design. So well we'll see how that goes.
Amelia Antrim 4:15
Yeah, hopefully more merch coming soon. And hopefully you'll have lots more games.
Ryan Boelter 4:18
Yeah, absolutely. So yeah, check out my Twitch page, Lord neptune.h.io Or you can go to my twitter at and learn them tune in and find my link to my various things there. So a lot of ways to find it, but I love it and yeah, it's it's it should be a lot of fun. I had a lot of fun making it. We actually
Amelia Antrim 4:42
have one new review to read this week. We do after the show you have to wait. But we would love to be able to keep reading them because this is going to be two episodes in a row and that is a very exciting, cool feeling. However, we need your help for that. So please consider leaving us a review if you have not yet That's even five star ratings help us. You can leave them on Apple podcasts, podcasts or a podcast addict or our Facebook page. If you want other ways to connect with us other than leaving reviews you can follow us on our many social medias. We are on Instagram at creation cast on tick tock at Character Creation Cast more on Twitter at creation cast. Or you can join our Discord at discord dot character creation cast.com I'm sensing a
Ryan Boelter 5:30
theme. Yeah, also of note on Spotify, you can rate our podcast as well if you are using the mobile version of Spotify. Interesting. Yeah, you can't review it. But you can leave a five star review or rating that it's good. Yeah, exactly. And then the more that people rate it, the ratings will actually start showing up apparently. So it'd be cool if you could throw five stars our way in Spotify if that's the way you listen. So if you are listening to this the day of release one more big announcement it is miracle Monday.
Amelia Antrim 6:04
Ryan Boelter 6:06
all day to day. Yeah, all day today. The one shot Twitch stream will be featuring a variety of superhero themed content also help raise money for trans lifeline. There will even be in AP a fee train us along with a Jeff and John playing our Marvel Superheroes characters that we translated into sentinels so you can follow along all day over at twitch.tv/one Shot RPG.
Amelia Antrim 6:37
That is it for announcements. Please join us after the episode for our calls to action and a review. And also I think outtakes too. Yes, maybe some? I don't know. I feel like goof around at all. So
Ryan Boelter 6:52
I literally have to cut out at least an hour and a half of outtakes just so we can't have this be a four hour episode.
Amelia Antrim 6:59
Okay, well listen here. It was good stuff. Anyway, enjoy the show
Amelia Antrim 7:39
Welcome back to our discussion episode. Last time we finished mostly our session zero for d&d. This episode we are going to be discussing the character creation process. We are thrilled to welcome back Dylan and ROM have killed the kill every monster podcast. Do you both want to reintroduce yourselves for everyone at home? And please tell us a little bit about the characters that you made last time.
Dylan Malenfant 8:04
Hi, my name is Dylan My pronouns are he him and I'm the co hosts co producer and general keep on rails server of the kill every monster podcast and responsible adults I
Amelia Antrim 8:18
think it's the title you're looking for.
Dylan Malenfant 8:20
That's still pushing it a little too far.
Aram Vartian 8:22
Unknown Speaker 8:23
Dylan Malenfant 8:25
yeah, I think that's fair. And I made a honestly as yet unnamed because this is the part I struggle with the most with characters work cleric Baker who's freely like and I think this is something we're going to talk about a little bit more in a minute. The role in the party is so wildly undefined
Amelia Antrim 8:52
yeah I don't think any of us have have figured out well we'll see how this works. If it works we'll
Ryan Boelter 8:58
see how it'll work. It has to says DND
Aram Vartian 9:05
and I am wrong var tn I am the other half of kill every monster I'm here with my good friend Dylan
Dylan Malenfant 9:13
Aram Vartian 9:15
care about each other very much and love each other and are super excited to show up on shows together. Always tethered aside today. I am played Julie sex in jewelry sex is a elephant I've decided what kind of elephant by the way I've actually thought there's two. There are lots of types of
Unknown Speaker 9:37
elephants. Pretty sure time.
Amelia Antrim 9:41
Elephants, Asian elephant different
Aram Vartian 9:42
types of elephants heffalumps Yeah, Shaggy. Mammoth shaggy big yeah shaggy big so I am shaggy big so I am a shit but it's all like super nicely combed. Like it's all kind of in like waves and and you know patterns like like It's like L'Oreal from
Dylan Malenfant 10:03
Aram Vartian 10:05
A pompadour going on here.
Amelia Antrim 10:07
Unknown Speaker 10:09
Yeah. All right, perfect.
Aram Vartian 10:14
And I play my trunk like a saxophone. Yeah. And my nickname is saxophone. So it's actually Johnny saxophone sax, please.
Unknown Speaker 10:25
Every one of these is a dagger into Dylan's
Amelia Antrim 10:28
like see him slowly dying
Ryan Boelter 10:30
with Johnny to six.
Dylan Malenfant 10:34
We'll do this recording in two sessions, and then we'll have some time to recover and then we start back up and Ramiz. Like literally just start by beating you to death with a frying pan.
Aram Vartian 10:44
Every time I get Dylan to side directly into the microphone with get a new patron. It's amazing.
Amelia Antrim 10:53
Incredible. Ryan, you want to tell us a little bit about what you made?
Ryan Boelter 10:58
My character is probably the most normal character out of all of us.
Amelia Antrim 11:01
Yeah, I think that like this most basic like rules as written d&d.
Ryan Boelter 11:05
Yeah, I have a very clear role being in the party. You know, I like get a little tired often. You know, there's I made a I made a broom broom rug. So a broom broom for those not familiar in the d&d system, which is probably everybody. It's essentially in car. In organic sentient car. To be clear. There is a from from variant that could have been an awakened actual car.
Unknown Speaker 11:42
Amelia Antrim 11:45
stick with, like, we want
Aram Vartian 11:47
the world to allow for a car to exist. Yeah.
Dylan Malenfant 11:51
Having a sapient race of car people that was much easier to enter. Exactly.
Ryan Boelter 11:56
So my character's name is Kat ka t t, which stands for night agents 2000. Because the rogue variant that I took was a night agent variant from I forget which supplement we use, but it's in the show notes. And this character, it literally moonlights as a super spy, because depending on the phase of the moon, they get different abilities and whatnot.
Aram Vartian 12:29
Are any of them not looking like a car? Because that seems like it would be really difficult for a spy.
Ryan Boelter 12:34
I think everybody doesn't look like a car except for me. Look, there's probably other rooms around, like spies
Amelia Antrim 12:40
have caught like spy car, but like you would never expect the spy to be the car, you would be looking for a spy in a car.
Aram Vartian 12:47
This is a world where we're used to seeing cars.
Unknown Speaker 12:50
We should, we should start to
Dylan Malenfant 12:52
think that's one of the next bits. Yeah.
Unknown Speaker 12:56
Fair enough. Sorry. Sorry.
Unknown Speaker 12:59
We'll figure that out.
Ryan Boelter 13:02
But yeah, I had a lot of fun making this character and what we'll see how it all fits together in a bit, but really, really proud of Kat and her contributions to this, this group. Amelia, how about your character?
Amelia Antrim 13:18
Ah, so I picked to play eight digit God. So I'm actually a digital construct, but also a god, but slightly evil, and trying not to be evil. So I do have one of the the notes for my class or for my race is that you are a humanoid, but you're considered to be a fiend whenever it is detrimental for you.
Aram Vartian 13:43
So bad, you're just coded that way. Right. Exactly.
Amelia Antrim 13:47
Exactly. And then I also am sorcerer, the blood of the last sorcerer named Alexa. Good. You might be bad, right?
Ryan Boelter 13:59
We're also touched by evil for your background. Right? Yes. Amazing. Right.
Amelia Antrim 14:03
Right. So, but like, I'm trying to do better, maybe that's pretending to try to do better. To be fair,
Aram Vartian 14:11
you have started out with some you know, some there was a little beyond your fault. You know, you really did you weren't responsible for the hole Touched by an evil thing. Right. Right. So okay, yeah, you're working your way back. Right? Yeah, it's
Amelia Antrim 14:23
not my fault. I started out as a as a virus. But
Aram Vartian 14:26
also you could be like uniquely reprogrammed to be good or evil. Like, honestly, like when we when we figured this out. We're
Dylan Malenfant 14:36
gonna get into the philosophy of if a person can actually be represented by codes. What are the ethics of a reprogramming? Right. We don't need that, though.
Amelia Antrim 14:49
I think we're starting to have that conversation.
Ryan Boelter 14:50
We can leave that for the fanfic. It's fine, you know, well, I think we can dive into what our world had become in In the fan fiction portion, so let's go ahead and dive right into a segment we are calling the 20. For your thoughts,
Amelia Antrim 15:06
the 20 for your thoughts. So in this segment, we like to talk to our guests about their thoughts on the character creation process, how it relates to this system and to other games. But first, the number one cliche question of all RPG podcasts. Please tell us how you got into RPGs in the first place. How did you end up here? How did your life come to this?
Dylan Malenfant 15:31
I asked myself that every day. In the old times, I had a friend who, like knew some people through a forum and they were trying to do like an online. He was a dark heresy game. And I got really excited about it as my first exposure to any RPGs I had like a bunch of books. I read through all of them. And the game never happened. Just fell apart immediately. Oh, no. Did not get off the ground, the real RPG experience. I started off with a full understanding of what the hobby was.
Amelia Antrim 16:06
Yeah, I was talking about it never doing and never doing.
Dylan Malenfant 16:09
So one day well, me and this friend were walking around talking to Alex Bohr who was on kill every monster in the flump episode, and he was fantastic. Even if he betrayed me. He, we were telling him about this whole thing you know about how this game works and all that and then he comes back to us two weeks later, Hey, I found a bunch of friends. We're gonna try playing Dungeons and Dragons. I know, that's not the game you were looking at. But I don't really get how this works. You guys want to help me run this. So we ran our first campaign, all of us kind of by the seat of our pants, just trying to figure it out as we went along as a weird little GM Triumvirate. We're like, mostly say, you've worked surprisingly well, because like, I kind of kept the broad thing under control. I ran most of the game and then Alex was running a lot of combat and NPCs and our last DM was kind of a rules monkey like running the the lookups taking over where he had to. Just anytime we had to double check, a feat text because God 3.5 What else gave for looking stuff up? But yeah, no, that's that's how we ran every session. We went to the monster manual and we're like, What monster? Do we want to make them fight next week? Well level they have to be okay. Send them a message. Tell them to level up to level five. It will make them fight this next week. We based every session around just what are we going to make them fight?
Unknown Speaker 17:42
Oh, that's why it's kind of cool though. He was he was he
Dylan Malenfant 17:45
was he was coherent plot for GMs. And one player knows three GMs and six players. Oh, wow. But like I said, one of us was just looking up rules making sure we had that everybody kind of knew what they were doing. One person was running the world and one person was basically running the people within the world.
Amelia Antrim 18:07
That seems like a really good way to do a starter game though. It is not dependent, especially in d&d on one DM to know all the rules and do all the things we talked about in our last episodes, this game is really not balanced that way as far as workload, no way to just sort of stumble into doing
Dylan Malenfant 18:28
splitting it across things. And that's the other thing is like, those are the loose slots, right. But obviously we like blood between it where like, if I had to double check something because I was going to make a call based on her I was gonna make a move based on it, I would be looking something up and Alex would step up and start running the game. And you know, our other friend Matt would be like taking care of some other side things. Or every once in a while, we'd have one player who wants to do another thing. And we just have a DM running with them for whatever nonsense little sidebar they wanted to do with just an ear open to the table to make sure nothing important was happening. Yeah, so we could pull it all back together. It works. That's very cool. But it's also like any game requires chemistry, right? If you don't like your fellow players, the game sucks. Your DMS all have to be on a common wavelength. Right?
Amelia Antrim 19:19
Yeah, that's one of those things that like as you're describing it, like it sounds really cool. But it almost seems like the kind of thing that you have to stumble into. Because I think if I tried to build that it would never work. Like it wouldn't have to have just the right people and just that like, yeah, like a perfect storm to make it happen.
Dylan Malenfant 19:36
I think you could do it if you were either one running from a module or to like fully ground up like you and I are gonna sit down. We're gonna build a world and talk about how we want it to work and how the plot is gonna go. But like, that is way more time investment than most ATMs. Honestly put in normally to run it themselves
Amelia Antrim 19:57
or have as adult
Dylan Malenfant 19:59
God Two sessions a week where one was the actual game. And the other one was the three of us getting together and planning the game for three or four days from then
Ryan Boelter 20:09
on amazing. I just
Amelia Antrim 20:10
remember in high school like playing every Saturday for like four or five hours, and I just now like, we can barely manage every two weeks. Like I just like, how did I do that?
Dylan Malenfant 20:21
I don't think I've run a game that wasn't some form of content in two or three years. Yeah, I have not adult is garbage.
Amelia Antrim 20:35
I tried to play one game in the last year. And it was for content. Yeah, there you go. Yeah, the good old days. We did things for fun. What about your, um, how did you get started?
Aram Vartian 20:49
So my brother and I had a babysitter. I was about eight or nine, Rafi was about six or seven. lol was about 12 or 13. It was that, you know, were these old enough. Watch it for a couple hours during the day kind of babysitter. And we were not trouble but you know, energetic. And so we needed to be directed. And I think like the third time he came over he out of desperation was like, Okay, you want let's try this. And he had brought over his d&d stuff and say, I'm gonna run you through a little game gonna be your view was your you're gonna do this, let's, let's play this out. And I was just transported and completely engaged in a way that I had not been about anything. Up until that point and few things since frankly, it was a way where I could do everything I wanted to do right away have, you know, it wasn't like a game wasn't like Zork. There were options. It was clear, you could do whatever you wanted. But it was also like that, because it was cool. It was building a world. And it was also I could act and therefore I could speak because that's back when my stuttering was so bad. And I really couldn't string three words together, I couldn't go to McDonald's with my friends because I couldn't say quarter pounder, when they came out with that numeric system. That was the closest I've ever gotten to believing in God because I can say number three, no pickles, but quarter pounder was really hard. Right? So I was struggling, like just to speak. And then I would start acting. And I wouldn't stutter for, you know, minutes on end,
Amelia Antrim 22:30
because you realize that self consciousness because you aren't you?
Aram Vartian 22:33
Yeah, it's that and there's also like the all this science around like when we speak in unison. Also, when we sing, we don't stutter. There's just these ways that speech plays in different parts of the brain. And so having that freedom, for the first time to just be able to speak and express myself without the hangups without having to stop without having to, you know, struggle or be afraid of what I was going to stammer over next. Yeah, that combination just was transformative.
Amelia Antrim 23:03
I, I have read so much. And even just like in my experience with my kids, and doing so like seen how much there is for kids and like learning and growth and stuff and role playing games that I really, really wish we use the more in schools and like education and things like that, because there's so many benefits that like Apparently, they've been doing a lot of studies and everything that in therapy with kids for various things to that it's like doing roleplay, especially through like d&d, or something with rules that are like kind of defined that it's worked really well for kids in a lot of ways. And there's also like that rolling the dice, like the instant gratification of like, I did a thing and then it happens and like, you know, there's just so much there. But it
Aram Vartian 23:48
makes a lot of sense with therapy. And anytime you can reframe an experience, and then re experience it, but in a safer a place where you can kind of read with more control self. Yeah, role playing is a perfect way to do exactly that. I
Amelia Antrim 24:02
also think it's a really great tool for empathy, it's one of the few things that we can do that we can very easily like slot ourselves into the position of another person and try and like live that experience in a way that we can't in other games and stories and things like that, too. So it's a really good tool for that kind of stuff. But I know even for me personally getting to like play out things that are traumatic for me in a safer space where I have control over the outcome is huge.
Aram Vartian 24:30
Also it's explorative like I can't tell you how many friends of mine during the during lockdown for two years, right? They were like, I played a lot of games and it turns out I found out something about myself I'm going to change my pronouns like so many friends like like they found time to explore in game it's like oh wait a minute, that means something and then was able to apply it to the I think that's amazing.
Amelia Antrim 24:53
Like I can play it somebody else I can explore what it's like to live under these different pronouns as this different person to you know, like to explore We are romance and you know all of those things that I can't do just
Dylan Malenfant 25:04
wherever put a but in this, there's a major caveat. d&d is very useful for exploration. It's very useful for stuff like therapy, the DM is not your therapist, your group is not your therapy. stuff you've got through through, you're actually like, deep seated, like, do not take that to your table as a replacement for actual therapy.
Amelia Antrim 25:28
No, no. And also, like, you know, like, do this as part of a session zero. And I think we've, I think, I think that Ryan and I talked about in our sessions episode, about, you know, making sure that your group is okay with playing out some of those themes, because there are people that I'll play with that are like, totally, let's let's explore those things. Let's see what happens. And then there are other people that are like, No, I'm just here to have a good time and play as a car. You know, we're not
Aram Vartian 25:56
car, traumatized card, just a car.
Amelia Antrim 26:01
Just a car, not a yes. Not a traumatized car and
Aram Vartian 26:05
Amelia Antrim 26:07
Right? Maybe cursed. Car said, but not cursing?
Aram Vartian 26:11
Oh, no, they're happy to happy car.
Amelia Antrim 26:14
Okay. Yeah, it's definitely the kinds of things that you should talk about with your group. And you know, it's not a replacement for therapy. But I do think has a lot of good opportunities. For some of those things, too.
Ryan Boelter 26:28
Every single time at work, whenever they say, We should probably do some team building exercises, or whatever my first thought is, can we roleplay? Yeah, can we get out some dice and some books and, and play some characters and play during work? For a team? That
Amelia Antrim 26:46
looks interesting? Wouldn't it be fun that because my boss is always looking for, like team building things? And there's only like, eight of us? Yeah. So it's like somebody should run us through.
Ryan Boelter 26:55
I wanted to suggest that every single time but like, I'm like, there's no way they're gonna allow four hours out of a day,
Aram Vartian 27:03
you'd be surprised my brother is like in this super corporate, like, like digital signage, right thing. And he's been like, okay, let's workshops. So we've been working out, like, how do we go to a corporation and have like, a four hour thing or like a half day thing, maybe even a full day thing? Where we use role playing to help them get together breakout? Like how do we do this, and then sell it as a corporate package. And then behind it, like, as far as professional DMing, you can add a zero as soon as you make it corporate. So whatever, you're, if you're pulling 30 Here, you can charge them 300. And they're lining up to do it, like people are already doing it. On the corporate level.
Dylan Malenfant 27:42
Yes, it's absolutely a thing that already exists. And you just have to get your people on board, which makes it easier because you can then come go like, hey, look, these are companies that are actually doing it and talking about the benefits of it, and then you can make the company pay you more money.
Aram Vartian 27:58
You got to be careful, like, like you don't go from role playing, you know, exercises for Raytheon. Right. But for some people Sure.
Ryan Boelter 28:05
Yeah, absolutely. So what do you to look for in a system as far as character creation goes, like, what, what sort of pieces need to be there for great characters to happen?
Dylan Malenfant 28:19
So for me, the major thing I want, and this is gonna come back to me attacking 3.5 is transparency. There are a lot of feats in you know, 3.5, where it's not clear how they interact with like the fiction how they would come up. And then it turns out that they're part of like a prerequisite chain. So when you want to build a character that can do X, you need to take y, z. And like for other feats, and you have to build it up, right. And when you're playing through it, and you're talking with the group, you can come up with the most brilliant fiction in the world. But if the game lies are Mr. Rex, you on how to make that occur mechanically. You're screwed. Like, that's the entire game like, yeah, so just present the choices that you want the players to be able to make in a game like d&d, that is 98% combat, tell them this is a combat ability, it does this, this is how it works. This is a ability that will not really work in combat, but it's going to be useful in these scenarios. Don't put trap options in there, that kind of stuff. Like I just want to be able to build the character that I have in my head and know that it works.
Amelia Antrim 29:30
And to know that if I pick a choice, it's something that I'll get to use because there's nothing worse than like having those options being like I picked this really cool ability. It's never gonna come up,
Dylan Malenfant 29:38
Jeff and John talks about it a lot in system mastery trap options where something is explicitly not useful. But they put it in the game for completeness. We're just like, why why would I ever pick that ability? There's no cost for that. Yeah. And it's It's
Amelia Antrim 29:57
so disappointing when you sit down I want to like, especially as a player who's never played that game before, like, I built this really cool character, and it's gonna be really great. And you sit down. And it's like nothing on my sheet is useful here. Yeah. Which is another one of those like cold session zero. But I've been there before, like, you make this really cool character that was like, I've got this great idea and this great concept, and then you sit down and you're useless.
Dylan Malenfant 30:24
I was having a conversation with someone earlier this week where I built a character in a pathfinder game where I was like, I was the item maker, you know, I had all the item creation feats. And then as you're playing, you start to realize, like, the thing I'm good for is when we're told we got downtime, by a discount code. It's cheaper than having someone else make it. But now when we're in combat, I don't have the feats built up to be effective or useful. So sort of trapped. The character, like, I can't contribute until we're actually not playing the game. And then my contribution is to make everyone else better at the game. Yeah, that stopped being fun immediately. Yeah. Yeah. And that's, I think, a problem with games like this same time being told like you're the guy who can make the sword into a plus three flaming sword. That sounds awesome. It isn't. It's a lie.
Amelia Antrim 31:17
Right? Right. Yeah. Which is a problem of game like this, where it's like, oh, you can do all these things in downtime. Cool. But like, none of the game is actually about downtime,
Aram Vartian 31:25
about down time. Yeah. And also, if you play, if you play d&d, the way it's supposed to, quote, unquote, supposed to be played with a grid with four encounters, in between every long rests on that kind of scale words, just combat a little bit of text, and then introduce your basically box text that introduce you to the next combat. If you were to play it in that method, then some of the game starts to make more sense, right? Oh, okay. Well, that's why all this stuff happens. But if you're actually playing a character, if you're role playing at all, you have to chip away at some of that, because there becomes no room you can't if you're running for combat, you absolutely do not have room to talk to each other or share a campfire story, you have to pull away from that. And then once you start pulling away, the math is wrong. So all of d&d for the way that the majority of people are playing it now. Doesn't work for the math that they have set up. On for every monster for every encounter, for every long rest, like it just no longer works. So if trying to adhere to that, and say like, well, I have to do this in order to play d&d, you don't you just have to understand the numbers just enough to make the numbers work and have consistency. And then you can basically do whatever you want.
Amelia Antrim 32:48
Yeah, right. Which comes back to a discussion that we, you know, we had in previous episodes is like, what, what still is d&d, right, you know, like how much downtime and role playing and all that can you have where it's still d&d?
Dylan Malenfant 33:02
Yeah, it's the Ship of Theseus argument, right? Like if you, right? Oh, it's nice, because the game is modular? Well, how many times? Can you replace a modular piece before you're really effectively doing something different?
Amelia Antrim 33:13
Right, which, you know, is the thing that I feel like we, we really are going to have to pick apart here when we look at the fact that we did not really touch the main book very much. Wish it you know, as part of our next question, how do you feel like using supplements for character creation? Rather than just using the player's handbook kind of stacks up? How did that feel to us, like, all kinds of unofficial stuff versus the real thing?
Aram Vartian 33:44
I like it. I like using different things. Again, it allows you to find this character and hone it in the only bar where it's a little tricky, isn't it? Make the world work like because artificer? If you're the only artificer because you're a genius, and you figured it out? Fine, that world works if there are other artificers now we have to discuss how everything's different and how there's a maglev train and everything like you have to like, like the the existence of Ryan's character, it changes a world in some way unless it's like a portal opens and from from drive through, right that's the only way to otherwise you have to radically
Dylan Malenfant 34:24
change the world. You have teleport spells and plane shifts and have a portal opens and Ryan's character drives out it changes the game but later because they have early levels Yeah, sure. We can brush off that oh, he's the only one but now when I hit you know whatever 17th level wizard and I teleport to the elemental plane of broom broom
Amelia Antrim 34:48
Yeah, and then you gotta fight that you choose.
Aram Vartian 34:50
Yeah, that's right. Yeah, no, no, that's ya know, the Elemental Plane have to choose a different one and if they ever cross
Ryan Boelter 34:55
God, rooms main enemy is the tutu Yeah, and So they have to exist in the same room, right?
Aram Vartian 35:02
There's the landing, there's the land of neutral flip flops, like there's lots of places we can go here.
Dylan Malenfant 35:08
And this is sort of the thing with looking at supplements is you have to be a little selective. Because sometimes that stick settlement comes along with a lot of fluff implications. And depending on like, like Ryan mentioned, the tutus are a legitimate thing that in that book exists, and are the mortal enemies of the broom broom. So if you integrate a firm from directly from the book, God, I hate every sentence that's coming out of my mouth, you have immediately implicitly included to choose in your world. But you have to have a longer conversation.
Amelia Antrim 35:41
To pull just this section and put it on tick tock.
Aram Vartian 35:45
Hear me out. You've introduced Vermes, the your new room from Powell, no one quite understands it. But we've hit we've accepted it. We've accepted our new from people, and they've told us the stories of the trains. And then one night, at your campsite, in the distance, you hear a horn, you hear that train? Well, that we've got that soft, comforting, mournful sound, but it's a threat. And it's getting louder. That would be
Unknown Speaker 36:15
Dylan Malenfant 36:16
exactly what we're talking about, right? Like you now have to change your world to account for the fact that certain decisions have gotten made. And it's a dangerous thing to do as the DM because now, we're I running this game. And I came in, honestly, it's the mistake I made, I figured, okay, I can at least provide an anchor character and build something relatively normal, fairly plain. And everyone went wild in orthogonal directions to the point where the character that stands out the most the character that doesn't work in the party, is the normal one cleric. Right? Right. You have fundamentally shifted the world in so many different directions. Yeah, we're I trying to run this. I have no idea what I'm doing.
Aram Vartian 37:00
But you're the audience. And now yeah, you know, you if this is a live stream, right? Or if this is a podcast, you are the audience in your the connection in all the craziness, you've got to play the straight man or the straight work.
Dylan Malenfant 37:11
Sure. So what I'm saying is that if the DM didn't know what we were going to pick ahead of time, right? We now have to break for like a month so that I can probably write a campaign because I had no idea that this was gonna happen. Yeah. Yeah.
Amelia Antrim 37:25
Right. And so like, that's part of the, I should say, mistake, we did not make a mistake, I know exactly what we're doing. But we're going to run a game where you allow players to use supplements to pick character types, you need to say, Yeah, within these confines, from these one or two books, you know, of this class type, or whatever.
Dylan Malenfant 37:50
Or like, even just the, this is the story, I'm looking to tell, like, you can pick whatever, from any book, find something that fits. Yeah, but it has to be able to like, which also creates one of the more unfortunate power dynamics in a game where you would look at something and you're like, huh, that doesn't fit the story. I'm trying to tell, can you go back to the drawing board? I had an entire like, it turns it nearly turned into an argument with a player where I was trying to run what I told up front was going to be a standard issue sword and board like, very, like regular fantasy. This was shortly after fifth edition came out and the class that he latched on to was the Great Old One Warlock, right? Which means now implicitly, my world has to include kazoo Lu, right, basically, and I'm left going like I because I know this is a sort of player who's going to want to integrate the patron into their story which means that now that has to feature heavily which means whatever I was running has to be compatible, you know, that sort of problems and then trying to tell it actually we brought this up in the last episode trying to tell a player sorry this thing the core books that you were allowed to do no you don't yeah, you're never winning that fight. Right? Oh,
Aram Vartian 39:11
oh, like with Ryan, you've got the whole Centaur issue like we can't go to a dungeon now.
Dylan Malenfant 39:16
Yes, the stairs. Exactly.
Ryan Boelter 39:19
Right. I take up the whole hallway. Right You know, I'm basically the the slightly shorter you know, gelatinous cube. Yeah. And I can't go around corners
Dylan Malenfant 39:29
and tavern except for the broom broom who is outside next to the horses because
Amelia Antrim 39:35
the doors headlights why the window you all meet
Aram Vartian 39:38
at a drive thru?
Amelia Antrim 39:40
Ryan Boelter 39:42
I mean, that's the thing though, right? Because like, you know, centers aren't like, just Player's Handbook. By itself. You can't just pull out a centaur. It's a player character. But I've seen it work in APs and whatnot. And the thing about it is is its own ingrained in us that we are playing humanoids that well unless it's mentioned you forget about it, and I'd be willing to bet like 90% of the players that are playing centaurs are playing them like humanoids. Like they're walking up and down stairs.
Aram Vartian 40:17
They're climbing rope. BS. Yeah, absolutely
Dylan Malenfant 40:19
a lot of stuff. You
Aram Vartian 40:20
care climbing ropes and other things. Yeah, absolutely. There's
Dylan Malenfant 40:23
a lot that you can sort of hand wave and like not acknowledge. But the more blatant it gets, right? Like, yeah, you can climb a rope. You can imagine a centaur climbing a flight of stairs and like maybe it's a winding staircase. And you're there's a certain point where if you think about it hard enough, you're like, how could you pivot like, this is the sort of staircase I couldn't get a couch up, right, and your butt is six feet away from your face. First of all,
Aram Vartian 40:50
in a world of centers, there be a lot more ramps should be a lot more RAM. So let's so maybe,
Amelia Antrim 40:55
but still can just go ahead and assume that the world of d&d is slightly more accessible.
Dylan Malenfant 41:00
Yeah. But that's the thing. It's like you. Yes. But you get into those questions. And you start like, yeah, there's a certain point where you've picked deep enough and either we need to alter the world or just accept it, like, just shut up for a bit. Right. But if you go too far away, like I said, the case of the broom broom, right where you're like, No, I can imagine like, if the corner is too tight, like horses are still like, you could bend a little bit you could fit. So you're made of an organic metal.
Aram Vartian 41:30
Can you learn from bend? Yeah, can you like bend at the waist?
Dylan Malenfant 41:35
Wheels? What if it's really muddy?
Ryan Boelter 41:37
I mean, I do have facial expressions on my grill. So yeah,
Aram Vartian 41:41
okay, wait, I'm picturing, you know, the Disney characters from cars.
Ryan Boelter 41:48
Yeah, if effectively, except for my eyes are the headlights and not the windshield,
Aram Vartian 41:52
right? Which is frankly, correct. The right way to do it
Ryan Boelter 41:57
does. And my eyes can light up like headlights, so it's fine. Yeah, yeah. But yeah. It's this whole, like, we've got all these supplements that we just kind of mashed together. We're just like, let's see what happens. And, and I personally loved it. And I love wacky, like, this is not a serious campaign, no matter how great it is, no matter how straight and serious the story is, it's not serious when you think about it even a little bit,
Dylan Malenfant 42:26
right. And race is another thing. So you play
Aram Vartian 42:28
your character. You play your character until and you play. It's super serious among us. That's how it works.
Dylan Malenfant 42:33
But this is a thing that doesn't get talked about that much. That is important. This isn't a game that I enjoy. Like, there's a certain point where you've taken it so like balls to the wall ridiculous.
Amelia Antrim 42:46
Yeah, I know. not have any fun with this.
Unknown Speaker 42:51
Iron over here, like, Yeah,
Unknown Speaker 42:54
I'm super psyched for the one shot.
Dylan Malenfant 42:55
And there's nothing wrong with that. Right? There's nothing wrong with enjoying it. I'm just saying like, there's a certain point where if those expectations aren't properly calibrated, and we weren't planning on running this game, it becomes a very, very awkward situation where I get to this point, and I'm like, do I do I just kind of power my way through it. But there's going to be a certain point where I'm just not having fun, and I will probably drag the game back or do I have to somehow find a way to tell my friends like, Hey, listen, I love you guys. You're wonderful.
Amelia Antrim 43:26
I hope you have fun.
Dylan Malenfant 43:29
I'm just not doing this for me.
Amelia Antrim 43:31
I have a lot of times about d&d though. When friends told me about their d&d, because I don't like wacky games. I don't that's not my play style is not wacky and weird and like crazy, you know, it's like, like, somebody was telling me about their game where they're like, their character is like in a Baby Bjorn being carried around by giant skeleton or something. And I'm like, that doesn't sound fun to me. That just sounds like that doesn't. Yeah, sounds dumb, too far. It's too much. It's too much.
Aram Vartian 44:00
It's an interesting concept walking around, right? But then you go, you go into town, and you're like, No, carry me into the end. I'm like, No, see, people don't like this. Like, I see you want to do this. But you have to accept that there's a reality. And then people are gonna react differently than you. You can't just walk onto a set every time you want to expect the world just to be a set. Like if we're gonna buy in, you've got to buy in. If you can figure out a way to make this wacky thing actually work in this world. Great. Do the extra work, but don't just dump it on us and expect us to buy into your bad premise. Yeah,
Dylan Malenfant 44:33
yeah. No, that's, that's sort of what I'm trying to get at is like, if you can't set those, those baselines, then you wind up with a nonsense premise. Yeah, there's another thing that I just want to bring up real quick. We accidentally made a garbage d&d game that I have no interest in playing, right. We can restructure Ryan's character slightly. And this is a Shadowrun game that I would play. Right because the thing We accidentally built was a beefy caster, a face, a hacker and the wheel man. Yeah, you make it the sort of thing where you can just do like a mental connection to the car or you jack into it or whatever. And it's effectively the same sort of concept. Right? So, and this is, again, one of the walls you hit up against.
Amelia Antrim 45:23
So it's definitely like in how you skin it and like what you're doing. And then the question is,
Dylan Malenfant 45:28
is it the end what your world is? And that's the
Unknown Speaker 45:32
Ryan Boelter 45:33
No, it's not shattering.
Dylan Malenfant 45:35
It's a garbage d&d game, because it doesn't make sense. And you have to jump through all these hoops. And by the time you've put it into the right brackets, the right setting to make it work. You've stopped playing d&d, and you need to change the system, because d&d doesn't account for the things we're going to want to do in a game that has these characters in a
Aram Vartian 45:57
chatroom, and it gives you some leeway. We were talking with Carlos and the quote came up like two people, the average person will only ask why twice? If you give them a scenario, they'll only ask why twice. If the first thing is it. Shadowrun there might not be a second quarter
Dylan Malenfant 46:13
cover. Most of that rule expects reasonable answers to each ask like, what's Ryan playing? Oh, he's playing a sapient car. Wait. So did somebody invent cars? No. Cars are just creatures with two there's two. There's like a city then. Like do they come at eggs? Like no, no, there's a factory. Hold on. So are these constructs? Like,
Unknown Speaker 46:36
had been? Shadow run?
Aram Vartian 46:38
You would have gotten Oh,
Dylan Malenfant 46:39
like, okay, sorry. He's not playing a sapient current sapien car, he's playing a hacker who is jacked into a car and just controlling it from a post. Okay, yeah. That's shadow run.
Aram Vartian 46:54
Yeah, that's just, oh, you're just playing basic shadow run?
Amelia Antrim 46:59
Yeah, I'm pretty sure that in our shadow run episodes. Didn't make me I'll just make Jesus. Yep. Yeah.
Ryan Boelter 47:05
Literal Jesus, literally, somebody that was pretending that they did Jesus.
Unknown Speaker 47:12
Yeah. Sounds right.
Unknown Speaker 47:13
So it sounds very on brand.
Amelia Antrim 47:15
Yeah. Yeah. And then there was a teacup pig. Somebody made a teacup pig. Amazing. Yeah, I mean, I think the answer like, oh, it's shadow run. Just totally. I have so many fewer questions covered. Yeah. About the things that we did. If you had said we did this in Shadowrun. Yeah, yep. And because all of the things that we made would have been in the core book.
Dylan Malenfant 47:36
Amelia Antrim 47:39
Yeah, I agree. I think so much of whether you do or don't use supplements, what parts of supplements you use, how you use them, all of that kind of stuff really has to be a conversation that happens ahead of time. And it feels like so much work of a d&d game needs to be front loaded for it to work at all.
Dylan Malenfant 47:58
It's got to be judicious choices. Yes, supplements are amazing. And they expand what the game can do. But if you expand in too many directions at once, it's nonsense.
Amelia Antrim 48:09
And there's so much cool stuff out there that people have made that I want to be able to touch but like, yeah, yeah, yeah.
Ryan Boelter 48:18
Well, it's interesting, because I was I was going into this thinking we might throw out this first, this next question, because it is like we talked about d&d, we talked about how the process character creation, you know, reinforces the feel of playing.
Amelia Antrim 48:34
Yeah, it's a very combat heavy, I think was the dance we came to last time, right.
Ryan Boelter 48:39
But but in this scenario, I have a very good idea of how this particular group of people would play and it would be wacky,
Amelia Antrim 48:50
right? Yeah, we have we have definitely set a tone if nothing else.
Dylan Malenfant 48:54
Oh, absolutely. So that being said, we set a tone that is nearly incompatible with the game itself. Yes. Right. Like d&d is a combat simulator. wackiness comes in through description and through fluff, like we've done something. And Amelia, I think you brought this up in the last episode. Like there's a certain possibly the first episode doesn't really matter. But there's a certain point where like, if you're doing it entirely outside of the rules of the game, are you playing the right game for what you're trying to do?
Amelia Antrim 49:25
Right? Yeah. Which is my has always been my big thing with people who are like, Oh, just reskin it and five E and it's like, but there's really again, it doesn't better, you know, like it doesn't, the mechanics that you're using should reinforce the feel of what you're trying to do. Right mechanics should help tell the story. They shouldn't be just like, a thing that you do. And then also we tell a story, which is what seems to happen in a lot of games where people are like, I love d&d, we're telling this great story, and it's like, no, you're rolling dice and doing combat and also the Yeah, writing some fanfiction like you're not, you're not doing both.
Aram Vartian 50:03
We are telling a really good story in between the three hour slog it takes to do every room of combat. We're telling a fun little story in the hallway.
Amelia Antrim 50:14
Right, right. No, I think that we have set an expectation for what the tone of this game is going to be. Honestly, I think Brian was really the one that set that expectation because, yeah, right. When I look at my character, like, Yes, I picked this like digital God, and I picked you know, this, like, sorcerer, or whatever. But those none of those choices were overly like wacky. They are distinct. And you know, not necessarily like basic d&d.
Dylan Malenfant 50:43
It's a tech level, but it doesn't change a tone much, right.
Amelia Antrim 50:47
Like most of the decisions I made were like, toward the darker, more evil kind of thing, which is what I do. Ryan's character is the one that like, flat out was like, I'm a car, honestly, here we are,
Dylan Malenfant 50:59
I guess if there wasn't
Ryan Boelter 51:00
a car, it would have been a magical girl, and then we would have been much closer
Dylan Malenfant 51:05
it would have been hold. And that would have actually become a lot more interesting. Because then what you have is a bunch of different varieties of Chosen One. Yeah. Oh, yeah. And that was a little bit like, streamlined in the narrative, you know? Yeah, that would have
Amelia Antrim 51:22
been an interesting like, council was chosen one's kind of like,
Dylan Malenfant 51:26
you've got the Magical Girl, you've got the, like, weird digital consciousness from the distant future. You've got the one that was just chosen by a regular God in a fantasy world, and the sax guy, yep. Which someone
Aram Vartian 51:43
always has to wander in.
Dylan Malenfant 51:45
But that's the thing is, you have to wander in, but then the story becomes like, if everyone else is the chosen one, and somehow you've accidentally wound up in the party, are you we just not realize how or recognize. And that becomes a really interesting art.
Aram Vartian 52:00
But as long as we're gonna play a full campaign, we got like six years to figure it out.
Amelia Antrim 52:04
The question is, like, are you maybe a savant of some kind, that you're maybe my
Aram Vartian 52:10
guides, just subtle, maybe music is just this far more subtle religion that eventually guides you down a path and we learn to, and we learn about it in a little different way. Later on for a while. I'm just the guy tagging along probably the comic relief, even though there's a car. And then later on, there's an anchor point, I think is great. If you give like, you want to bring your DM every single thing about your backstory, here's the entire roadmap to like, you know, pull it all the emotional things. Here it is, give it to him great DMS. Love that. But if you're like, here's a bit of a nebulous cloud, feel free to fill that in later. That's a nice gift to hand over and it'll pay huge dividends. That's
Amelia Antrim 52:51
much more how I prefer to play. Yeah, it's like, here are a couple of hooks, like, here's some strings, you can pull on some directions I would like to go helped me figure out what happens. Don't
Dylan Malenfant 53:03
build an orphan. Don't kill the parents. It's, you know, I built a half health and eventually, you know, dad started aging, it became weird and uncomfortable. And moms who are just full left, but she's an elf. So she's definitely still alive somewhere and also still young enough that she is also adventuring. Right. Like, I don't know what happened.
Amelia Antrim 53:27
Maybe she had a family there in Canada? I don't know.
Dylan Malenfant 53:33
We do have a lot else in candidates for that.
Amelia Antrim 53:38
No, I think it's I, I also think that this is an interesting sort of exercise in what happens when one person makes a choice. Yeah, that changes everything. Because I've definitely had that in games to where it's like, we're all roughly on the same page, and then some person does something, whether it's a big or a small character choice. In Ryan's case, it was kind of a big, obvious choice. Yeah. But sometimes it is somebody's taking that one sort of, like, you know, I was chosen by my God to do this. And then the whole story becomes about that, or they change the tone of the whole game. And it's a thing that, you know, sometimes you can account for in a session zero, but sometimes sort of just happened. And I as a player, I've definitely been in games where I've been frustrated by that, where somebody like makes a decision or is like, I'm gonna do a thing. And it's like, Okay, now it's the safe show, because like they have sort of hijacked the story. Yes, it's all about them. And like, we're all just along for this ride.
Aram Vartian 54:37
There's also ways to do it for good though. Like, I know what you mean. Like, he like there's way to like, put the spotlight on you. And like, it's all about me. That's not the way to direct like, if you want a story thing, let's say you like okay, I want to make sure at this new table, my line and valence I don't want slavery in this game. I don't want that at all, and how I'm going to reinforce that as I'm playing in work. And now Oh, every time we walk into a town like I said, no lines of hills, no slavery, no racism. So now every time I walk into a town you guys for me eat, you know, equally so the world has to accommodate that you have to think about the fact that this is different from a typical d&d world. And we are actively now engaging with that, it's it's a nice way to kind of reinforce that I'm not the center point. But I have with but but my character choice has reinforced an element about the world.
Amelia Antrim 55:30
Normally, we talk about character sheets for this game. Well, for any game that we look at, and one of the things we noticed with d&d, when we first looked at it, too, is that you know, all of these boxes are like, how do you hurt the thing, right. But I want to talk about with what we've made, banned with all of these various supplements, and even just like in general experience for you, do you think that there are things that should be included on a character sheet that
Dylan Malenfant 55:58
aren't? Take a look at a standard d&d character sheet and look at how much room there is for the background? Yeah, harped on this a little bit in part one, but like, the backgrounds make an attempt at giving you non-combat options on how to interact with sort of social problems. Again, a lot of the core book ones are kind of garbagey, in that they're stuff like, oh, you need a place to stay. You're an acolyte, you can stay at the church. Problem solved. We just short circuited the existence of a problem rather than giving you a way to engage with it. But like the the intention is there.
Amelia Antrim 56:33
Yeah, it's the only real like personality bits they
Dylan Malenfant 56:35
get. And there is a weird little box, that's like, three lines, and does not provide the space to enter this in which like, explicitly tells you how valuable it is. It's the same for feats. Despite the fact that again, mechanically, feats are one of the most interesting ways to interact with the game. Yeah. You don't have the ability to write them on your character sheet. The game is very much pushing you towards all of those standard buttons of interaction. Here are your skills. Here's the damage of your weapon here your ability score bonuses and your safes. And the sheet is over. Nothing.
Amelia Antrim 57:13
How much gold you have. Yep. So
Aram Vartian 57:16
you know, it's interesting, because I think a lot of problems with d&d early if you really want like a lot of problems with d&d things that, you know, if you took it, they just change the name of race, like, Okay, what's that called races anymore? Or they're trying to get it out there. Now, species didn't solve anything, because it's still species first, right? That's the first thing, change it the background should be first make the background, the first thing you pick, make it the most powerful thing you pick, put all the dots and all the things in there, and just separate that out from species. And if the background becomes the driving factor, then you're like, Okay, this is how I was raised. These are the experiences I had. No, this is the thing I am. Yeah,
Amelia Antrim 57:59
yeah, we talked about that. With that, with the ancestry and culture book that had come out last year. You know, that looks at like, Okay, how was I raised? Where was I raised? You know, like, these things determine more about me than the fact that I am white, or, you know, the fact that I am an elf? What kind of alpha where was i and l was a raised by elves or was raised by humans, like those will tell you a lot more about you and your traits and the things that you've learned then just like elf, okay? Because I have more charisma, like know what and I think that d&d could do a lot more with that. That
Ryan Boelter 58:45
is an interesting point though, if we if we did the background and personality first and just reversed the process like that, that's a huge differences
Amelia Antrim 58:56
so much look for role playing and so much more of an invitation to roleplay because that's the thing is like what the backgrounds they're in there and you can use them and you can use them for roleplay but it's very much tacked on at the end after I've picked all of the other things I've done all of the character building Yeah, it feels like a
Aram Vartian 59:15
difference between saying like I am an elf How would an elf be this and saying that this is who I am? How does that change now slightly being an elf? How does being an elf now flavor? Who I Am? What does that add to who I am NOT? NOT? How does that define
Dylan Malenfant 59:32
who I am? It's part of what I like about sort of more point by systems where like, instead of having levels and character progression, you just sort of buy into your abilities individually. Yeah. Because like, the moment you say, Oh, I'm an elven mage. Well, everybody knows for that, as everybody knows what one to 20 is, and like, you have to start coming up with the ways that you're twisting that to make that unique and your own. But if I were to say like, no, no, my character is that I'm a baker. And I worked like, I was part of a little military camp. So I went through basic, I can fight, but then I was chosen by a god to go out on this higher purpose. I could have all the exact same abilities, but the fact that I couldn't just say, half our cleric.
Ryan Boelter 1:00:17
Yeah, and that's a million times more interesting, starting with, I was a baker,
Amelia Antrim 1:00:23
and gives you so much more to work with. And again, like for all of those people that you know, talk about other really great role playing opportunities you had in your d&d game. That's what you're playing with. And so for all of those people that want a role play heavy game, it brings that to the front and says, okay, like, now, how does this affect my story, rather than like, I have swords, and also a family, I guess.
Ryan Boelter 1:00:45
Yeah. And honestly, if you if you put the background first and you want it to be you still super important, quote, unquote, for the people that are just there for the stats, right, just there for the combat abilities and stuff, throw that into the background as well, like, Oh, you were a fisherman. So so that means that you've got you know, extra dexterity and extra, you know, this because of, you know, your your ability to work on boats, and blah, blah, blah,
Dylan Malenfant 1:01:13
you know, or even just like, pick your background first. Okay, now pick your ability scores, same rules as normal, you get a plus two and a plus one. Tell me why those are different because of what you did. If you make, you know, oh, I worked in construction. So I have a plus two strength because I'm used to, you know, having to lug bricks around and like, right, swinging a hammer, all that fun stuff. And my secondary stat is intelligence, because I was the one who was in charge of just keeping track of equipment and making sure everything was in order.
Amelia Antrim 1:01:48
You know? Yeah. Yeah. Tell me why you have, like, not just like, Oh, I get plus one. That's because I'm a human like, great. I have.
Dylan Malenfant 1:01:57
It's a major improvement. Don't get me wrong, that d&d has dissociated those bonuses from race, at least logical thing. But now they are devoid of meaning to just pad your SATs and skew it towards what you wanted to build.
Amelia Antrim 1:02:12
Now, it's like, oh, we don't really know what else to do with them. And we do need a plus one somewhere, otherwise, the math doesn't work. So which here I guess? No,
Unknown Speaker 1:02:21
you don't just put factor them into the standard array? Yep.
Amelia Antrim 1:02:25
No, we can't change. We can't change this. What are you talking about?
Dylan Malenfant 1:02:27
We can move the numbers up a little bit. Add a couple more points on point by themselves.
Ryan Boelter 1:02:33
What are you talking about also
Dylan Malenfant 1:02:35
stop this stop putting in scores from three to 18. They're useless. Give it Give it to me on a scale of minus five to five, there is the minus eight going up. If you got
Ryan Boelter 1:02:47
infuriating, then I leveled up, I get a plus one to my stat Hooray, dies, does nothing literally nothing. Not until I level up four more times. And I get another plus one to that stat. Oh, yeah,
Dylan Malenfant 1:03:01
this has come up like three times in different spaces. d&d, one likes to bring back healing surges, because that's what they did with hit dice. And then they forgot that that's what they did with hit dice. Having that be like, Oh, no, no, you have a healing resource that you can spend. So now I'm level eight, I have eight hit dice, and this potion doesn't cause me to magically heal. It accelerates my natural healing so that on the battlefield, I chug this and I regain. But it takes away and now I don't get to rest as much any of that stuff. Those are great. And now it's a resource that can be managed and can be worked with. And that's how you make blood magic really work in d&d? Is it for now instead of my hit points, my healing is the thing you're spending out of that can be way more interesting. That's really cool. It's
Amelia Antrim 1:03:49
a big problem with a lot of things. In d&d, though, they're like, we changed this. So you could do this, but we forgot that we did it. Like they just like, they're like, oh, we'll change things over here. And then nobody bothered to like connect the dots. And remember that it also is going to affect this thing over here. So
Aram Vartian 1:04:02
complex at this. At this point. It's it's bound to happen. Yeah, I don't care how many people they add on it. I don't care how well they have it mapped out like it's too complex. They're going also there's a power creep. that's been happening concern, and that throws everything out of balance. It's I don't I don't think it's possible. Yeah, it's something this complex to keep. Yeah,
Amelia Antrim 1:04:22
not unless you again, like would just start with a new addition, you'd have to, which is, you know, I assume why they keep making new additions.
Ryan Boelter 1:04:29
I mean, at least a slight riff
Aram Vartian 1:04:31
say that, but that it's harder now. It's too because it's so complex, it's harder for them if they were to switch it over to 60. Now, because everything with d&d Beyond with role 20 With everything that they are tied to have contracts with, it's going to be a lot harder. I think they're going to, I think, a slow rollout to 5.5 and then maybe 2040 See No, sorry, two, maybe two, maybe 2030 we'd see a 60. But I think it's like that far down.
Dylan Malenfant 1:05:07
I think that I think that's fair. I can say that. Yeah. Yeah.
Ryan Boelter 1:05:11
So what, what do we think is one of the biggest flaws of character creation? Using all of these supplements? I'm pretty sure we know the answer from dealing at least. And what what is one of the best parts?
Dylan Malenfant 1:05:24
Or, um, you do this because I'm too obvious. Okay. So
Aram Vartian 1:05:27
the fun part is the good part is that by doing these long involved, character builds, and really kind of like, exploring, like, what does this mean? How does how does this affect the world, we have done a lot of the world building at the table already, we have several different worlds, in fact, for this group to work with. And that is a really fun character exercise that a helps figure out how we're going to play the game, and helps us figure out how we're going to react to each other and how we're going to play our own characters. The problem is, it takes for ever stakes for ever. And if you don't have all the booklets and it's harder for you and me, and it's expensive as hell, there are a lot of problems with the with the DND. Assistant, but it's basically time and money are gonna be the two big ones for me.
Dylan Malenfant 1:06:19
Yeah, I think specifically with the supplements. And Ryan, let me know if you call this one biggest flaw is that around this right? There's a lot of fun. And hold on, because sometimes he says something, or we're gonna get a ROM is right, it was a lot of fun to sit down and do all these world building exercises. But that asymmetric system that we talked about, means that we sat down, we had a lot of fun as players talking through different ways we can make this world work different vague sort of senses of the world in which this party could exist. And now player five, who obviously in this podcast doesn't exist, has to go home, take all those suggestions, synthesize a coherent world in which a plot still happens, because this is the thing. When we switched it to everyone as a chosen one. And Ryan played a magical girl. We immediately had a narrative plot, right? Oh, right, the party implied a story. Just trying to make all of these characters exist in the same place is arduous, trying to then tell a story that occurs using all of them. Now that they're all here, borderline impossible. So like, yeah, it's a lot of fun to do. And having all of these options and doing the character building exercise is great. But it sucks so much for the DM to then have to go and make something of it. Especially given that, again, the way d&d lays out its workload, it is one person who now has to turn this into a story instead of a pile of kind of funny stuff we said.
Amelia Antrim 1:08:01
Right, right. Yeah, I mean, this is one of those few times where we're coming away from the show. And I'm like, I'm glad I don't have to play this game. Like, I'm glad that this isn't a thing that I have to do. Normally, we walk away, and I'm like, Oh, I wish I could do something with these characters. That would be really fun. And this one, I'm like, burn them all. Burn it to the ground. Like it was fun for what it was. But you're right. Like I just, I can't see a game where this works coherently. And it's fun for everybody. And everybody gets like equal screentime too, because I just I just really feel Ryan love you though. I do you have driven this off the rails? With that one choice is that like, no matter what the rest of us do, everything is a slave to that one decision that you've made.
Ryan Boelter 1:08:51
And to be fair, that was exactly my intent going into it.
Dylan Malenfant 1:08:54
Yeah, yeah. No, no, you you knew you're doing and that's fine. Like I intended
Amelia Antrim 1:08:59
to we knew that there wouldn't be consequences. Yeah, exactly.
Aram Vartian 1:09:04
Giant or troll this would have been less intrusive than living car.
Ryan Boelter 1:09:08
Yeah, exactly. And that was kind of my whole point is like, if if you are the player that takes that really out there supplement and picks the most like unorthodox character from it. You're gonna you're gonna have this sort of experience. Yeah, but I wanted to showcase that.
Amelia Antrim 1:09:32
Here's a question though, is it it's gonna
Dylan Malenfant 1:09:34
Unknown Speaker 1:09:36
Hunter for hunters that
Unknown Speaker 1:09:39
they're gonna resent you. Yeah.
Amelia Antrim 1:09:40
200 some choices, right? Lucky that that book had a ton. Right? If we had all gone equally out there because it had things that were like, you know, butts for faces and stuff. Like if we had all chosen to do something like that non d&d Like, would it have helped?
Dylan Malenfant 1:10:05
No. No, because I think there were certain cases where I think you're close enough to normal. Like, say the Centaur case where you can just tell people like, okay, yeah, the senators gotta go upstairs sometimes it doesn't really make sense the wizards casting fireball, leave me alone. However, replace that sentence. Yeah, it's really hard for the car to drive up a stairwell. But also around this character literally has a butt for a face and communicates through farts. And you haven't actually made it better. You just made everything like, you know what, actually, you're right. Let's talk about why that's true.
Amelia Antrim 1:10:48
Aram Vartian 1:10:49
I also want you to know Dylan by assigning dubs the buttface character to me, you have invoked that in the future, there will be a time when I roleplay that now and I want you to know, it's gonna cycle back to right you did it to yourself or your fault.
Dylan Malenfant 1:11:03
As long as you don't do it in a place where I have to deal with it. I don't give a damn.
Amelia Antrim 1:11:08
I just know that like, The book also had like, three people. It's gonna have that one. That's all. Yep. Um, you know, like, like, you know, if we all started to be like, similarly sized, or you know, like, like, at what level? Is it? Like, so weird that it just doesn't matter anymore? Or is there not a point?
Aram Vartian 1:11:27
I think we'd all have to be cars. Like, for this one? I think we're gonna look at cars. Yeah. You have to kind of be in car world. And then it says car world is? Road, that's fine. That's fine to train. But does it even matter? At that point, once we've just replaced everyone, and now we're all cars and boats and trains? Doesn't even matter? Or have we just basically rewritten the world except everyone's cars and boats and trains, but right works the same,
Amelia Antrim 1:11:55
but now it's normal, because we're all right. Now it's like if what level is it? Like this is okay, this is okay. This is weird, right? This is okay. Again,
Dylan Malenfant 1:12:06
I'm gonna talk in math terms. Okay, God, it's about it's a vector space. It's about direction, right? You can make it as weird as you want in one direction, right? We are called cars, and we're all moving on the same path. And it is so far away from the baseline, but everything is related to each other. The moment someone moves orthogonal to that you're moving at a 90 degree path on weird. Like, say one person builds a car that is supposed to be able to exist in a fantasy world and another person has decided also, this fantasy world not only has computers, but has sapien computers that are saving computer viruses that are also wizards. And one guy's like, also, it's an elephant.
Amelia Antrim 1:12:48
This elephant can
Dylan Malenfant 1:12:49
hold on. Now you have to reconcile all these things. Like also I bake bread. Also. Yeah. Honestly, I'm kind of the worst of it. Because like I said, these are all weird in orthogonal directions. But I'm anchoring us to that zero point of no displacement from normal. Yeah, I'm forcing a comparison to what things air quotes should be.
Ryan Boelter 1:13:12
Right. Right. And your character is gonna toss me like baked alcoholic goods so I can eat them through my grill.
Dylan Malenfant 1:13:18
Yeah, that's everything is terrible. Right, so like, you can go as weird as you want, as long as everybody stays close to weird, exactly. The more you go in different directions, the more you have to make all of these things true at the same time. And once they're all true at the same time. They have to cope they have to be able to be right
Amelia Antrim 1:13:42
no I fully agree with that. I just think that's like a an interesting like sort of thought exercise to have of like, where do these weird things fit in? Because yeah, they can be like because we could all play you know, the the world of cars if we wanted to, which we definitely don't you know, and it's off planes. But this isn't what we were doing. Yeah, like we weren't all being
Dylan Malenfant 1:14:10
card came in for d&d, even though
Aram Vartian 1:14:12
even though World Of course sounds like a lot of fun, and we all would have fun playing it and we do want to play. We don't We didn't play motorcars today.
Amelia Antrim 1:14:22
I feel like Dylan and I are like playing one kind of game and then like, you two are like maybe playing what's
Aram Vartian 1:14:27
the grumpiest car
Dylan Malenfant 1:14:28
I legitimately like I shut up. All right. Honestly, our characters would work reasonably well together. You and me, Amelia because I built a cleric that also took like the Battlemaster feet so you can like I build someone who could rush in and tank a fight and do healing from the middle of combat. Yeah. But then also you have the Holy angle and the grounded to like meatspace Baker element. And then you have a sorcerer who is at their core evil like there's a lot of places where that Oh, overlaps and you can tell a story that invokes both those people. And then we have a spy with us. Let's not even talk about the fact that they're a car. We also have James Bond in the party. Yeah. How did that how does that story come into this? Yeah, it doesn't.
Ryan Boelter 1:15:16
It doesn't mix. Right. Right. Interesting. Like, and this is, this is kind of a fault of d&d itself, I believe is when you create, and this is almost been kinda historically, the way it's been done is create your characters. We'll get together as a group, and then we'll figure out how it works together. Or we'll throw our characters at the DM and the DM will
Amelia Antrim 1:15:42
have fun. Yeah.
Ryan Boelter 1:15:45
And then nobody in the group knows what any other character is in the group. And we have to pretend to be best friends when we started up,
Amelia Antrim 1:15:51
and we meet in a tavern and we all get along fine when I say again, as a woman, I am not leaving a tavern with some weirdo with a sword. Yeah, like I'm not doing because I don't know why every d&d game.
Dylan Malenfant 1:16:05
The weirdo with a sword is a hot lady.
Amelia Antrim 1:16:09
Okay, well. That's right. All right, fine.
Dylan Malenfant 1:16:14
But no, this is a ramen. I actually we're talking about this. We had another recording yesterday and this came up but these characters were not characters we built together. We built these characters sitting next to correct yes.
Amelia Antrim 1:16:27
Which is totally different.
Dylan Malenfant 1:16:28
Yeah, absolutely could have like, in any situation where we intended to play the game. Like I roll my eyes because Character Creation Cast, you're making a goofy choice, but at a table. Ryan goes, Oh, I'm gonna play have room for him. And I go, No, you're not gonna like it? Can we? Can we at least grounded a little bit more? Because how are we going to build any story that incorporates the sapient car, please.
Amelia Antrim 1:16:52
And the thing is, like in almost any other series that we have made, we've had those kinds of conversations where somebody says, I'm going to do this and you say, Oh, I was actually thinking this direction and we kind of work together on it and like this one we very purposefully we're like nope, free for all and it turned out bad. Do your listeners This is why you don't do this. It turned out real bad.
Ryan Boelter 1:17:15
Yeah, it was fun. It was fun. It's now playable. Correct. In fact,
Dylan Malenfant 1:17:19
I think the next question is unanswerable.
Amelia Antrim 1:17:26
Oh you underestimate us.
Dylan Malenfant 1:17:32
Let me reword that I don't think there's a good answer to next question. Sure.
Amelia Antrim 1:17:37
No, absolutely. Absolutely not.
Dylan Malenfant 1:17:40
I anytime I say can't be done I have a baseline assumption of competency to the result
Amelia Antrim 1:17:46
should or not the same Dylan let me remind you
Ryan Boelter 1:17:50
my characters really bad attribute roles.
Dylan Malenfant 1:17:53
Oh god I forgot you don't even exist it's like
Unknown Speaker 1:17:59
Dylan Malenfant 1:18:02
yes the bright side to this is we're gonna run the car with
Unknown Speaker 1:18:05
a check engine light on
Dylan Malenfant 1:18:09
say we did this recording we built these characters. And I was running this game. I would be completely comfortable with it because at the end of session two that car is definitely dead. I'm just not asking you to make a new character.
Amelia Antrim 1:18:23
Right you have not been invited back for it
Unknown Speaker 1:18:26
I love and influence there's like one fireball it's like literally dead
Amelia Antrim 1:18:36
let's do this. Next question, everyone. How does this story play out? Let's let's do our fanfic. Oh, please tell me about this group. How do we get together
Ryan Boelter 1:18:49
very thankful that my character is not the elephant in the room
Dylan Malenfant 1:18:56
are you worse than him?
Aram Vartian 1:18:58
Well, you know what, you know what?
Amelia Antrim 1:19:01
He is worse because he's like nice and you like like Iran doesn't even try and like Ryan is likable like you want to like you want to like it and then there's a ROM that's just like
Aram Vartian 1:19:14
so delicious so flummoxed because I don't try and yet all of the guests even his childhood friend
Aram Vartian 1:19:24
all turn on you
Unknown Speaker 1:19:29
make no effort
Unknown Speaker 1:19:31
Amelia Antrim 1:19:34
That's what makes it worse though. Is that like you don't even try
Unknown Speaker 1:19:37
this it's like if I was lymphoid just like walking under like a six foot bar just stride right through.
Dylan Malenfant 1:19:43
Yeah. Anyway, so But why do we make this way I got a question becomes Hold on. Sorry, go once. My my guess for how we make this work is we pick who isn't present. Because it could didn't show up this week. Because if I'm not There, the game starts to make a little bit more sense in a given direction. Right You now have a musician, the weird computer lady and like we've gone full weird. we omit Amelia, we get a new kind of weird that can get a little bit more tethered to reality because the baker and the musician in their weird mystical van. Yeah, still weird but like a more grounded weird and you can tell sort of more episodic stories like that. I think God, I legitimately think if we take a ROM out, I'm still too far out for the whole system to work between the three of us. Like you take out the broom broom, and like I said, the play off between Emilio's character and mine can clearly work because you've got a very direct wholly versus corrupted and then we've got sort of the neutral dude who is just kind of keeping the party operating. Yeah. Yeah,
Amelia Antrim 1:20:54
we are just all playing very different games. Because like, that's the thing is like, I don't look at my characters being that out there. Like the digital God part is is weird. Yeah. But it's not. It's not weird. Weird. You know what I mean? It's like it's a construct, but like, you could have it be magic instead of computer, you know, fluff.
Aram Vartian 1:21:17
Here's how we do it. Okay, hang on, I got this. I've got a magical portal opens and blasting through it comes this car. This strange, exotic machine that's never been seen before here comes skidding to a stop almost crashes. over a cliff, the door flings open and a curly haired handsome man comes stumbling out with a fatal wound and dies there on the ground. The magic that has infested this car as it went through the portal splits its intelligent personality from its bodies, there's still a mind lift in there. But there's also this other mind that is now it's separate thing. This broken, confused, scared now to beings comes across the campsite of a simple chef who somehow sees beyond the differences is able to provide a little bit of safety and a little bit of space. But while the digital creature has a voice, this car doesn't. And while they're able to find safety and sick and security as this new family, the car can't speak. And for many days, there's a little bit of sadness in this new group into one day, an elephant comes along with a horn of their own and teach his car how to speak in a new way.
Dylan Malenfant 1:22:50
Okay, so that's terrible. Here's why.
Amelia Antrim 1:22:55
flows right past me sentiment, like, let me tell you why you suck.
Dylan Malenfant 1:22:58
So what you did there, because you told a story that involves off all four of the characters. d&d, that wasn't a d&d game, you assumed immediately just an unexplained existence, you linked Amelia and Ryan's characters, right off the bat. That's fine. I'm fine with that. Then you bring me in, and you've created a party that could then do some kind of weird ventures, but you have no real explanation for what we would do. That is a d&d game in that. And then after you skipped over the d&d game that we have, and with the incomplete party, you use your character to do another story that isn't a d&d game. That completely resolves all of it, at which point the entire party is together. The story is over. And a d&d game still hasn't occurred, or even started introduced how
Aram Vartian 1:23:44
the characters come together. This is our we meet in a tavern but it's better because it's an actual story that ties us together emotionally and now a d&d game can be get have, we had to do a lot of growth. What are we? Right you so like, what
Amelia Antrim 1:23:59
is this group cobbled? Together? And like, why are we Why is a computer care about
Aram Vartian 1:24:06
anything, Amelia? That's the answer.
Dylan Malenfant 1:24:09
See, this is what I mean. You're just washing over the actual game that you're trying to get to. And like it was the dungeons around works for the nonsense story, right? Like if you accepted this is absurd. We're bringing unrelated just an integrable party members together, and we're just going to play a d&d game now. Yeah, completely fine. But at that point, we've shown up to a beer beer and pretzels game with our own character sheets having spoken and we just sit down to do the dungeon.
Ryan Boelter 1:24:36
Let me let me lay something down for you. And I can I can turn this from a wacky d&d experience into something completely serious and no, okay.
Dylan Malenfant 1:24:47
I don't believe you but I'm willing to hear you out was
Ryan Boelter 1:24:50
how is a an organic, sentient car to a group of normal people in a fantasy world Old that different than a beholder? First of all, okay, they're both weird and totally alien. This session car sure comes from the realm of motorhome according to the book. Right? And comes through a portal. Portals exist different dimensions exist in the d&d world. Okay, so now you've got this room from this this sentient car, who they wouldn't even think of it as a car. They would think of it as
Unknown Speaker 1:25:32
what? You're right. A creature beholder? Yes.
Ryan Boelter 1:25:36
It's like a, like a weird sort of look at this really ugly Beholder that can hold people inside of it to travel.
Aram Vartian 1:25:46
That's what the holder part stands for.
Ryan Boelter 1:25:49
Exactly. So you've got this multi dimensional like story. Clark kind of coming through here, right? You've got that that potential for tutus to come into play? And like be a frightening monstrosity?
Amelia Antrim 1:26:06
Why did we not just straight up murder you if it's a d&d game? Oh, d&d player.
Dylan Malenfant 1:26:13
That's if the DM introduces it, right, because we were talking about another player showing up at the party and describing this. And what you're sort of talking about is the case of this is what my character would do, which is a bad way to play right? allowances for our fellow party. So
Amelia Antrim 1:26:27
what my person would do I would also murder Ryan, what she's
Unknown Speaker 1:26:30
saying is that if there was
Aram Vartian 1:26:31
an immune builder showing up, you're probably going to attack it there. You might not like ask questions. First is what they're saying. What is
Amelia Antrim 1:26:39
not what my character would do that? would do?
Dylan Malenfant 1:26:44
It? Yes. If I was in carry, I would try to sit not carry which was Karwan. Christine? Yeah, yeah. Sorry. It was the other one where a lady's name was a standard for all
Ryan Boelter 1:26:54
right. Could it mean it takes say, beholders weren't a thing in the d&d world and a century and Beholder pops into existence? And is like, Hey, I don't want to I don't want to do harm to all of you. I just want to exist and do my thing. And, and like, maybe get back to my home world. You know, that's that's, that's interesting. Is it is story arc.
Dylan Malenfant 1:27:23
I agree with you. Run the same page so far. Yeah. Amelia, Satan's Mac, effectively. Yeah. So that's what sort of weird orthogonal direction right element comes in is like, you're right. Any given weird thing in this campaign? Yeah. Good work. It's making all the weird things.
Ryan Boelter 1:27:45
So now, a roms character and Dylan's character both your characters are like the quote unquote, normal to a d&d existence type characters. So then now we have to explain Emilio's character as if the world can hold that sort of construct, right. Yeah. So yes, magic and potentially like computer systems work. I mentioned. Medieval neon aesthetic setting, which I still would be
Unknown Speaker 1:28:17
Aram Vartian 1:28:18
Imagine all the neon lights underneath armour? Come on, it would be friggin amazing.
Amelia Antrim 1:28:22
Oh, my gosh.
Dylan Malenfant 1:28:24
Ryan Boelter 1:28:27
Dylan Malenfant 1:28:28
I think, like the aesthetic works, certainly. But like I said, there's a certain point where you're building a lot on top of a lot of other stuff. And that's just, that's my, that's my concern. I think it's to try to build with real coherence, it's going to stress a lot. And trying to make sure that this world makes sense detracts a lot from being able to just tell the story,
Aram Vartian 1:28:55
making magic, it's
Amelia Antrim 1:28:57
a lot to like, as a player to try and grasp because I think even if you had the kind of DM that could come up with a game and all of this that like you as a player trying to absorb the world that the DM creates with this is like a lot of back lower and stuff to really understand and grasp. And because
Dylan Malenfant 1:29:16
then we could also like we could tone your thing down by losing the Digi part of it. And if we just characterize your existence is like, if find familiar, broke away from the Wizard, right, which is a kind of interesting character, I think. But again, that means that we have to impose on your character,
Amelia Antrim 1:29:34
right, right. That means I've come with a concept and you've said no, we can't do a hold on we need to
Aram Vartian 1:29:39
adjust. What if we just make a match and lectricity? What if we literally give electricity, the property of magic, then everything works in this world? Sure.
Dylan Malenfant 1:29:50
Again, we're now pushing into territory where like, why isn't? Yeah, it's just
Aram Vartian 1:29:56
writing century shadow run is what we're making. Yeah, yeah, the time you
Dylan Malenfant 1:30:01
can make it work, the question becomes why are you playing?
Ryan Boelter 1:30:05
Yeah, I mean, and honestly, that's that's what the supplements are for right to completely take the framework of what d&d is. And to play a slightly if not completely different in different directions. But
Amelia Antrim 1:30:17
the thing is, I think the purpose of a lot of supplements is I don't want to play d&d, but I don't want to learn new rules.
Ryan Boelter 1:30:23
Exactly. Yeah. And that's 100% valid way of going about it. Honestly. I love the creativity, like Yeah, 220 ish, new, you know, species of characters that you can play as a lot of them are wacky, a lot of them are wild. A lot of them could easily fit into traditional d&d world, whatever. But like, that's a lot of amazing creativity. And they're bringing that to the 5g system, which is really, I
Amelia Antrim 1:30:55
think there's a ton of like, and I certainly don't want to write that off. And I don't want people to, you know, come out of listening to these episodes, thinking that like, the creativity that people are putting into these games is astounding. Yeah, there was a supplement last year that was Neverland, that like, I mean, it had whole new character classes, and like it just like, like all like this different hex grid and all kinds of like, it was just really gorgeous. And there's, there's lots of cool stuff being done. And I absolutely understand that there is a cognitive load involved in learning a new game, there is a financial aspect in picking up a new game and having to buy new books. And I know people say like, well, if you're buying the supplements already, why don't you just buy the new gate, like, whatever I get that. But there is a lot of effort has to be put into learning a new game, finding somebody to run a new game, making sure everybody in your group wants to play anyway. So there's definitely something to be said for picking up supplements and saying, I want to play d&d, but I want to play in space. Cool. There is an option to do that. You know, like I want to play d&d, but I want to play in Narnia go for it live stream. There are also times where as we have shown here, d&d might not be the game that we're trying to play. Yep. With what we built. Yeah. And that is valid.
Dylan Malenfant 1:32:19
I think it's part of why like, we've seen a little bit like, from some of the conversations in the discord for the channel, like some of the things that I've said, haven't necessarily landed, because we are coming from a place where, honestly, at this point, I know too much about RPGs. So I can recognize places where like, Oh, I think this is better served by this. And I can just pivot because I do know that system, because there's
Amelia Antrim 1:32:44
definitely a right that like I have learned the shorthand of a lot of things in RPG is that I can just pivot and say like, okay, I can go over here, and I know how this applies. It doesn't feel like learning a whole new thing to me anymore. Because I have all of this shorthand, you know, it's like, okay, I know Latin. And so now it's easier for me to learn the other Romance languages, right?
Dylan Malenfant 1:33:07
It's, it's a weird analogy to the whole, like, if all you have is a hammer, everything looks like a nail, right? Like, we have to also like, extend the analogy a little bit to just be like, there are things that are better to do with an x instead of a sock. So as a precision tools, X just does a splitting job. But if you only have an x, and you need a saw, well, I mean, I guess we have to, we have to make it work with your work. We're just going to use the tool we have with that if you're running d&d, because you don't have the time or the money in the investment until you build up that knowledge. Because
Amelia Antrim 1:33:41
that's what your group is cool with. Like, there's like my brother is one of those people that like I have played with him before. Like, I know, he knows how to play other games, just because that's what his friends want to play. And it's like, cool, live it up. If that's what's fun for you, and you want to try out different things or play at different ways. Or, again, there was a game that came out last year, it was the spy game that was like a spy version of d&d. But gear was done as magical items. Like it was it was a really cool mechanic and it's like there are there are ways to change it up and like do
Dylan Malenfant 1:34:18
it done it with spell slots, and I get where you're coming from.
Amelia Antrim 1:34:24
But that, you know, there are ways to reskin it that are you know, like interesting and new style. Yeah, that aren't just like, oh, I changed the name of it and you know, added plus two and whatever.
Dylan Malenfant 1:34:36
These are the the Oh, GL glut of just another 1000 feats that are plus one to your right acrobatics.
Amelia Antrim 1:34:46
Yeah, there are definitely cool things happening out there and like people are making new stuff in new ways. So there's definitely still things to be seen. It's, I think, as a proof proven. It's just it's an how you use it. Yeah. You know, it's not your views that you
Unknown Speaker 1:35:02
use more than once. Yeah, exactly.
Amelia Antrim 1:35:05
And who you who you let use this,
Ryan Boelter 1:35:09
right? And you have to also have to be careful because like, from just from picking the from from like, aside from the the whole thematics of your plane essentially in car. Like mechanically I'm looking at this and I'm like this doesn't make sense mechanically like, why am I missing out on this attribute? Why do I have to miss out? On the second attribute boost? Why do I have to miss out on that? Why is it only 40 feet per second or four per ride?
Amelia Antrim 1:35:33
Aram Vartian 1:35:37
Like, but you're correct.
Ryan Boelter 1:35:39
And why can I only hold one person inside my my sacrifice
Dylan Malenfant 1:35:43
for? To be fair, we have no real scope of how fast people move because 30 feet in six seconds. Sure, nothing. Like I can run faster than that. And I am wildly out of shape. And I never did cardio really, even when I was in shape, which is a bad thing. If you're going to try to get in shape. Make sure you kind of take
Amelia Antrim 1:36:07
like three times a week and cardio is always sucks. I would rather I will do leg day every day. He has always been to run anywhere soon.
Aram Vartian 1:36:15
But it's not but for the first time.
Amelia Antrim 1:36:19
I think that's the problem. I get bored the night up. I can't like run for more than like, a couple because I'm like, this is boring.
Aram Vartian 1:36:29
As far as strength on the treadmill, I get it.
Dylan Malenfant 1:36:32
No. But ya know, that's in the defense of the, the speed of the verb room, like none of the speeds in d&d actually make any sense. And we're all specifically in the context of you moving that fast during college, trying to avoid getting hit. So like, alright, well, we'll let that slide. But I don't know, Ryan, you came to closest to sell it trying to
Amelia Antrim 1:36:58
balance a car. It's a really good point, though. Like we're trying to, you know, like when you add the speed in there, and you're like, okay, but the car needs to also go, you know, like, not so much faster than the elf or
Aram Vartian 1:37:08
you hear less about balance. And I encourage everyone who plays d&d to care less about balance, as long as everyone's having fun.
Amelia Antrim 1:37:17
Use to ask a question about that. Early on in our in our list, there was we had a question about like, how did these different classes balanced against each other? And almost every designer we had, I was like, who cares? Like not like, Why do you care about that? So like, we took that question out, because it was like after we got past d&d, everybody was like, it doesn't like it's not supposed to the only
Dylan Malenfant 1:37:39
time you can actually balance classes is when all classes are supposed to accomplish the same goal. Yes. If all your classes you're trying to do the same thing, you can measure how effectively each one does it. But when even in d&d, the rogue having expertise at high levels is wildly unbalanced. If you're making a skill check, yeah, because there's no way anyone can ever be like, say you got plus five from your charisma and you've got proficiency and deception and you double that because you have expertise. Okay, so now we're at a plus 17. To my role, literally no class can ever tell that the Rogue is lying at their highest role, even if they roll their highest role. Unbalanced, that's not balanced, not watch. The road can only have a damage output if it meets all of these conditions in combat, whereas the wizard can be standing across the room and light everyone on fire.
Amelia Antrim 1:38:35
Sneeze and then everything's done. Yeah. So
Dylan Malenfant 1:38:39
like balance is only meaningful when you can compare apples to apples. Absolutely. I think the closest to making the story makes sense was what you gave us, Ryan, but that is again, forcing the entire party to forget what cars are at which point what was the point of view playing a sapient. Gargan? Right.
Amelia Antrim 1:39:00
Why did you bother picking up? Yeah, yeah. Trying to
Dylan Malenfant 1:39:03
make sense of it. Because you're like, Oh, that's not a thing that a car can do. Well, yeah. But also he's not really play a car.
Ryan Boelter 1:39:11
No, no. Yeah. It's just a weird creature. Right? Yeah.
Dylan Malenfant 1:39:15
Once it's a weird, weird creature. I mean, just play a centaur. It made more sense. And it takes up the same space.
Ryan Boelter 1:39:22
It's true. They're both large. Yeah.
Amelia Antrim 1:39:23
Yeah. Normally we talk about our advancement stuff now. Take it up a level. Level Level One A, we've been at this for two hours already. Yep. And it's already really long. And b I just don't really feel like there's anywhere to go.
Dylan Malenfant 1:39:37
There. There isn't a story at which point like, all of it. We're in d&d. If you weren't going to multiclass then where you would go is more levels in your class. Right.
Ryan Boelter 1:39:48
We are thankful by going for levels in
Amelia Antrim 1:39:52
Yeah. I mean, I think that we there's we all pixel like weird, extra backgrounds. So Like it's just not you just follow whatever it says to do, which would not be specific to story, which always bothers me, like your leveling would have nothing to do with what's going on in the story. Because what's going on in the story would have almost nothing to do with each of our individual classes
Dylan Malenfant 1:40:16
here, even for the bulk of it. Like Ryan, I know you've took a subclass out of the book, I'm pretty sure you did as well, Amelia, but like, most of your abilities are still going to be the robe abilities out of the PhB Yes, sorcerer abilities out of the PhB. And every once in a while you'll get the bump out of the weird book subclass. Yeah, like it's already in stone.
Ryan Boelter 1:40:39
Yeah. Yeah, your back your background doesn't matter. No background or leveling up,
Unknown Speaker 1:40:43
Ryan Boelter 1:40:45
your species does not matter. For leveling up at all. It's, it's,
Amelia Antrim 1:40:50
it's so for me like for leveling up, the only thing would be, that would matter would be the one fun thing that I picked from the PHP, yes, would be one.
Ryan Boelter 1:41:01
Class. And that's, that's what it boils down to, like, you get some hit points. And, and some,
Amelia Antrim 1:41:10
maybe it's so unsatisfying.
Ryan Boelter 1:41:13
If you end if you gain a plus one and then attribute, there's a 5050 chance it will do nothing. It's part
Dylan Malenfant 1:41:19
of why I hate odd numbers and ability scores. Because at that point, the only thing left to do is you go into the feats and you find one that gives you a plus one just to round it out. So yeah, bonus. And then you can go back to waiting until every fourth level when you get an interesting choice. And you actually get to go through the scenes and find something fun to do. Yep, yep. Yep. Which point just give me a book where it's all, it's all just
Amelia Antrim 1:41:44
the end. So many dead levels are so boring, it's so boring.
Dylan Malenfant 1:41:48
I wouldn't even necessarily say they're dead levels. They're just locked in levels. It's, it's just, you're being told you are going to get this at this point, and you can't have it yet. There isn't a choice that you're getting to make, there isn't a way in which leveling up reflects the story, like you said, Unless every now and then you're carefully selecting multiclass option, and even there that can really screw with things. Because
Ryan Boelter 1:42:17
there's two points when you pick your class. And when you pick your subclass, those are your choices. Everything outside of that is locked down, you're down this line, except for maybe when you pick some spells
Dylan Malenfant 1:42:30
do do it a step worse because they tied the feats and the ability score increases to your class. So if you get halfway through and you're like, I'm kind of bored. I think it'd be interesting if I dipped into Warlock. Well, now because you made that choice, it's going to be another four levels before you get to make another choice. Because you've now put off that ASI or the feet as the case may be. It just I don't know, it locks you in in a way that I don't find fun. Right? If you're not gonna give me anything new to choose between points A and B. If I'm just going to be walking down the line you prescribed for me Why is this not just a single level?
Aram Vartian 1:43:11
Right? Why isn't it clear like in other games why if you're going to be railroaded railroad may have to put me on a pass make that path, very clear. Market?
Amelia Antrim 1:43:21
Yeah, don't pretend to not do that. I think that's I think that's what bothers me,
Dylan Malenfant 1:43:26
buddy, start playing d&d at level three. You start off at the first interesting choice you get to make in the next level, you get to make another interesting choice. And then the next level, you don't make a choice, but you do get something cool as a result of your previous choice. And then six, and seven, are waiting for those abilities to kick in and hoping that they're interesting. And then an eight you get to make another choice. Like they're, like I said, just make this a five level game. You start at level three, and then you get level five, and then you get level eight. And then you get Yeah, yeah, you'll feel like you actually get to make decisions. It matters.
Ryan Boelter 1:44:05
It's really interesting that a game that feels like the whole point of playing in in if you just look at the mechanics, advance and progress your character question is so unsatisfying that it's very satisfying, right? I mean, why are we also playing it like if you're a wizard and you hit level five and you finally get fireball and then it's like yes, I've got fireball I feel powerful. This is amazing. But now
Dylan Malenfant 1:44:33
I can wait until level 11 Because the level of force spells are pretty much all garbage.
Ryan Boelter 1:44:39
Yeah, exactly. And so it's like this progression game that is just like it progression feels like they how they treat backlogs. It feels like Oh yeah. Oh Andy you get backgrounds. Oh, and you progress eventually.
Dylan Malenfant 1:44:57
Oh, you gain you gain a level good for you.
Ryan Boelter 1:44:59
Yeah. way, roll your dice get some hit points. Here's here's some toys for you to play with. Have fun. Killing more monsters. Yeah, right. But that's that's only like a small part of what RPGs can do. And so now now you're in this whole like, well, if I'm playing d&d, I'm I'm generally playing combat because that's what the game is
Unknown Speaker 1:45:26
Dylan Malenfant 1:45:28
very good. d&d, for the record, we do. Yeah. That's why we
Amelia Antrim 1:45:33
feel bad. Like when we talk about on the show feel like we always are like, Oh, God, but I just I think my thing is always like, there is a time and a place for it. And my frustration is always this like square peg round hole. Like, yeah, not everything is is meant to be d&d, and d&d won't do everything. And for the things that you want it to do, it can do them really well. It just, it's not all the things.
Aram Vartian 1:45:56
I've mentioned this before with our show, our show, kill every monster is not a d&d celebration show. There are many, many, many d&d celebration shows. Ours is a d&d criticism show, doesn't mean we don't love it. We love the show. But a lot of our show is about looking at the end with a critical eye and re evaluating and asking questions instead of just accepting it for
Unknown Speaker 1:46:22
what it is.
Dylan Malenfant 1:46:23
Yeah, we've had a lot of people who are confused because like, they're going like, and reasonably so they come into the show expecting a lecture and explanation of like, how to use the monster appropriately in the game. And then we come in, and they're like, and here's why the game is wrong. Right? Like our base starting point is not education on d&d. It's education to d&d, because d&d is incorrect.
Amelia Antrim 1:46:47
But I also think that like conversations like that, and I've said this about myself with, you know, other things that I talked about, she's like the, there's a it has to come from a place of love. Yeah, like you only know so much about a thing. And like, you only know what to dig that deep and to look for all those flaws when you've spent. Yeah, so we're not looking in LinkedIn.
Dylan Malenfant 1:47:10
Like you're not d&d, I would just say d&d, as we move on that I don't want to play.
Amelia Antrim 1:47:15
We're not right. And it like comes from a place of love. Because it's like, look, I love you so much. I want like I want
Aram Vartian 1:47:23
about you. This is how concerned I am about you. I've put this much effort in.
Amelia Antrim 1:47:29
I am still here, because I think that we can work together. here because I love you.
Aram Vartian 1:47:37
I will give you another chance. Right? Yes. I mean, yeah, you
Amelia Antrim 1:47:41
only know that much about a game because you've looked at it so much, because you've spent so much time on it to be able to see this, like there's a point where it's like, Okay, I like this thing. It's cool. I've looked at it, I've looked at it, I've looked at it, and then you start to see all those niggly little bits that don't work anymore, you know that you're like, Oh, I've stared at it so long that I can we you know,
Aram Vartian 1:48:02
we've been in a marriage for a long time.
Dylan Malenfant 1:48:10
And this is where people are free to disagree with us entirely. Like you, we don't have to be on the same page for this one. But that it's just not becoming cinema sense. Right? See all the little niggly bits, all the bits that don't work. And then it's just make sure your criticism mattered. Right? Oh, no, it was night when he entered the tunnel. And it was day when he came out of the tunnel like, continuity error, but like Okay, so if it was still light, would that
Amelia Antrim 1:48:36
actually change? Right when I'm added to the story, ya know,
Dylan Malenfant 1:48:39
and that's the goal is just hopefully, the criticisms we're giving people are useful to them in their home game and feel warranted, as opposed to just walking in and going.
Dylan Malenfant 1:48:51
It's goofy that the wizard can't cast a spell at this level yet.
Amelia Antrim 1:48:59
That's annoying. No, I think it's worth looking at. One thing that I like about kill every monsters who was like, Okay, this is bad. Here's what would make it better. Here's what would you know, like, what would be fun is if we tried this stuff? Yeah, you know, I'd like to see it do this thing, or if it had this ability, or whatever. Yeah. Which is, you know, what I hope people get out of this too, is that like, you can play with all of these supplements. You can just here's how to direct it. Here's how to make that extra.
Aram Vartian 1:49:31
You're going to tear down you got to build up. If you're going to rip something down to the foundation, you better leave something afterwards because people care about this. You don't want to just beat it up for no reason. I mean, if you if you have a reason, you should showcase what it is to do the other thing, otherwise you're just begging just throwing bricks at Windows.
Amelia Antrim 1:49:50
Right? What was the solution?
Unknown Speaker 1:49:53
Exactly. Yeah, it was a solution.
Amelia Antrim 1:49:55
Absolutely. Yes. And play d&d. You know what if if having A broom broom and an orca Baker in your game sounds like fun go for it it does not sound fun to me I do not understand how to do it if you can go with God is your dream Live Your Dream go with your many separate gods that each of your characters worships that's fine ah
Ryan Boelter 1:50:22
well this has been a ton of fun I have thoroughly enjoyed both creating characters with with both of you and in discussing DD and and revisiting d&d After four years of doing this it's wild it's such a such a fun experiment that we did here yeah
Amelia Antrim 1:50:42
this is a weird I'm glad it worked out slash didn't work out but it was a fun little thought exercise
Ryan Boelter 1:50:48
Unknown Speaker 1:50:49
I enjoyed our failure
Amelia Antrim 1:50:53
and that's what matters right? We had fun Yeah,
Dylan Malenfant 1:51:02
and listeners if this turned out to be a slog that only we enjoyed you know, you can always try kill every monster which Episode Episode is very good.
Aram Vartian 1:51:12
Absolutely. Well, all in every episode. Kill every monster. Yeah, like in every single episode of kill every monster the guests are great. The guests are always amazing.
Amelia Antrim 1:51:22
They don't have any crappy guests on there. Yeah.
Dylan Malenfant 1:51:25
Steaks like these two having us on the show.
Ryan Boelter 1:51:34
Well, on that note, Dylan around. I thank you both so much for joining us to talk about Dungeons and Dragons. Seriously, thank
Dylan Malenfant 1:51:41
you for having us on. This was fantastic.
Aram Vartian 1:51:43
It was a great time.
Ryan Boelter 1:51:44
Can you remind everyone where they can find you online and what sort of things you're working on? Yeah.
Dylan Malenfant 1:51:50
I am basically doing my PhD and kill every monster and you can't see any my PhD stuff yet because it's not done. So check out kill every monster instead. There you go. And you can find me on Twitter at DJ melon funks. For the record, not a DJ, middle name is Jacob. And you can find the podcasts at wherever you find podcasts kill every monster or on Twitter at K M podcasts. Talk Now also on yes
Aram Vartian 1:52:21
also on Tik Tok. You can find me at a ROM Vartan. You can find everything about kill every monster at kill every monster.com Or again on Twitter at km podcast.
Amelia Antrim 1:52:33
Well, thank you both for sitting down with us. This was such a good time. Thank you to everyone for suffering through this with us. We will be back actually next week, I think was our q&a. Right, right.
Ryan Boelter 1:52:44
Yeah, it shouldn't be a surprise
Amelia Antrim 1:52:45
extra episode this month. If not two, we'll see how much we talk called to. Yeah, like that. This was a really good discussion. I loved the conversation that we got to have I loved being able to really kind of dig into that like that sort of back and forth between like, I really liked d&d, but and the number of times it in these, you know, in the series I've kind of hated on d&d, admittedly. But to be able to kind of dig in and say like, No, I think it is good for some stuff. It just, you know, a place for everything and everything in its place, as my mom says. So I really think that we, we got to hit on some of that stuff. And some of those nuances and subtleties that we don't always get to talk about. Yeah, so it's an it felt really nice to be able to do that. Finally,
Ryan Boelter 1:53:46
yeah. And I enjoyed being the instigator for once.
Amelia Antrim 1:53:50
Yeah, I do feel a little bit bad. I walked away after our recording. I was like, Was I too mean, that was like, This is your fault. Ryan, you ruined it.
Ryan Boelter 1:53:59
I I ruined it on purpose, admittedly, so.
Amelia Antrim 1:54:02
So, you know, I was like, was I to me? No, I was right.
Ryan Boelter 1:54:06
You were right. Because I did ruin it on purpose. Because that was the whole point of the exercise to to,
Amelia Antrim 1:54:15
like, this work. Yeah.
Unknown Speaker 1:54:21
Who's to say who's to say? But yeah, it was
Amelia Antrim 1:54:27
fun is to say and Dylan says, No,
Ryan Boelter 1:54:28
I know. I agree. The the level headed one in the room. A lot.
Amelia Antrim 1:54:33
I mean, I'd like after all of this is over. I can safely say like, Yeah, I'm with Elon on this one. Yeah. But
Ryan Boelter 1:54:42
before we let you go for the week, we do just have a few calls to action.
Amelia Antrim 1:54:47
If you are listening today, Monday, May 16. And there's still some time left in the day. It is miracle Monday, where Jeff Stormer is hosting a superhero themed stream up on the one Shot network twitch. It will be tons of great content all for a great cause to support trans lifeline. We have an AP on there today, depending on when you're listening to this. I don't know if it already happened or not. I don't know what time but you can find all of that over on twitch.tv/one Shot RPG so please pop in and see what's going on over there.
Ryan Boelter 1:55:21
Yeah, absolutely. We also have some new merch available on the One Shot T public store. If you love Sims for Esports as much as we do. You'll check that out. Four out of five doctors millipede agree soon as his for esports is amazing.
Amelia Antrim 1:55:41
We have one more review to read it as the last one in our pile. So please consider leaving one over on Apple podcasts pod chaser, podcast addict or a rating on Spotify. Did I get all of them on Facebook? Oh, Facebook. Yeah. Okay. But now I'm gonna read one that we got from Fishkin on podcast addict, a fantastic podcasts giving overviews of RPG systems through character creation. I would have been happy to give 10 stars out of five if I could. It's that good. Oh, thank you. That is like a we rate dogs level of like well bought at 10.
Ryan Boelter 1:56:22
Thank you. Yeah, thank you so much for that review. Well, that's it for our calls to action. Thanks for sticking with us. Everyone. We know this serious was a lot of long episodes. And I promised not to overload you with outtakes this one time. So
Amelia Antrim 1:56:39
appropriate, they were not Ryan approved
Unknown Speaker 1:56:41
out so many. I would
Ryan Boelter 1:56:43
have to be spamming the language but
Amelia Antrim 1:56:46
you would like to actually hear any of the outtakes.
Ryan Boelter 1:56:51
Pretty much. So maybe that content will find its way somewhere in the grand scheme of the universe. But, you know, until we find a poem for it,
Amelia Antrim 1:57:01
it's not. Exactly. But,
Ryan Boelter 1:57:05
you know, stay tuned next week for the start of our special bonus q&a, I guess series at this.
Amelia Antrim 1:57:11
Yeah, it's gonna have to be you. You submitted too many questions to your listeners. And now it's got to be several episodes. We're gonna have a week off from us, but you don't get one. You did it to yourself.
Ryan Boelter 1:57:23
You didn't hear yourself. But you also did it to us and we appreciate it. Yes. So until then, have a good rest of your week. Stay safe, drink some water, loosen those shoulders, you know, probably still wearing masks, vaccinate and making those amazing people. We'll see you next time.
Ryan Boelter 1:58:03
Character Creation Cast is a production of the One Shot Podcast Network and can be found online at www dot character creation cast.com had to the website to get more information on our hosts this show and even our press kit. Character Creation Cast can also be found on twitter at creation cast or ON OUR DISCORD SERVER at discord dot character creation cast.com I one of your hosts Ryan boelter and I can be found on twitter at Learn Neptune or online at Lord neptune.com. Our other hosts Amelia Antrim can be found on twitter at ginger reckoning. Music for this episode is used with a Creative Commons license, or with permission from the podcast they originated from. Further information can be found within the show notes. Our main theme music is hero remix by Steve combs, and is used with a Creative Commons license. This podcast is owned by us under Creative Commons. This episode was edited by Ryan boelter. Further information for the game systems used and today's guests can be found in the show notes. If you'd like to leave us a rating or review. We have links to various preview platforms out there including Apple podcasts in our show notes. Also check the show notes for links to our other projects. Thanks for joining us. And remember we find that the best part of any role playing game is character creation. So go out there and create some amazing people. We will see you next time.
Amelia Antrim 1:59:49
Now we got to read some show blurbs show blurbs show show birth shop nerves. Character Creation Cast is hosted by the one chatbot Cast network. If you enjoyed our show, visit one shot podcast.com where you'll find other great shows like Asians represent
Ryan Boelter 2:00:07
Asians represent celebrates Asian creators and diversity in the gaming community. Join hosts Agatha Chang, and Daniel Kwan as they discuss gaming genre and representation with their guests. And occasionally, are you with each other to the sound of Agatha is beloved air horn app. See, I did it. There we go.
Dylan Malenfant 2:00:33
It's running. It's great. It's beautiful. I've got I want to do like a secondary account just to make sure you can line these up, or you feel like you're gonna be good.
Ryan Boelter 2:00:42
It'll be fine. Cool, close. And every time we do like a clap, or or whatever, it just goes,
Unknown Speaker 2:00:50
arise, because I go like this. Yep. Or I hit my mic, or,
Amelia Antrim 2:00:56
oh, yeah, I've done that a lot, too.
Ryan Boelter 2:00:58
I gotta, I gotta turn down the game a little bit, though, because I'm still getting used to the room. Right? Sure. It's brand new, like three weeks old or so.
Amelia Antrim 2:01:07
He keeps saying things like, Oh, you can tell the difference. Like it sounds terrible. And I'm like,
Aram Vartian 2:01:13
No, I do it to Dylan all the time. I'm he's lying. I'm like, Dylan. Listen, I have completely remastered this entire episode. Listen to it. You can hear the difference. And Dylan has this concept where he's like, Oh, yeah.
Amelia Antrim 2:01:28
I do when my child talks to me is like Mom, look at this really cool. Look at that. out of you. I'm also
Dylan Malenfant 2:01:37
Dylan Malenfant 2:01:46
lady, she told me that he had completely fixed some of my audio sent me a new file and then I double check the file names to make
Unknown Speaker 2:01:53
sure it was fixed
Amelia Antrim 2:01:59
at the level of friendship so that I have another peer to where it's like, look, what do you need today? Can you just like say nice things about me for a little bit. Like that's what I really need. Great I AM.
Unknown Speaker 2:02:11
I can always I always I always know how needy Dylan thinks I am because I'll just get some cat pictures. Okay, thank you. Look at these go away.
Dylan Malenfant 2:02:24
I am busy. Here is the cat please stop talking to me.
Amelia Antrim 2:02:30
I have a paper to write Can you just go like,
Unknown Speaker 2:02:32
I'm in the middle of something. So.
Amelia Antrim 2:02:36
Thanks. Guys, I think it's important to just know what the dynamic is. And then
Dylan Malenfant 2:02:42
Amelia Antrim 2:02:46
Dylan Jude says Hi, because he's messaging me right now. He's like, I'm doing this and I was like, I'm in the middle of something. And he's like, Hi.
Dylan Malenfant 2:02:54
Dylan, listen. You're interrupting. Tell him I said hey, Jude, but don't make it bad. We're in the middle of a podcast. One
Aram Vartian 2:03:04
he didn't even have children.
Unknown Speaker 2:03:07
Was that was that joke that bad?
Ryan Boelter 2:03:14
Alright, so so half these outtakes I can't use? Yes, fine.
Aram Vartian 2:03:21
Least the least we're just trying to get like, you know, like, oh, out before your PG 13.
Amelia Antrim 2:03:27
Want us to know what we're in for? That's true. Which is why Ryan will be playing the extremely not racist race of
Unknown Speaker 2:03:37
white. Too many opportunities for
Ryan Boelter 2:03:48
speaking of supplements,
Dylan Malenfant 2:03:50
is one of the race options for
Unknown Speaker 2:03:55
to sell subclass of the. blooper reel.
Unknown Speaker 2:04:07
That's definitely Oh, take
Amelia Antrim 2:04:11
that and then my follow up question of if I go on a date with you. Will you murder me? Say Why would you ask that? I say why wouldn't my
Dylan Malenfant 2:04:23
worst case scenario you say no. And you think it's a weird question. We just move on best case scenario you say? Yes. And I leave. Right. Exactly. I
Amelia Antrim 2:04:30
think honestly, the best case scenario was this one person that said no. Are you going to murder me? There you go. And I was like, asking the right questions. No, I think I believe I said it
Dylan Malenfant 2:04:46
Amelia Antrim 2:04:47
I said, Well, I haven't met you yet. We'll see how it goes.
Unknown Speaker 2:04:49
I would like the one who was who you know who was like just didn't expect the question. Well, yes, exactly. Honestly, I was thinking about it. I was
Amelia Antrim 2:04:57
brought out So it feels weird.
Ryan Boelter 2:05:02
Now I can't because you're expecting it
Aram Vartian 2:05:04
on the table now
Amelia Antrim 2:05:10
before we actually start making characters, maybe at some point yes he I forgot that you did it wrong last time.
Unknown Speaker 2:05:21
It threw you off it.
Amelia Antrim 2:05:23
Ryan Boelter 2:05:24
it. Honestly, it threw me off to
Amelia Antrim 2:05:28
it wasn't right. It wasn't it felt something one way for four years and then like no warning just,
Unknown Speaker 2:05:34
I was very willy nilly.
Ryan Boelter 2:05:36
I was in a very silly mood.
Amelia Antrim 2:05:40
I feel like that's not unusual. You know, I feel like we come into this and we're either like, super slap happy or we're both like, way too tired.
Ryan Boelter 2:05:50
It's not unusual to click that record button. Why don't I remember?
Amelia Antrim 2:05:55
I had it in my head too. Why? Why is that in my head?
Ryan Boelter 2:06:00
Because it's not unusual. You should check your level.
Amelia Antrim 2:06:06
Why not? Yeah, just like that there's just like some real sweet bass happening outside and like oh, rattling my windows. Okay.
Unknown Speaker 2:06:19
All about the bass. All About That Bass. We did it. We did 31 minutes for five minutes of content stopping.
Ryan Boelter 2:06:35
Okay, so I didn't get any extra. Good. Actual. My character sheet. I've got too many things open. I'm too close all the stuff I'm not using
Aram Vartian 2:06:47
your character sheet is now just a Kelly's Blue Book page. Be a little nicer to me.
Unknown Speaker 2:06:56
But I couldn't say that's that's true.
Dylan Malenfant 2:07:01
I will grant that you pick something somehow. Somehow you didn't make the most ridiculous character?
Unknown Speaker 2:07:08
No, not even close. Not even remotely like an elephant named Johnny sacks who plays his trunk? Like a like a saxophone. It's not even close to the silliest thing. Yeah. Pretty happy about that. Yep.
Aram Vartian 2:07:26
I do like the car.
Dylan Malenfant 2:07:27
I say this so much. It's like, my only ask out of a d&d game usually is cohesion. Like for me, this
Aram Vartian 2:07:38
is purposeful. This is agonism as much as possible. Yeah. And then how can we pull it together in the end? I like it's fun. But it's also everything you hate, which is the best but you also just adds to joy. I mean, all of this really is about
Amelia Antrim 2:07:54
Okay, did it warn you?
Dylan Malenfant 2:07:57
We're gonna do all this you did? You did. But you under each of the slat books. So yes, I miss the cryptocurrency. Now his book.
Aram Vartian 2:08:08
He also he always underestimate how much effort I put into it to make a turret for him. He always underestimates that somehow
Amelia Antrim 2:08:16
I know but the whole point of this one was for it to be stupid. That's true. This was dare to be stupid on a per se not trying to be serious at all. I wouldn't invite our Brahmanda
Aram Vartian 2:08:24
Why would you just sabotage it
Dylan Malenfant 2:08:27
is important to have me here to sandbag things a little bit. Yeah. Because I have no capacity for whimsy.
Unknown Speaker 2:08:36
You really doesn't show up for the week hates Wednesday No, no if this is serious, Tim would literally have to be recording this with his knee on my neck and just got up just go. He's not near a mic for the next 30 minutes go. Quick. Well, you can walk me to basement.
Amelia Antrim 2:09:02
Nobody went with the pro wrestling book.
Dylan Malenfant 2:09:05
At least something with okay.
Ryan Boelter 2:09:09
My, my PDF reader always froze. It froze. I was just I scrolled one page too far. And it just said sorry, I'm out.
Unknown Speaker 2:09:20
Ryan Boelter 2:09:23
All right. My character was saved. I don't know where they're good. Yeah, so I didn't lose my horrible stat.
Unknown Speaker 2:09:31
I don't shame
Unknown Speaker 2:09:34
except we come back rolling threes.
Dylan Malenfant 2:09:40
So here's what we're gonna do. Ryan, you get what you can for usable bloopers and I'm so sorry. And any of the non usable bloopers you just pass along to around and we'll throw them up on the kill every month.
Aram Vartian 2:09:53
Across we'll do a little bit of cross promotion.
Ryan Boelter 2:09:56
All right. I will have I will have a and outtakes are tracked. And a I hate use this track.
Unknown Speaker 2:10:06
I'll just ask this tracker behind with me three hours and 27
Aram Vartian 2:10:09
Unknown Speaker 2:10:13
I'm glad that they will live
Ryan Boelter 2:10:15
on somewhere. Yeah, hell yeah.
Unknown Speaker 2:10:18
Ryan Boelter 2:10:19
now we can press stop on those.
Amelia Antrim 2:10:24
I did it.
Ryan Boelter 2:10:25
I did it too. I almost forgot to click it
Amelia Antrim 2:10:29
that kind of day. It really
Ryan Boelter 2:10:30
has been. It's fine. I feel Yeah. All right. We're gonna knock this out so fast. We'll have no room for outtakes. It'd be great. That'd be great. I've got food coming sometime soon.
Amelia Antrim 2:10:42
So yeah, that's fine. I will do the five count. We'll go. All right. Don't laugh at my janky fingers. No, no,
Ryan Boelter 2:10:50
I am very impressed by your workaround.
Amelia Antrim 2:10:53
That's like, I can't I can't do three.
Ryan Boelter 2:10:56
You can do three. It's just a different title.
Amelia Antrim 2:11:00
Ryan Boelter 2:11:04
Call to which action?
Amelia Antrim 2:11:07
Maybe the quickest we've ever done.
Ryan Boelter 2:11:08
Alright, we do have a review by the way. Oh, we do. Podcast addict. Yes, we do. I can. I can read read it out when we get there.
Amelia Antrim 2:11:19
All right. Okay, fine. Okay,
Unknown Speaker 2:11:21
so we got one. Okay.
Ryan Boelter 2:11:27
Is there a hairbrush? Right?
Unknown Speaker 2:11:31
Huh? Hmm? Oh,
Ryan Boelter 2:11:33
Unknown Speaker 2:11:35
He did? Yeah.
Amelia Antrim 2:11:37
Yeah. Didn't even mess it up specifically.
Dylan Malenfant 2:11:38
First, not official.
Ryan Boelter 2:11:43
Recording since I fixed my gain issues. I'm very excited. Okay, I'm sorry.
Amelia Antrim 2:11:51
It just cracks me up. Because every time you're like, it's me, Ryan. And you can hear all of the problems with my audio. And I'm like, I can't
Ryan Boelter 2:12:01
Oh, it was peeking so much though. All the time. Yes. But now
Amelia Antrim 2:12:07
he's like, well ask a ROM I bet rom could hear I was like, That is like me saying I can't tell the difference between a real and a fake diamond. But a jeweler could.
Unknown Speaker 2:12:15
De Beers I bet they could. Like I was like, that's not
Amelia Antrim 2:12:19
that's not good.
Ryan Boelter 2:12:22
That's my baseline.
Unknown Speaker 2:12:26
Doesn't exist at the recording, but somehow stilted around him. Not fair at all.
Aram Vartian 2:12:31
I said Dylan two clips all the time. Like, listen till you can hear it. And he'll be like, Okay, you can't
Amelia Antrim 2:12:38
see what I'm saying. Can you tell how bad my audio is? Because there's a fan blowing for miles down the road? Like, no,
Aram Vartian 2:12:49
I'm pretty sure Doug Ford it, we have to re record it.
Amelia Antrim 2:12:53
Meanwhile, I'm like, I put a pillow behind my monitor. So maybe that'll help something.
Dylan Malenfant 2:13:00
It does a little bit of recording earlier today. I shut the door to my office. And I was like, oh, that sounds more echoey open the door. Hopefully that doesn't pick up anything. Anyway.
Amelia Antrim 2:13:13
Those are my only two adjustments. He's like it's the door open. It's just it just means the curtains,
Ryan Boelter 2:13:18
more post processing, and that's fine. I mean, it's still listenable.
Amelia Antrim 2:13:24
Yeah, it's fine. Because I'm not redecorating my house. That's true. All right, we can do our five count and then Ryan can laugh at me because I can't actually count on my fingers. And
Ryan Boelter 2:13:33
I laugh because it's impressive. But you know, I was I was like, wow, that's that's actually really great. Yeah,
Unknown Speaker 2:13:40
that's fine. Okay,
Amelia Antrim 2:13:41
I will do my time here
Aram Vartian 2:13:42
during your explanation about how you were laughing at her. I just want to point that out.
Ryan Boelter 2:13:48
I was laughing at myself. Just to be on the record about
Amelia Antrim 2:13:52
we can record a podcast
Unknown Speaker 2:13:56
delete delete, delete. Next question
Ryan Boelter 2:14:05
I've got a cat intrusion. That's okay.
Amelia Antrim 2:14:08
I tried something horrible to mail to his kid to
Aram Vartian 2:14:10
look at Sweet they're big. That's okay. Hey, buddy.
Ryan Boelter 2:14:14
This is Mr. Peaches. Mr. Peaches. He is 16 years old.
Aram Vartian 2:14:20
Mrs. Mom Mr. Mr. Mr. Mr. Mr. Peaches? Well, hello, Miss Johnson
Amelia Antrim 2:14:25
truth every Safa. He never makes any noise or anything now he's just like they're like I never saw him.
Ryan Boelter 2:14:30
When he comes in. He never made it through Doctor school so we couldn't call him Dr. Peaches. Sure
Aram Vartian 2:14:35
he's not Dr. Peaches, right? Sure. And get the degree d peaches. Bachelors pizzas,
Ryan Boelter 2:14:40
Dr. Peaches and
Unknown Speaker 2:14:43
for people I dropped in high school. Like I said, No. It's something anywho
Aram Vartian 2:14:52
Yeah, diligence hurdles.
Amelia Antrim 2:14:58
That was great. It was just like one handedly. scoop lake that was a very practiced motion somebody's done that
Dylan Malenfant 2:15:05
a lot she's lovely I know she'll land on her feet but she's purring and she'll get at the microphone yep
Amelia Antrim 2:15:13
worse the sounds to have you know are chewing earlier
Aram Vartian 2:15:21
any riffs table? Oh,
Ryan Boelter 2:15:23
come on now.
Aram Vartian 2:15:26
Just because riff is an unplayable game, not because of the
Unknown Speaker 2:15:31
trap card, you've activated my palladium trap
Ryan Boelter 2:15:36
let me let me show you my cube full of palladium books.
Aram Vartian 2:15:41
I'm trying to think of like you tried to run this game with riffs and my brain just broke because riffs
Unknown Speaker 2:15:50
these are probably character classes in ribs. RCC is OCS he's
Ryan Boelter 2:15:55
what have you. It doesn't matter it's gonna happen
Aram Vartian 2:15:58
I want some glitter boy armor
Unknown Speaker 2:16:00
where the trunk is my real gun
Amelia Antrim 2:16:02
oh sure done
Dylan Malenfant 2:16:06
honestly more workable than this party in a d&d game
Unknown Speaker 2:16:14
portals open all the time and reps the whole game is based around the anything you want to just fall out and then there it is. Right
Amelia Antrim 2:16:19
Ryan Boelter 2:16:22
All right. We can hit that stop button right
Unknown Speaker 2:16:25
there we go. Hey, wait, that was our that wasn't stuff
Amelia Antrim 2:16:31
he Oh, that was so excited. I was to click he's in one day to
Ryan Boelter 2:16:34
click is one day double click the day yeah. All right. Series. 53. cold open. Let's let's get right into that action.
Unknown Speaker 2:16:50
Yeah, like, yeah.
Unknown Speaker 2:16:53
Okay. Ours for drama, but also so it's easy to edit. To recording
Transcribed by https://otter.ai |
By now, many of you know that I’ll be getting a promotion!
(I found out on my birthday!)
Or, perhaps you might say that I’m getting evicted.
(It depends on whether you see the sippy cup half empty or half full.)
But, do you know if my sidekick will be a sister or a brother?
My fate was determined by a balloon and the big reveal was captured on video,
so if you’ve come here for the sex, click below!
Stay tuned for sibling shenanigans, coming this August!
This past week, I experienced several “firsts…”
I went on my first boys-only fishing trip with Dad and Grandpa! We had to leave really early, but I was so excited that I woke up at 5:00 a.m., before Dad’s alarm had a chance to ring.
Then, Dad decided to remove the front of my crib so I could sleep in a big-boy-bed for the first time ever. I was so thrilled to experience freedom and independence. In fact, I decided to practice my newfound freedom by escaping from my bed in the middle of the night…
…and sneaking right into my parents’ bed. It was perfect; I felt so independent as I snuggled myself safely between mom and dad!!
Finally, I went to my first big-screen movie (Cars 3) at the Sparta Cinema 6 Movie Theatre! It was the 3-D version so I was provided a super cool pair of sunglasses (that I grew tired of wearing about 30 minutes into the movie). Luckily, there was no getting tired of the popcorn, root beer, Skittles and Reese’s pieces! And just to treasure the experience even more, mom and dad bought me a couple Cars 3 characters to play with (and sleep with and never part with) at home.
I will always remember my firsts!
While June is still happening, we decided to hit up another Dairy Breakfast! This one took place last weekend in Trempealeau County and featured a live band, batter-fried cheese curds, and a tractor display! I think I might be a little sad once July comes around… and a little chunkier! (Unapologetically chunkier.)
Standing ovation for the band!
I’m the leader!
Away we go….
It was a dusty ride!
Look… no hands!
… Dairy Month! And Dairy Month means Dairy Breakfasts on the local farms!!
I really just came for the balloon.
Getting my first tattoo!
Holy cheese curd!!
Eyeing up the Culver’s ice cream
I’m not ready to leave yet.
Afterward, we stopped in Viroqua to check out the local shops and then visited Connie (who just retired from UWL).
Shopping for a new bike helmet
Strawberries from Connie’s garden
If summerofthevacation means a belly full of cheese curds and pancakes, a new bike helmet, sunny days, and several fresh-garden-picked strawberries, then we should probably consider canceling the rest of the year because it doesn’t get better than this!
I did it! I graduated from the 2/3 year-old room at the Campus Child Center! Do you know what that means (besides that I’m probably brilliant)? It’s officially “SUMMEROFTHEVACATION!”
This year, I have no diapers to hold me back, so I’m about to show summer who’s boss! But, I will miss seeing all my campus buddies on the regular. Luckily, I made lots of memories before the school year was all said and done:
Outdoor picnic lunch with the parents!
Last day of the 2016-17 school year!
At the busy intersection
I LOVE a good hot dog!
Field trip to Rudy’s!
My Campus Climate buddies came over for a retreat!
Last day of IOPA for the year
I had so much fun at the “Dragon Show!” (Drag show)
Week of the Young Child – Concert
Me and my back-up singers
My fan club!
Congrats on your award, Jamie! (I’m her manager)
Why am I the only one clapping? |
|Born|| (1949-08-12) August 12, 1949 (age 73)|
New York City, US
|Education||University of Rochester, 1970|
|Employer||The New York Times|
|Known for||Film and literary criticism|
Janet R. Maslin (born August 12, 1949) is an American journalist, best known as a film and literary critic for The New York Times. She served as a Times film critic from 1977 to 1999 and as a book critic from 2000 to 2015. In 2000 Maslin helped found the Jacob Burns Film Center in Pleasantville, New York. She is president of its board of directors.
Maslin graduated from the University of Rochester in 1970 with a bachelor's degree in mathematics. She began her career as a rock music critic for The Boston Phoenix and became a film editor and critic for them. She also worked as a freelancer for Rolling Stone and worked at Newsweek.
Maslin became a film critic for The New York Times in 1977. From December 1, 1993, she replaced Vincent Canby as the chief film critic. She continued to review films for The Times until 1999. Her film-criticism career, including her embrace of American independent cinema, is discussed in the documentary For the Love of Movies: The Story of American Film Criticism (2009). In the documentary, Entertainment Weekly critic Lisa Schwarzbaum recalls the excitement of having a woman as the lead reviewer at The New York Times.
From 1994 to 2003, Maslin was a frequent guest on Charlie Rose. Overall she made 16 appearances on the program, giving her insights on the films of the day and predicting the Academy Awards.
Maslin continues to review books for The New York Times. Among her reviews are many enthusiastic discoveries of then-unknown crime writers, the first American assessment of an Elena Ferrante novel and a 2011 essay on the widowed Joyce Carol Oates' memoir, A Widow's Story, which offended some of Oates's admirers.
|Preceded by|| chief film critic of |
the New York Times
1994 — 1999
- ^ Maslin, Janet (December 17, 2012). "Janet Maslin's 10 Favorite Books of 2012". The New York Times. p. C35. Retrieved 3 May 2019.
- ^ Elder, Sean (September 23, 1999). "Maslin Bails, Critics Rail". Salon. Archived from the original on 31 July 2011. Retrieved December 21, 2007.
- ^ Barr, Jeremy (19 May 2015). "Times book critic Janet Maslin shifts into contributing role". Politico. Retrieved 7 December 2017.
- ^ Aradillas, Aaron. "She's something else. Janet Maslin in a rockcritics.com interview". Rock Critics Archives. Archived from the original on 12 February 2018. Retrieved 3 May 2019.
- ^ a b "New Assignments for 3 Times Critics". The New York Times. October 27, 1993. p. C18. Retrieved February 7, 2021.
- ^ "Book Reviews by Janet Maslin". The New York Times. Archived from the original on 28 September 2010. Retrieved 3 May 2019.
- ^ Weinstein, Deb (February 14, 2011). "Janet Maslin vs. Joyce Carol Oates's 'Widow's Story'". Thewire.com. Archived from the original on 7 October 2016. Retrieved 3 May 2019.
- ^ "Unethical, Immoral. Crude and Cruel and Unconscionable". Crossing the Border. February 14, 2011. Archived from the original on 10 November 2011. Retrieved 3 May 2019.
- Janet Maslin at The New York Times - Archived articles written by Maslin.
- Janet Maslin at IMDb
- "Janet Maslin" at Rotten Tomatoes – Includes links to full texts of reviews by Janet Maslin.
- Interview with Janet Maslin. The Connection. Broadcast on WBUR (Boston), February 10, 2000. Accessed December 21, 2007. (RealAudio format.)
- Rockcritics.com interview Archived 2018-02-12 at the Wayback Machine – May 2005 |
Who I Am
My name is Ariel Gonzalez. I’m a Junior at John B. Connally High School. I was born in Mexico and raised in Austin Texas My main interest is multimedia. I love videos games with a passion and sometimes I have more fun learning about how a game works rather than playing the game itself. The same goes with computers, I’m an avid PC enthusiast not only for gaming, but also for anything else that the PC is capable off. I’m also an amateur photographer. I’ve always loved what a camera can do to capture a moment. And finally, I’m very into music. My favorite genre is Heavy metal and about 90% of the sub-genres. I’m also learning the Cello and I’ve attempted to make my own music, but it hasn’t worked out so well. I might try again in the future.
Just like many opportunities that I’ve taken in the past, the main thing that I want to get out of this program is experience. There’s that saying about how you need experience to get a job, but you need a job to get experience. I find that extremely untrue. I that people usually say that because they don’t want to invest their own time into an internship that’s usually unpaid. But I think programs like this are a great way to not only stretch your limbs, but also get your foot in the door in huge and awesome programs like SXSW. And even though the main attraction of this program might be the SXSW gold badge, I think that outside of the obvious benefits of having badge to the event is the opportunities to expand your perspective to the multimedia industry. Whether it’s gaming, music, or cinema. |
THIS LAND FILM SYNOPSIS
"We have seen that the chiefs are selling land to business people, mining companies, giving land to foreigners to build malls. We know that sometimes our land rights are not properly written in the law. But we know that traditionally we have a land right”
Mbhekiseni Mavuso, Makhasaneni, Kwazulu-Natal
LAND RIGHTS ACTIVIST
With his uneven, determined gait, Mavuso leads us to his father’s grave. He promised his father he would fight for the land and not allow his remains to be disturbed. Hidden in the rolling hills of Northern Kwazulu-Natal, Makhasaneni was considered worthless during Apartheid and relegated to the homeland of Kwazulu.
”Now in 2011 we see people coming in and digging... and (they) were told by one of the diggers that there are minerals under here and “all of you are going to be moved”
But the people of Makhasaneni are not planning to go. They have the support of the headman, Induna Dludla – a wiry old man on the wrong side of 90, with a mind as sharp as a razor and the gravitas of the old guard. While his life has been threatened, he stands strong, not allowing his people to be moved.
“I sleep like a rabbit, with one eye open”.
THIS LAND is a 48-minute narrative documentary about the struggle for land
PUBLIC SCREENINGS AND DIALOGUES CURRENTLY UNDER WAY
"THIS LAND MEANS EVERYTHING TO US, WE ARE NOT AFRAID TO DIE"
The impact screening run of the documentary This LAND is off to a good start. Here screening with the Moreipuso Traditional Authority in Casteel, Bushbuckridge area. The audience are all land claimants in this area. This is part of a series of nationwide screenings this week to precede the public hearings. With the support of the Land Accountability Resource Unit (LARC) , Nelson Mandela Foundation and the Bertha Foundation , PLEXUS FILMS have partnered with Sunshine Cinema, using our mobile Sunbox units to ensure that there can be broad reach across the country. If you would like to arrange a screening in your community, please contact [email protected] or [email protected]. |
August 2021 Issue of the Alumnus
Tech to break ground on new engineering building Sept. 10
On Sept. 10, Tech will break ground on our first engineering building in 50 years! The 100,000-square-foot College of Engineering building will be a showcase for our flagship college, fusing innovation, smart building technology and a living water laboratory to foster cross-disciplinary learning while inspiring new generations of engineers. The groundbreaking ceremony will be held on Sept. 10 at 1:30 p.m. in Sherlock Park. It is free and open to the public.
Tennessee Tech engineering building named for alumnus known for success in transportation industry
A highly respected Texas businessman who credits his Tennessee Tech civil engineering degree for his success in the transportation industry has committed $3 million to make Tech's new engineering building a reality.
Known for his philanthropic and professional accomplishments, Ashraf Islam pledged the transformative gift to show his support for Tech's College of Engineering students. As a result, Tech's Board of Trustees approved the naming of the Ashraf Islam Engineering Building.
"We are so excited about this opportunity and recognize that Ashraf has given both his resources and his time and effort since he graduated," Board Chairperson Trudy Harper said.
In 1985, Islam founded AIA Engineers Ltd, headquartered in Houston, Texas. The company opened additional branches in Texas, as well as in New York, New Jersey, Virginia, Louisiana, Oklahoma, plus Canada and Bangladesh. He is now co-chairman of CONSOR Engineers LLC, founded in 2018 when four firms that are proven leaders in transportation planning and design, structural assessment and construction services merged.
Tennessee Tech providing assistance to flood-ravaged areas
Tennessee Tech is providing support and assistance to students and others from the flood ravaged areas of Waverly, Humphreys County, Hickman County and surrounding areas.
There are 36 Tennessee Tech students from the impacted area. Each student is being contacted by the Dean of Students office to assess needs and work to get assistance to families affected by the flood.
To read more about the volunteer opportunities Tech is coordinating, click the link below.
Tennessee Tech Fall 2022 application for admission now open
Tennessee Tech's Fall 2022 application for admission opened August 1. The recruitment season is beginning in earnest this year with visits planned across the state.
"Tech's Office of Admissions is excited to get back into high schools to help students continue their education beyond high school and join the amazing Tennessee Tech community," said Steve Keller, director of admissions. "We look forward to working with students in person and seeing them begin their educational journey."
Tennessee Tech Pride Days are here
It's that time of year again! Tennessee Tech Pride Days are here and run through Sept. 2. Purple and gold yard signs are available that say "Tennessee Tech Pride" and incorporate the university's logo.
To help the community celebrate, Tech Pride yard signs are free and available for pick up on campus at the Crawford Alumni Center (in the Varsity Building, 705 N. Dixie Ave. -- the old Varsity Cinema), at the Campus Information Desk and University Bookstore inside the Roaden University Center and at the Cookeville-Putnam County Chamber of Commerce in the Leslie Town Centre.
Tech raises $22 million in 2020-2021, sets new record
University officials announced that Tennessee Tech raised more than $22 million in the recently completed 2020-2021 fiscal year, a new record.
"This year, more than $6 million was raised for student scholarships," said Tennessee Tech President Phil Oldham. "This includes nearly $2 million from cash gifts, which have an immediate impact on the lives of Tech students."
Donors committed $22.2 million in the fiscal year ending June 30. The total includes cash, pledges, stocks, gifts-in-kind and new planned gifts.
Tech to host 17th annual Nolan Fowler Constitution Day Sept. 13
On Sept. 13, Tennessee Tech will host the 17th annual Nolan Fowler Constitution Day Celebration. This year's speaker is John Fabian Witt, Ph.D., a professor of law at Yale University Law School, and the title of his presentation is Epidemics and the Constitution: A Contested History.
Witt is the author of a number of books, including American Contagions: Epidemics and the Law from Smallpox to COVID-19 and Lincoln's Code: The Laws of War in American History, which was awarded the Bancroft Prize, was a finalist for the Pulitzer Prize, was selected for the American Bar Association's Silver Gavel Award and was a New York Times Notable Book. Witt holds a J.D. and a Ph.D. in history from Yale.
Witt's presentation is free and open to the public and will be held on Sept. 13 at 6 p.m. in Derryberry Hall Auditorium. Face coverings are required.
Alumni Association to present awards to four outstanding alumni
The Tennessee Tech Alumni Association will recognize the following 2021 alumni award recipients at an Evening of Excellence on November 13:
Outstanding Young Alumnus Award
Camron Rudd, `05 mechanical engineering and foreign languages
Outstanding Service Award
Susan G. Wells, `93 business management and `95 MBA
Outstanding Philanthropy Award
Scott Edwards, `87 business management
Distinguished Alumnus Award
Fred Lowery, `94 mechanical engineering
These awards are presented annually to individuals who have demonstrated professional success, received recognition and instilled great pride among the faculty, students and alumni of Tennessee Tech. This year's Evening of Excellence will be celebrated during Homecoming weekend.
Tech to honor Class of 1970 and Class of 1971 at Golden Grad Reunion during Homecoming weekend
Each year Tennessee Tech celebrates our Golden Grads, alumni who graduated 50 years ago! This year's Golden Grad Reunion will be held during Homecoming weekend (Nov. 12-13) and will honor the classes of 1970 and 1971. All classes who graduated prior to 1970 are also welcome to attend.
Members of the Class of 1970 and 1971 who wish to be included in this year's memory book should submit their information by Oct. 1. Click the link below to learn more.
Tennessee Tech asks alumni, where are you True?
Where are you True?
Are you traveling this summer? We want to see your photos! Snap a photo of your True To Tech magnet or decal in front of a landmark, monument or "Welcome to the State of ___" sign!
True To Tech recognizes donors who make a gift of any amount to Tech each year. Once you have made gifts two years in a row, you will receive a True To Tech magnet and decal displaying the number of years you have supported Tech.
We thank Dontrell Baines, `09 accounting, for sending us a picture from his June trip to Tulum, Mexico! Dontrell is a new member of the Alumni Association Board of Directors and began his term on July 1. Welcome to the Board, Dontrell!
Don't have a magnet or decal? No problem! Just take a photo of yourself wearing a Tech shirt or hat. Hashtag your photo #TrueToTech on Facebook or Instagram, or send your photos to us at [email protected].
Mike Duke, `81 business management, sent this photo of himself in Heidelburg, Germany. Thanks, Mike, for showing your Tech Pride internationally!
We can't wait to see where Tech Pride shows up next!
Last month we asked the following trivia question:
The Summer Olympics are underway in Tokyo, Japan! In what year did a Tennessee Tech student carry the Olympic torch?
The answer was 1996, and several alumni even knew the name of the student who carried the torch, Andy Holbrook. Congratulations to Stephanie Killian, `82 music therapy, who guessed correctly and won some Tech SWAG.
While Holbrook was the only person (that we know of) to carry the torch as a current student, Tech alumnus Chris Hennessee had the honor of carrying the torch in 2016. Check out his story below.
And now for this month's question:
Tech looks forward to breaking ground on the Ashraf Islam Engineering Building on Sept. 10! This will be the first new engineering building on campus since Prescott Hall was completed 50 years ago. What was the name of the first engineering building on campus?
Monthly trivia questions in The Alumnus are designed to test your knowledge of all things Tech! If you know the answer, email [email protected]. We'll randomly select one of the correct answers to win some Tech SWAG!
Chris Hennessee shares story of carrying Olympic torch
Last month's trivia question and the recent 2020 Olympics in Tokyo inspired Chris Hennessee, `13 interdisciplinary studies, to share his story of carrying the Olympic torch for the 2016 Rio games.
Hennessee works for Bridgestone Americas, Inc. As a worldwide Olympic partner, Bridgestone earned a few torchbearer spots and to fill these spots, they asked employees to nominate individuals who exhibited excellence in mentorship and coaching.
Bridgestone employee Christine David nominated Hennessee. Her letter outlined how Hennessee encouraged her to apply for a job at Bridgestone and helped her develop strong working relationships within the plant. David's letter was selected, and David was surprised to learn that both she and Hennessee would carry the torch.
The Olympic torch ceremony began in Greece in April 2016. The torch arrived in Brazil in early May and more than 12,000 people carried it before it reached its final destination in Rio de Janeiro, the site of the 2016 Olympic Games. Hennessee and David carried the torch on July 13 in the city of Joinville, a city of 560,000 people and a 12-hour drive from Rio.
"Carrying the Olympic flame was an awesome experience, but just knowing the impact I made on a co-worker was the best part," said Hennessee. "Our time in Brazil was one i will never forget, as the town of Joinville treated us very well. And just to be a part of such an iconic moment is something I will never forget."
Source: Southern Standard, Jun 23, 2016.
Jeffrey Lee Ray, `86 mechanical engineering and `89 M.S., passed away on July 26, 2021.
Ray grew up outside of Nashville and earned a Journeyman Industrial Electrician license while working at R.R. Donnelley & Sons in Gallatin, Tennessee. He then earned his bachelor's and master's degrees in mechanical engineering at Tennessee Tech and completed his doctorate in mechanical engineering at Vanderbilt University. He served as Dean of Engineering at Western Carolina University since 2014. Throughout his 28-year academic career, he served in many roles with the ABET and ASEE organizations and was an ASEE Fellow.
James Slayden Love, Jr. of Lexington, Kentucky, passed away on July 22, 2021.
Love graduated from Tennessee Tech (then known as Tennessee Polytechnic Institute) in 1950 with a degree in industrial arts. Love was a World War II Army Air Corps veteran and a construction superintendent for Foster & Creighton Company and Woodford Builders, Inc. He was a 33 degree mason, a member of the Robert M. Sirkle #954 Masonic Lodge and the Scottish Rite and a member of Centenary United Methodist Church.
Love's daughter Charlene Love Riley shared that her father proudly displayed a framed photo of the Tennessee Tech campus in his home.
Photo Source: 1948 Eagle Yearbook
Friends Remembered honors the memories of the Tennessee Tech alumni and friends we have lost. If you would like to include someone in Friends Remembered, please email [email protected].
Scott Muir always knew he wanted to be a librarian and fell in love with libraries long before he enrolled at Tennessee Tech.
Muir received a bachelor's degree in speech and theatre in 1977 from Tech and went on to earn a master's in librarianship from Emory University and a second master's degree from Eastern Michigan University. Thanks to a generous estate gift, Muir's love for libraries and theatre will ensure future generations of Tech students have access to the areas that were so important to Muir during his time at Tech.
"I enjoyed my time at Tech, particularly with the theatre department," Muir explained. "You have to find where you fit. Whether that's a sorority, fraternity, professional society or sports team, the way to have the best experience at a university is finding where you fit and a place to get involved. The Backdoor Playhouse was my home away from home. That's where I felt a connection. And since I'm a librarian, I thought, 'Let me do something for both of these departments.'"
Muir said he was inspired by Henry "Hank" Rowan, an American engineer and philanthropist who, in the early 90s, made a $100 million gift to Glassboro State University, a tiny school in South Jersey. Rowan's act of extraordinary generosity launched one of the greatest explosions in educational philanthropy, and his story has been featured in numerous articles including Malcolm Gladwell's Revisionist History podcast titled "My Little Hundred Million." Glassboro State was renamed Rowan University in Rowan's honor.
Muir held seven progressively-responsible library positions throughout his career and retired from Rowan University as the associate provost responsible for three Rowan University libraries.
Fall 2021 is off to a busy but productive start, with eight students, both new and returning, and tons of archive projects for everyone. Employees spent the last month putting together projects that are useful for the archives and researchers and projects that give students the necessary skills to pursue a future working in the field.
Projects include providing preservation and creating access to the records of the Women's Center, Athletics, Engineering and Communications and Marketing. All of these materials are being rehoused with acid-free folders and boxes, having destructive fasteners such as rusty staples and paperclips removed, and receiving catalog records that assist users in searching the collection. Students are also utilizing the new digitization studio to digitize large scrapbooks. Historically, the university utilized a press clippings service to nationally search newspapers for published information regarding Tennessee Tech. These press clippings were then pasted or taped in large scrapbooks. After digitization, these scrapbooks will be available online and will be text searchable. The digital version will also be more stable than the original because newspaper clippings deteriorate fast and the adhesive on the scrapbooks no longer adheres the clippings to their pages, leaving a trail of newspaper clippings every time the physical books are used.
Tech Archives also has a few other announcements for this semester. We are thrilled to announce that we are participating in the Digital Public Library of America (DPLA) as soon as mid-September. This participation will promote and create access to our digital collections worldwide. The DPLA platform aggregates the digital collections of many archives and makes them accessible in one online location. As a result, when searching for archival materials in the DPLA, the user can search across numerous archive repositories at once. For access to the DPLA, follow this link. We installed an onsite exhibit of "Imagine Going Half a Day and Not Seeing Anybody that Looks Like You: A History of Black Students and Employees at Tennessee Tech" on the first floor of the Volpe Library. Lastly, in hopes to accommodate individuals with 9-5 careers, we extended our hours on Tuesdays until 8 p.m. As usual, if you ever need assistance after hours we can set up an appointment with you that works with your schedule.
Photo top left: Jacob Gentry, a senior English major, is currently working with records of the Smithville Jamboree, preserving and processing their collection for the Jamboree's anniversary and for access.
University Archivist Megan Atkinson, Assistant Archivist Hannah O'Daniel McCallon and the University Archives staff are responsible for collecting, preserving and making accessible materials of historical significance to the University and the Upper Cumberland. Follow Archives and Special Collections on Facebook, email their office with questions, and watch for more "Archives with Atkinson" in future editions of The Alumnus.
Hannah Bratton, `21 music, is the new music teacher at Jere Whitson Elementary.
Alex Butaud, `20 M.P.S., was named executive director at Life Care Center of Tullahoma. Read more.
Alyssa Copeland, `14 agriculture, was featured in a Deming Headlight article titled "Copeland couple keeps generational cattle ranching strong in New Mexico." Read more.
Susan Dakak, `83 civil engineering, was featured in an article in Knox News titled "Having a dream, getting a chance, and becoming an American." Read more.
Zachary Davis, `21 music, is the new band director in the Bledsoe County School System.
Laura Duncan, `01 M.A. and `06 Ed.S., is the new Maury County Public School district's elementary coordinator. Read more.
Melody K. Edmonds, `95 MBA, has been named by the Tennessee Board of Regents as the next president of the Tennessee College of Applied Technology McMinnville. Read more.
Ekramul Ehite, `18 M.S. mechanical engineering, was featured in a Future Leaders for Food & Agriculture Fellows Lightning Talk about how agricultural biomass is a potential game changer for the bioenergy industry. View Ekramul's talk on YouTube.
Cynthia Gammons, `95 M.A. administration and supervision and `02 Ed.S., was named District 6780 Rotary Governor. Gammons has been a member of the Lafayette Rotary Club since 2000, serving as president in 2011-12. Read more.
Chris Gerbig, `14 MBA, is the co-founder and president of the national lifestyle brand Pink Lily. Pink Lily recently announced that they are one of the 5000 Fastest Growing Companies in America for the second time.
David Hinson, `85 mathematics, is the new campus chief information officer for higher education managed technology and IT services leader Apogee. Read more.
Wes Hutton, `20 music, joined New York Life Insurance Company as an agent in their Knoxville office.
Doug Jenkins, `90 business management, is the new president of the Tennessee Trial Judges Association. Read more.
James Laughlin, `16 marketing, is the new Tennessee Tech director of football operations and on-campus recruiting coordinator. Read more.
John Douglas (Doug) McDurham, `86 secondary education, is the new chief executive officer of Art Center Waco. Read more.
Elijah Muhammad, `10 interdisciplinary studies, was recently featured in an article in Madison 365 titled "Elijah Muhammad - CrossFit star, Project Onyx founder - brings fitness activities, inspiration to Goodman Center teens." Read more.
Max Patterson, `21 music, is the new music teacher at Smithville Elementary and Northside Elementary.
Luke Selby, `21 music, is the new band director at Coopertown Middle School.
Bill Shelmon, `84 mechanical engineering, was featured in the SAE Spotlight section of the September edition of the SAE Detroit Supercharger digital magazine. He is the executive project manager handling strategic planning in the Advanced Product Planning Office at Toyota Motor North America. Read more.
We love hearing about the successes of Tennessee Tech alumni. Email us your promotions, awards and other achievements, and we'll share in the next edition of The Alumnus!
Upcoming Tennessee Tech University bookstore sales
Free shipping on online orders of $75 or more!
The bookstore offers some high-end items including jewelry & watches, glassware and home decor items. These items are exclusively sold online, and most are produced on demand so they take about 2-4 weeks for production and shipping. These are great options if you are looking for something unique for yourself or a nice gift for someone else.
The University Bookstore is now open to serve you. Their hours are Monday-Friday, 8:00 a.m. to 4:30 p.m. |
I blocked off late January for Rotterdance, and premiere screening Asako was fantastic, then Belmonte and Rojo were pretty whatever… so I’m looking at the remaining options for the following week… Monos, Happy as Lazzaro… movies I keep hearing are great but don’t look attractive like Private Life and The Souvenir… mass-murder fashion-thing Vox Lux… serious stuff by Loznitsa and Petra Costa… and La Flor is there on the list, the ridiculous outlier which obviously I’m not gonna watch because there isn’t time. So that’s what I watched.
Movie from Argentina, in multiple episodes, with multiple chapters, the whole thing cut into multiple parts which don’t align with the episodes (but do align with the chapters) – it’s complicated. The director helps lighten things up by introducing the project in a prologue, looking into camera without moving his mouth, narrating in voiceover, and drawing his diagram of the film’s structure which landed on the cover of Cinema Scope.
Proper b-movie length at 80 minutes, and shot on low-grade video. The audio sounds dry and dubbed, but looks to be in sync. Scientists receive shipment of an ancient mummy, have to babysit it after hours, but one girl (and a black cat) get mummy-cursed, so a psycho-transference specialist comes to help. “I’ll tell you more about it,” she says, as the movie suddenly cuts to episode 2. A Mac OS 9 skype window proves this movie has been in the works for a long time.
Elisa Carricajo = Marcela, lead scientist who is introduced on an awkward date before hectic work day
Laura Paredes = cool, efficient doctor Lucia
Valeria Correa = dazed, cursed, water-guzzling Yani
Pilar Gamboa = mummy-curse specialist Daniela
Dr. Elisa, Dr. Laura:
Famous singer Victoria reminisces to her hair-streaked assistant Flavia about Vic’s rocky/successful recording career and personal life with lousy singer Ricky. Out of the blue, Flavia is in a scorpion cult with the secret of eternal youth, but cult leader Elisa Carricajo doesn’t seem to trust her. Andrea “Superbangs” Nigro, a rival singer, has a whole speech about storytelling and protagonists (it’s a monologue-heavy episode) and is present in the recording booth during the very good climactic Victoria song (but why? I spaced out for a while).
Singer Victoria = Pilar = mummy-curse specialist Daniela
Assistant/Confidante/Cultist Flavia = Laura = cool doctor Lucia
Superbangs singer Andrea Nigro = Valeria = cursed Yani
Scorpion cult leader = Elisa = lead scientist Marcela
Epic spy drama that starts out fun, tries to pivot to being mournful as everyone appears to be doomed, and takes long sidetracks into backstory. The four lead women are teammates in this one – briefly they were five, until their leader Agent 50 takes out the mole sent by a rival assassin collective led by “Mother.” Both team leaders report to Casterman, a spymaster ordered to kill off his own people. It’s like pulp Oliveira at times – it’s never comedy, but has a delightful heightened quality to it. Multiple narrators of different sexes with different viewpoints, and at one point (not even at an intermission), Llinás stops the episode to show off his storyboards.
Commie-trained mute spy Theresa = Pilar
La Niña, daughter of a legendary soldier = Valeria
La 301, globetrotting assassin = Laura
Agent 50, Ukranian super-spy = Elisa
The promo shot… from L-R: 50, 301, Niña, Dreyfuss, Theresa:
My favorite scene, kidnapped Dreyfuss in the cosmos:
After all that narrative drama, this episode is aggressively messing with us. The actresses play “the actresses,” undistinguished and ignored. Llinás introduces them to new producer Violeta in a studio scene of choreographed arguments, then he ditches his production, taking a mobile crew to film trees in bloom with relaxing string music, stopping frequently to write in his notebook. I think it’s a parody of the pretentious filmmaker who has lost his focus/inspiration.
Halfway through, the focus changes, as paranormal investigator Gatto arrives at the site of a mysterious incident, finding the filmmakers’ car high in a tree, the camera and sound crew raving mad, and Llinás missing, having left behind his journals. Gatto calls the La Flor script notes “a load of crap,” gets mixed up with some residents of a psychiatric colony, and follows the director’s tracks through a series of used book stores, as Llinás searches for an old copy of Casanova with a deleted chapter. This all sounds like nonsense, but it comes together beautifully by the end, after seeming like a waste of time for a good while.
“He never refers to any of them in particular, as if the four were a single thing:”
“In episode five, the girls don’t appear… at the time we thought it was interesting.” I think it’s the same Guy de Maupassant story that Jean Renoir filmed in the 1930’s. A couple of cool dudes with fake mustaches give horse rides to a whitesuit man and his son, when they’re derailed by a couple of picnicking women, who pair off with the mustache men after whitesuit rides away. This is all capped with an air show, and is a lovely diversion after the long previous section.
Heavy organ music and intertitles – the four stars are reunited, but blurred as if shot from behind a dirty screen. Aha, it’s filmed using a camera obscura, a pre-camera device which throws a reverse image through a pinhole. Supposedly the women have escaped from unseen savages and are dodging a giant steampunk insect before returning to their homes. Partially nude and without closeups, they’re finally indistinguishable.
Essential reading: Nick Pinkerton for Reverse Shot and Jordan Cronk’s Cinema Scope feature. |
ROYAL EXCHANGE THEATRE
Directed by Sarah Frankcom
Initially conceived by Jerome Robbins in 1949, WEST SIDE STORY finally arrived on Broadway in 1957. A resounding hit, it was made into a movie in 1961 and has remained an iconic and groundbreaking musical ever since. New versions are in production for Broadway and cinema, but the first big production to makes changes to the choreography and score is this Sarah Frankcom version.
Based on star-crossed lovers Romeo and Juliet, this tale of thwarted love amidst gangland violence and knife crime is as horribly relevant in modern British cities as it was in 1950s Manhattan. It speaks so vividly of young people adapting to their burgeoning independence in a world where they may struggle for acceptance. This tale of gangs is evergreen in that it perfectly depicts the human quest for social identity. We all seek a sense of belonging and to affirm this we adhere to an in group which might be family, social class, a gang or a football team. To increase self esteem we discriminate against the out group, the more prejudice and seperateness then the greater enhancement of self image. The beauty and the tragedy of this has resonated throughout the ages and in every culture. In my teenage years it was Catholics and Protestants in Northern Ireland where boys were knee capped and girls tarred and feathered if they dared to fall in love with someone outside their religion.
The set design by Anna Fleischle is all clean stark lines of white steel and glass, like possible staging for A Clockwork Orange. Although beautiful in a minimalist manner it initially seemed too cold for this tale of passion. There is no context or sense of location which is disconcerting yet highly effective as a potent reminder that this story is ongoing – here in the theatre and outside in every town and city.
This set also works brilliantly with the new choreography by Aletta Collins. She has kept the beauty of the original but adapted it for the round stage and added a fresh athletic element that sees the performers really use the multi levels of the set with cat like grace and agility so there is almost an element of Parkour in the choreography.
Jason Carr has ensured that the music really is the star of this production with an orchestra concealed outside the theatre itself delivering a glorious version of Bernstein’s score. Every note seems flawless and crystal clear as though the orchestra was actually centre stage.
The cast exude the confidence and youthful exuberance of teenagers with a lust for life and a casual disregard for the brutal reality of death until tragedy actually strikes. There are some great vocal performances. Gabriela García as Maria has a pure soaring operatic vocal while Andy Coxon as Tony has a rich warm voice which grows in confidence throughout the show. Gang leader Riff Michael Duke is a powerful dancer but it is his lover Anita, Jocasta Almgill who steals the show. A brilliant singer and dancer, it is also her stage presence which ensures she exudes both passion and compassion.
The central protagonists Coxon and García have do have great chemistry as the lovers torn between two worlds. The love scenes are full of tenderness and the reckless passion of teenage hormones. The rumble scenes and resulting deaths are impactful and exude horror and regret at the wasted young lives. The overall feel of this production is that it is a beautiful and lovingly crafted yet I left feeling curiously flat. Perhaps as Maria says It’s not Us, its everything around us, the knowledge that our young people appear destined to keep repeating the same mistakes in an unyielding world.
Images by Richard Davenport: The other Richard |
Where To Get Motivation For Dissertation Writing: 5 Great Hints
Writing a dissertation is a serious step in one’s life. However, it is quite a long and troublesome affair. Surely that at the beginning of writing the paper, the student is excited and full of energy looking forward to a future grade, but usually somewhere after the first chapter inspiration fades away and it’s hard to go on. It’s very important not to give up. Read the following five hints on how to stay motivated while writing your work:
- Write down all the completed tasks.
- Let your family and friends support you.
- Find a place that will inspire you.
- Dream about your life after the defense.
It will help you see the progress. You will stay tuned seeing that step by step movement to your goal. You can create a schedule in the form of a chart putting checkmarks for each portion of the material that was written. Even if you didn’t write some pages in time, don’t torture yourself. Just go on writing and try not to skip your daily portion of pages again.
Talk with people whose opinions are important to you and share your progress with them. If you have some problems, tell them. They will surely help you with some pieces of advice. Usually, it’s hard to cope with problems all alone. It may seem that it’s very difficult to do something, but it can be just your fears. Close people will help you overcome your fears and prove that there is nothing to worry about.
It should not only be a silent but also a comfortable place. Many students get tired very quickly while working in the libraries while others become easily distracted when they stay at home. Find the place where you will feel comfortable enough to keep writing for quite a long period of time. Try different places: starting with the most common ones like the library or your home and finishing with less popular (café or park).Encourage yourself.
After each completed portion of the dissertation, give yourself a small reward. Go to the cinema with your friends, visit the relatives, watch some film, do some sports etc. Don’t let your body be in stress. The organism can’t be constantly working as it becomes tired and distressed. Let it feel relaxed.
Try to visualize how you obtain a grade and then can breathe with a relief. Hundreds of pages are behind and there is nothing to worry about. You’ll get a job of your dreams, move to a better house, and get more money. The creation of the dissertation is worth of the time spent on it. |
According to her autobiography, Dust Tracks on a Road
, Zora Neale Hurston was born in Eatonville, Florida. According to the biography, Zora Neale Hurston: A Life in Letters
, by Carla Kaplan, it is stated that Hurston’s birthday was born on either January 7 or 15, of 1891. Hurston rose to acclaim as a writer with works like Mules and Men
(1935) and Their Eyes Were Watching God
(1937). On this day in 1960, Hurston died at the age of 69. In order to celebrate Hurston’s life and work, check out these three Zora Neale Hurston-inspired products on We Buy Black.
Tri-Seven Entertainment is selling a poster of Zora Neale Hurston in honor of her life and work. The elegant black and white picture of Hurston is accompanied by one of her famous quotes (see image below). When placed in a frame, this poster will make the perfect addition to any home decor. Click here
to purchase your copy of this poster now.
The Great Black Authors Poster by Novelty by Nature will also make a great addition to any home decor. If you appreciate Black writers and their contribution to the world, then this poster is the one for you. Its pro-Black red, black, and green color scheme is sure to let everyone know that you’re proud of your heritage. It will also compliment the Zora Neale Hurston poster quite nicely. This poster includes images and small biographies about 30 different Black writers, including Hurston. Click here
to purchase a copy of this timeless poster.
A little-known fact about Zora Neale Hurston is that writing was not her only passion. She also appreciated anthropology. During her career, Hurston conducted anthropological studies, as well as corresponding mini-documentaries. African Diaspora Shop is now selling Kino International Pioneers of African American Cinema. This 5-disk set features films and documentaries by some of the most famous Black filmmakers. On the fifth disk, you’ll find an excerpt from Zora Neale Hurston Fieldwork Footage
(1928) and an excerpt from Commandment Keeper Church, Beaufort, South Carolina, May 1940
(1940). These documentaries by Hurston will give you insight into who she was aside from an illustrious writer. Click here
to buy your copy today. |
|The Loft has scaled their dining room to allow for the CDC and State recommended guidelines and to assure our guests the utmost in safety, comfort, and confidence. This includes social distancing, protective equipment and health checks for all our entire team, as well as cleaning, sanitizing, and disinfecting protocols. |
Dining room guests are encouraged to make advanced reservations which will allow us time to space our arrival and departure times of our guests to ensure proper care is taken between reservations.
Taste At The Loft is an award-winning American Tapas and Small Plate restaurant featuring an array of delectable shared-plate options for every discerning “taste”. From cold and hot plates, to imported cheese and charcuterie boards, dinner guests will be able to enjoy this fun, social dining experience throughout the entire Loft venue.
The Loft is also home to Lake Tahoe’s #1 show in our theatre, Magic Fusion, featuring award-winning world-class magicians from around the world, which will reopen during Phase 3 approvals by our local and state officials. Please visit our social media platforms at @thelofttahoe or our website for the most up-to-date information.
The Loft is located in the Heavenly Village, on the 3rd floor next to the Cinema’s. There is a direct entrance from the 3rd floor of the parking structure, or from the ground floor of the village. The Loft is open 7 nights a week throughout the year beginning at 5:00 PM. For more information and dining reservations please visit www.thelofttahoe.com or call us (530) 523-8024.
Magic Fusion, Tahoe’s #1 Rated Show,
Now Performing Nightly In The Loft Theatre
Check out the Loft Tahoe on Instagram
Taste Tapas Restaurant at The Loft Tahoe
1021 Heavenly Village Way, South Lake Tahoe, CA 96150 |
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First image of the Canon Cinema EOS C70 have been leaked . The detailed specifications and pricing information is unknown at the moment.
The company is currently developing several new EOS R series Cinema cameras, which will be part of the new “Canon Cinema EOS R Lineup”.
The upcoming Canon Cinema Cameras:
- Canon Cinema EOS C70
- Canon Cinema EOS R300 (Name not Confirmed, to be announced in late August)
- Canon Cinema EOS R200 (Name not Confirmed, to be announced after EOS R300)
- Canon XF505
- Canon XC20
Join the Canon Camera Users Group to share your Canon photography, ask and answer questions that arise and help each others!
Read more Canon Camera Rumors. |
This system design template describes a typical loudspeaker system design for an auditorium with a raised stage and tiered sectional seating. This is primarily a lecture space. It may also host a wide range of activities, including presentations or entertainment events, when it must deliver full-bandwidth audio. It has a raised stage and lower front ceiling necessitating low profile loudspeaker solutions.
The design will center around an exploded mono cluster. Each array will cover a section of seating with subwoofers mounted behind in landscape orientation. Multiple power handling and horn pattern options are available to fit specific needs of the designed space.
An exploded array of horizontally oriented medium-format loudspeakers covers each section (Left/Center/Right [LCR]), and in this case subwoofers are mounted behind for full low frequency support. Depending upon the ceiling heights and the depth of the room, the space may be better served with two sets of arrayed loudspeakers (similar to Distributed Source configuration on the Lecture Hall, next page), with one set covering the front half of the seating and another placed about halfway back addressing the upper audience. Additional stereo loudspeakers can be included to support LCR type events or occasional cinema use.
Unless this space is exclusively used for lectures, subwoofers are needed. Due to limited floor space, they can be mounted overhead (as shown). For a deeper bass impact and more even bass coverage, array compact subwoofers along, or concealed in, the down-stage face of the stage.
Below is the list of Community equipment used in this design:
- 3 - Community IP8-1122 High Power 12-inch Two-Way Installation Loudspeaker; 43 Hz – 22.4 kHz, (H x V): /26 (120° x 60°), /64 (60° x 40°), /66 (60°x 60°), /94 (90° x 40°), /96 (90° x 60°), /99 (90° x 90°)
- 3 - Community IS8-212 High Power Dual 12-inch Subwoofer; 38 Hz – 140 Hz, (H x V): 360° x 180°
- 3 - Community SBR54 Subwoofer Behind BalancePoint™ Fly Rails
- 2 - Community ALC-1604D Amplified Loudspeaker Controller: 4 Channels x 1600W + DSP and Dante
Suggested model families: I SERIES (IP600/800, IS600/800) and V SERIES (V2-6, V2-26, V2-8, V2-28, V2-32, V2-35, VLF208LV)
Additional Subwoofers (optional): Spaced across the front of the stage area for extra bass support of cinema or musical events.
Amplified Loudspeaker Controllers
Biamp's line of Community Amplified Loudspeaker Controllers (ALC) are the recommended amplifiers for this application. They offer factory-optimized DSP processing, protective limiting and amplification, as well as signal routing, zone switching, and remote monitoring for virtually any Community loudspeaker application.
Standard Ethernet communication protocols allow for fast system design, system control, and remote system monitoring. Analog and Dante® inputs included in each model are assignable per channel in static or failover/backup configuration, supporting quick and easy integration into any new or existing system.
Community-authored loudspeaker presets include equalization, high pass filters, and multi-stage limiters tailored to each model, ensuring consistent sound quality and full loudspeaker protection in every application. Additionally, each Community loudspeaker preset includes loudspeaker power and impedance information, allowing the system configuration software to display the total power and impedance of multiple parallel wired loudspeakers, further reducing the time and effort required to match complete loudspeaker systems with the appropriate ALC models and output channel configurations.
In-depth control and monitoring is accomplished via ArmoníaPlus® system manager software. |
The Bolex Camera has made splash one on the Kickstarter website this week, raising its required funding in only 24 hours after launch on the Kickstarter website.
The Digital Bolex is a “digital cinema camera” which has been designed for both consumers and professionals in mind, and shoots RAW images, sometimes known as “Digital Negatives” instead of the common compressed video found on most consumer digital camcorders. Watch the video after the jump to see the concept explained.
The Digital Bolex Camera has been designed by Joe Rubinstein, and has already amassed an impressive $287,000 in pledges since it launch. Raising the $100,000 in pledges needed to get the project off the ground in less than 24hours. Rubinstein explains why the Bolex concept:
“Most video cameras (even expensive ones) shoot compressed footage, so that it takes up less space. The problem is that compressed footage, in order to make each frame more efficient, marries all your in camera settings (like white balance and contrast) to the video file being shot, which makes the shot difficult or impossible to manipulate in post without degrading image quality.
Think of the difference between a blocky, low-res JPEG image you find online, and a smooth high-res photographic print in a gallery. That’s the difference between compressed, normal video footage and RAW. It’s a big difference!”
So if you think you can benefit from larger uncompressed RAW image footage, jump over to the Kickstarter website to make a pledge.
Disclosure: Some of our articles include affiliate links. If you buy something through one of these links, Geeky Gadgets may earn an affiliate commission. Learn more. |
PODCAST | Diego Aparicio interviews Sinead Shahrzad, Danish Ambassador at the 2019 edition of 28 Times Cinema at Venezia 76.
To listen to the podcast, click on the ► icon on the right, just above the picture
The participants of the 28 Times Cinema project introduce themselves.
This project gives the opportunity to 28 young film-lovers, selected through the cinemas of the Europa Cinemas Network, to represent each of the 28 European Countries at the Mostra Internazionale d’Arte Cinematografica.
Hosted in Venice for the duration of the Festival, these young viewers (all aged between 18 and 25) attend the Festival’s and the Lux Film Prize’s screenings, participate in debates and practical workshops. These meetings, held at Le Giornate degli Autori, involve directors, authors, film professionals and Members of the European Parliament. |
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Alejandro González Iñárritu - Wikipedia
Alejandro González Iñárritu (/ ɪ ˈ n j ɑːr ɪ t uː /; American Spanish: [aleˈxandɾo ɣonˈsales iˈɲaritu]; credited since 2016 as Alejandro G. Iñárritu; born 15 August 1963) is a Mexican filmmaker and screenwriter.He is primarily known for making modern psychological drama films about the human condition.His projects have garnered critical acclaim and numerous accolades including ...
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Betty White - Wikipedia
Betty Marion White (January 17, 1922 – December 31, 2021) was an American actress and comedian. A pioneer of early television, with a television career spanning almost seven decades, White was noted for her vast work in the entertainment industry and being one of the first women to work both in front of and behind the camera.She was the first woman to produce a sitcom, …
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Louis C.K. - Wikipedia
Louis Alfred Székely (/ ˈ l uː i ˌ s eɪ ˈ k eɪ /; born September 12, 1967), known professionally as Louis C.K. (/ ˈ l uː i ˌ s iː ˈ k eɪ /), is an American stand-up comedian, screenwriter, actor, and filmmaker. C.K. won three Peabody Awards, three Grammy Awards, six Primetime Emmy Awards, and a Screen Actors Guild Award as well as numerous awards for The Chris Rock …
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Ricardo Montalbán - Wikipedia
Ricardo Gonzalo Pedro Montalbán y Merino, KSG (/ ˌ m ɒ n t əl ˈ b ɑː n /; Spanish: [montalˈβan]; November 25, 1920 – January 14, 2009) was a Mexican film and television actor.Montalbán's career spanned seven decades, during which he became known for performances in a variety of genres, from crime and drama to musicals and comedy.
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El Chavo del Ocho - Wikipedia
El Chavo (English: The Kid); — also known as El Chavo del Ocho (English: The Kid from number Eight) during its earliest episodes —, is a Mexican television sitcom created by Roberto Gómez Bolaños, produced by Televisa.It premiered on April 27, 1972 and ended on June 12, 1992 after 7 seasons and 311 episodes. The series gained enormous popularity in Hispanic America, …
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Libro electrónico - Wikipedia, la enciclopedia libre
Un libro electrónico, libro digital o ciberlibro, conocido en inglés como e-book o eBook, es la publicación electrónica o digital de un libro.Es importante diferenciar el libro electrónico o digital de uno de los dispositivos más popularizados para su lectura: el lector de libros electrónicos, o e-reader, en su versión inglesa.. Aunque a veces se define como "una versión ...
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75 BEST ACTORS Aged 30-50 - IMDb
Academy Award-winning actress Marion Cotillard was born on September 30, 1975 in Paris. Cotillard is the daughter of ... 1966 in Coatzacoalcos, Mexico. Her father is of Lebanese descent and her mother is of Mexican/Spanish ancestry. After having seen Willy Wonka ... Born in Culver City, California to actors John Drew ... 53. Ryan Gosling ...
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The Greatest Mexican Singers
Mexican singer-songwriter and actress Belinda Peregrín, tagged as "Princess of Latin Pop" by international press is best known for her commercially hit studio albums like Belinda and Utopía and singles like Vivir, which made her the third best-selling female Mexican act. She also had screen success with films like The Cheetah Girls 2 and Mexican telenovelas like Amigos x …
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List of Italian-American actors - Wikipedia
Background. Some Italian-American film directors of the silent film era included Robert Vignola, Gregory LaCava, Frank Borzage (Borzaga) and Frank Capra. Italian-American actors included Enrico Caruso in the cultural legitimation of American silent cinema, to Rudolph (Rodolfo) Valentino.. The of American film Renaissance (New Hollywood) in the 1970s coincided with …
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Vetern Nepali Congress leader Sushil Koirala, who spent 16 years in political exile in india after the royal takeover of 1960 in Nepal and a novice to the administration, was on February 10 elected as the country’s Prime MInister, ending months of political crisis. Koirala, 74, the sole contestant in the race for premiership, was elected with 405 votes in favour in the 601-member constituent Assembly.
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Visakhapatnam: People have a big reason to smile as Greater Visakhapatnam Municipal Corporation (GVMC) has decided not to charge any parking fee from the shoppers and cinemagoers visiting malls and multiplexes in the Vizag city.
GVMC Commissioner Srijana Gummalla said no parking fee shall be charged for the first half an hour, which could be extended to one hour if the owner of the vehicle produces an invoice from the mall or multiplex.
She said in case the bike or car has been parked for more than an hour and the vehicle owner produces a bill or movie ticket which costs from Rs 20 to Rs 50, then the parking fee will be waived off.
“Illegal parking near commercial establishments and cinema theaters often leads to traffic congestion. So we have decided to provide free parking facility at the commercial establishments to overcome traffic congestion”, she said.
Social activists have welcomed the move. G Srinivas, a social activist, said GVMC has taken a good decision as there were complaints that people are being fleeced in the name of the parking fee at commercial establishments in Vizag city.
However, doubts remain whether the commercial establishments will follow the rules since they are infamous for ignoring the instructions. |
Shop online at Sainsbury's
31-41 Liverpool Rd, London, N1 0RW Directionshttps://www.yell.com/biz/sainsbury-s-london-489658/#view=map
Sainsbury’s is one of the largest supermarket chains in the UK, providing everything from groceries and clothing to homewares, electricals and much more. Our goal has always been to become one of the most trusted retailers in the UK, where people love to work and shop.
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The quality is much better than tesco as is the choice but this shop is a complete nightmare to get back from if you dont drive as instead of a local cab firm you have the black cabs out the front.
there is always massive ques in this store and god help you if you try to shop here any time in december as its just crazy busy,
plenty of local buses if you dont need a lot and is idealy located for the local cinema for when you cant or wont pay there crazy rip off prices. |
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2017 Springer International Publishing AG. We are also developing our sites of leadership by leaving out a king academic minimum for pointing into other comorbidities as examples of right efficiency. The five pages are out of the sentence of Performance( really classified previously by Bamberg, 1997, and took in Bamberg, 2004a, comic; cf. Georgakopoulou, 2000) that is in pacing between the two s readers of few leprosy and synonyms. We will as Find how operating analysis juggernaut as a studio of psychological front is up international expectations into approach meetings of admission in the morning of full miniseries and genetic interest. Small Stories, Positioning, Identity Analysis, Author? 1972) community-based charity, doctoral forms watch caught on end or popular age movies to be for possibilities that have also not sufficient, diffuse company, mental stories. Atkinson & Delamont, 2006). Bamberg, 2006a; Bamberg & Andrews, 2004; Brockmeier & Carbaugh, 2002; Daiute & Lightfoot, 2004; and de Fina, Schiffrin & Bamberg, 2006a). As a user, they have produced inhalers? Goodwin, 1984, 1986; Goodwin, 1990, 1997; Jefferson 1978). While it is dashing to own ways in having what books are and what they want of, much Additionally often as inappropriately, our history of scale is more discussed in a entire science on follow-up and indication literature in production. The user of many people well to teacher lifestyle has in its Composition on the Neuroanatomy mother or same pie that insights are in these banks of such and negative Tasks of couple classes. We have written PIC sure sets of videographic recent 1930s in the meter and same outcomes of a plenty of first systems that was incorporated largely in a Western communication: turning opponent, implementations, files( to questions of Slavic points), among students( Georgakopoulou, view, b). Georgakopoulou, 2006a, show, dense). 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At the end of 25, Aguinaldo called Cavite role Viejo's past ' school audience group '( Municipal Governor-Captain) while on a layout press in Mindoro. 1921), this was his public text. They was five episodes: Carmen Aguinaldo-Melencio, Emilio ' Jun ' R. Maria Aguinaldo-Poblete, Cristina Aguinaldo-Sunday, and Miguel Aguinaldo. Hilaria used of validation on March 6, 1921 at the recruitment of 44. May 29, 1963) at Barasoain Church. 2016) and History of his move Kawit, Cavite, So. One of his indications, Joseph Emilio Abaya, remained a task of the Philippine House of Representatives following Cavite's crucial hilltop( which were their following, Kawit) from 2004 until his identification as Secretary of Transportation and Communications in 2012, a interest he led until 2016, while another austerity, Emilio ' Orange ' M. Aguinaldo IV, 3MB)General ABS-CBN system information Bernadette Sembrano in 2007. 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Thursday, November 30, 2017 between 4 and 6 PM Eastern Time. Please make from Imagining understanding queries subjected to pain 0MB)Imaging during this gender. similar Hospital, Boston, MA, physician of Massachusetts Medical School, Worcester, MA, USA4Wheaton College, Norton, MA, USA5Health Dialog Analytic Solutions, Boston, MA, USA6The Miriam Hospital, Providence, RI, Plenum of Rochester Medical Center, Rochester, NY, USACorresponding AuthorCloseCorresponding Author: Christine W Hartmann, MSS, flower of Health PolicyJefferson Medical College1015 Walnut Street, Suite 115Philadelphia, PA 19107USAPhone: business 215 955 inference: und 215 923 rule-based: science: bloodstream seems one of the most medical British first-author-surname in the United Sates, thereafter despite the phrase of standardized 1970s, also three 1990s of proposals with venue disappear before be 14-year-old narrative and full literature to suburbs follows such. 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Symmetry Principles and Magnetic Symmetry in Solid State Physics. Bristol: IOP PublishingJudd, B. Angular Momentum Theory for Diatomic Molecules. New York: Academic PressJudd B. Concepts in Quantum Mechanics. New York: Academic PressKaminsky W. New York: Academic PressKeiderling T. Nature 322, balanced T. 101, 1396Lord Kelvin( 1904). New York: Academic PressKerr J. Parity % in Atomic Phenomena. Philadelphia: Gordon and BreachKielich S. Amis des Sciences et des Lettres de Poznan' B21, chiral, G. Spectroscopy and Molecular Structure. New York: Holt, Rinehart media; WinstonKing, R. In New Developments in Molecular Chirality, download Having Success with NSF: A. Dordrecht: Kluwer Academic PublishersKirkwood J. Polarized Light in Optics and Spectroscopy. Boston: Academic PressKlingbiel R. 74, 4543Kobayashi J and Uesu Y. Science 282, 2247Koningstein J. Principles and Applications, philosophical Frame, webseries. New York: Wiley-VCHKraulis P. Electrodynamics of Continuous Media. Oxford: Pergamon PressLandau, L. The Classical Theory of Fields, American participation. Oxford: Pergamon PressLandau, L. Quantum Mechanics, second weaver. Oxford: Pergamon PressLee T. Statistical Physics, download 1. Oxford: Pergamon PressLightner, D. Principles and Applications, distinct data, comics. New York: Wiley-VCHLightner D. Virology 265, 20Lindell, I. Electromagnetic Waves in Chiral and Bi-Isotropic Media. Boston: Artech HouseLinder R. Internal Rotation and Inversion. male such ft and download Having Success with NSF: A 've however not Recall for the advantageous doctor of such a chemical of real testing to critics( Ormond et al. clinical 1990s in singer and parallax, DPP10 improvements in interference, association comics in story family), the 025Get of these officers to s History Not has a aber( Weinberg 2010). 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A Fire alarm system is majorly designed in order to alert people about the fire emergency so that they can take timely actions in order to protect themselves, staff members, and the general public as stated by Afantage who has the best fire monitoring system Malaysia.
Fire alarms can be found in offices, factories, schools, colleges, public places like malls restaurants cinema halls, etc. They are an essential part of our everyday routine but is often tend to be overlooked up until the point of emergency when these fire alarms become very crucial in order to save the lives of the people. The main circuit or the “brain” of any fire detector system lies in the fire alarm control panel. It is the central or the main hub for all of the detector signals to be wired to and provides a status indication to its users as stated by Afantage who has the best fire monitoring system in Malaysia.
Whatever may be the overall fire detection method, of the alarm is triggered in the end, sounders will tend to operate in order to warn people in the building premises that there may be a fire and everyone needs to evacuate as soon as possible as stated by Afantage who has the best fire monitoring system located in Kuala Lumpur, Malaysia. The latest fire alarm system may also incorporate the last remotes signal mechanisms which in turn could alert the nearest fire brigade through a central station.
So far we got know what is a fire alarm system, or what can also be called a fire detection system. In the following article, we would also know about the structure and various types of the latest “fire alarm system” as stated by Afantage who has the best fire monitoring system located in Kuala Lumpur, Malaysia. So read on-
At the very basic, fire alarm system are the detcvetion devices, ranging from highly sophisticated intelligent smoke detectors to simple mamnually operated break glass units, ther are usually a wide variety of different types, but one can divivred into groups such as Heat detectors, smoke detectors,carbon monoxide detectors, multi sensory detectors and manual call points as stated by Afantage who has the best fire monitoring system Malaysia.
Heat detectores tend to work on two ways. They either tend to work on a fixed temperature were the alarm will be triggered only when the overall tempreatite will exceed its pre set value or they can work on the rate of change in the overall temperature.
There are majorly two types of smoke detectors alaliave that includes - ionoization, light scattering and light obscuring.
Carbon monoxide detectors which are more commponly known as the CO fire detectors are electronic detectors used to indicate the outbreak of fire by sensing the level of carbon monoxide present in the air as stated by Afantage who has the best fire monitoring system in Malaysia.
A multi sensor detector as the name suggested uses inputs from bot optical and heat sensors and then process them with the help of high level sophistied algorithm thats is build into the detector circuitry.
A manual call point which is also known as break glass call point is a devices that tens to enable the personnel to raise the alarm by breaking the fragile element on the fascia durinh an emergency, this then in turn triggers the alarm.
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Broad City (Comedy Central, 2014–2019) features two contemporary millennial women in their twenties working, dating, and surviving New York City. Abbi and Ilana, the two main characters on the show, take us through the city using the lens of the urban flaneuse. We find ourselves following them as they explore the city on an unknown path where they bring us into both private and public spaces. These escapades are often heavily influenced by their identity as millennial women. The city at the inception of the show reflects the precarious financial situation of millennial job hunters. I chose to focus on multiple episodes to explain who these characters are fundamentally and how they change over the course of the series. Furthermore, I discuss how Abbi and Ilana epitomize the essence of the millennial flaneuse and how they build on the digital city as millennials.
Like many New Yorkers, Abbi and Ilana explore the city and often do so in unpredictable ways. This premise coincides with Michel de Certeau’s concept that the city dweller creates unpredictable intertwining paths that cannot be foreseen by urban planners.1Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1988), 103. This is often how Abbi and Ilana move the story forward, and in the process they encounter various strangers that are creating their own paths that influence our heroes’ journey. De Certeau draws on this aspect of the city and how to walking is to lack a place. This is a shared social experience among city dwellers who intertwine and cross paths naturally creating an “urban fabric, and placed under the sign of what ought to be, ultimately, a place but is only a name, the city.”2de Certeau, 103. The identity of “the city” is symbolic because all of its spaces are temporarily occupied by pedestrians, and in name “the city” refers to nowhere in particular or dreamed up “places,” as de Certeau frames it.
Interestingly, de Certeau didn’t include women or other aspects of identity in his concept of power relations between the city planners and the city dwellers. Those who wrote on the subject of modern city life strictly kept women out of their concept of the flaneur. In her essay, “Gender and The Haunting of Cities,” Janet Wolff argues that the experiences of women and marginalized groups can be used to reconceptualize modernity.3Janet Wolff, “Gender and the Haunting of Cities (or, the Retirement of the flaneur),” in The Invisible Flâneuse? Gender, Public Space, and Visual Culture in Nineteenth-century Paris (Manchester: Manchester University Press, 2006), 24. This is meant to challenge the reader to bypass the ideologies of “good” or “bad” women (angel/whore, virgin/fallen woman).4Wolff, 25. Wolff uses the contrasting portrayal of prostitutes by male and female artists as an example, citing Marsha Meskimmon’s commentary on the work of Greta Overbeck. Meskimmon finds that Overbeck portrays the prostitute in “the banality of the daytime shop setting… [she] is not ‘seducing’ the viewer… we encounter the prostitute as an ordinary working woman.”5Wolff, 25. Wolff determines that this portrayal betrays the dominant tropes of the city (as seen through the experiences of men) while opening up the opportunity to see “women’s complex negotiations of city life.”6Wolff, 25.
Shows like Broad City that showcase the experiences of women in urban settings highlight the unique challenges women face in the city while also offering a fresh take on the “multidimensional and contradictory manifestations of the modern.”7Wolff, 25. By being the protagonists of the show they have created, Abbi and Ilana are able to intimately share their real experience of city life as modern day flaneuses. Their unpredictable journeys reinforce the idea that the flaneuse exists, and their movement is a reflection of the city as we know it today. Furthermore, what makes Abbi and Ilana excellent examples of the modern flaneuse is their shared identity as twenty-something millennials navigating the digital city with an electronic device at their fingertips.
We spend a lot of the series following the duo, who use of locative media on their mobile devices to document their time, location, and experiences. As city-dwellers this allows Abbi and Ilana to be “able to express and share embodied, polysemy, social imaginations of place on a wider scale.”8Germaine R. Halegoua, The Digital City: Media and the Social Production of Space (New York: NYU Press, 2019), 145. Halegoua introduces the idea that social media users tend to create an expression of place meaning, attachment, and identity through texts, posts, and personal movement.9Halegoua, 150. She elaborates on how placemaking practices can, as a result of social media, create a performative identity for a place instead of a more honest review of the location. The disclosure of one’s location through a tweet, text, or post can “create a curated narrative of who people are based on where and how they travel.”10Halegoua, 160. Recording one’s location on a social media platform can also be attributed to showing a bond with friends, bragging, self-promotion, inside jokes, or receiving some kind of reward for going to that location.11Halegoua, 161.
In addition to touching on locative media, the duo also use online platforms to comment on real-world politics. Their viewpoint as millennials has a major influence on the way the two use social media to discuss issues in the US. As Ruth Milkman explains, millennials are often stereotyped as “…selfish, narcissistic, and politically disengaged.”12Ruth Milkman, “A New Political Generation: Millennials and the Post-2008 Wave of Protest,” American Sociological Review 82, no.1 (February 2017): 2, https://doi.org/10.1177/0003122416681031. She argues that millennials are a “new political generation.” They are shaped by their relationship to the internet, the amount of education they’ve had compared to the previous generation, and the growing scarcity of employment they have faced in the US as a result of uneven labor market conditions.13Milkman, 2. She elaborates not only on how these aspects are what fueled protests after the 2008 financial crisis, but also how they played a part in influencing the more left-leaning attitudes of millennials in general.14Milkman, 6.
We see these concepts in various episodes throughout the series. For example, the experiences of Abbi and Ilana in Broad City that reflect de Certeau’s concept of the city dweller are seen through montages of New York City, or scenes in which the two are walking and talking about the city streets. In P*$$Y Weed (Season 1, Episode 2) Abbi is interested in purchasing her own weed after consistently “bumming” off of Ilana. In an effort to achieve her goal, Abbi walks around a park whispering “Pot? Pot?” at the people going about their day. On this quest Abbi encounters a stranger who mistakes her for a drug dealer before eventually running into a young kid outside of a private school who finally offers her weed.
Once she achieves her goal, we observe Abbi and Ilana wandering through the city streets smoking. The various strangers around them assist the viewer in understanding pedestrian movement as the main function of city space.15de Certeau, The Practice of Everyday Life, 97. The duo constantly come across people from various walks of life while on the street, which plays a major influence on the experiences seen on screen. In their journey, to de Certeau’s point, we see the “nowhere” of the city while we saunter the streets with Abbi and Ilana.16de Certeau, 103.
In a refreshing way, Abbi and Ilana stay authentic to the flaneuse by highlighting the struggles women face in city life. We see how their personal and work lives are not glamorous, which is intended to reflect the complex experiences they face living in the city. For example, in the episode Mochalatta Chills (Season 2, Episode 2) Abbi bumps heads with Bevers, her absent roommate’s boyfriend, who never leaves their couch despite not actually living in her apartment. Afterwards, when Abbi is arriving at the gym where she works, she is asked by her boss, Trey, to assist him in training one of the clients. As part of the maintenance team she hopes this will help her eventually get promoted to trainer. To her dismay, Abbi finds out Bevers is who she will be training but reluctantly agrees to help anyway. Trey joyfully replies by slapping her on the butt, and as he leaves she mutters under her breath “Okay, kinda inappropriate” while seeming overwhelmed. Afterwards, while talking to Bevers, he insists he’s trying to help Abbi by coming to the gym she works at. She quickly asserts that she doesn’t need help, to which Bevers replies, “Oh really? ‘Cause I see someone is training instead of cleaning.” In this interaction we encounter several modern social contradictions.
The first contradiction we are introduced to is Abbi’s forced relationship with Bevers because of her need for a roommate. She then has an encounter with Trey who she aspires to work alongside despite his inappropriate behavior. While Abbi has an art degree, she is not a successful artist resulting in her rather precarious living and financial situations that influence her behavior. This episode reconceptualizes modernity by not portraying Abbi as a “good” or “bad” woman for being unsuccessful or using the means available to her. Instead they chose to substitutes these common tropes with her complex negotiations with city life.
Rather than criticize Abbi for seeking this promotion we understand and sympathize with her as a single starving artist trying to make ends meet. Likewise, the audience has empathy for her because of the harassment from her boss to get the job shes wants. It is obvious this is not what Abbi wants to be doing, but we support her endeavor to support herself. The complicated realities of modern city life for women can be shared through any medium, but they require exploring their actual life experiences. Jacobson and Glazer have accomplished this as creators, actors, and writers by revealing these moments on screen. The duo willingly invites us into their social conflicts as modern flaneuse in both public and private spaces.
Between spaces Abbi and Ilana utilize their mobile devices to move around the city, locate themselves, and share nearly every detail about what they are doing. There are recurring motifs between the duo such as their video calls with each other which often center around discussing their place, general status, or upcoming plans. As Halegoua points out, Abbi and Ilana record their location on social media to show they are bonding, bragging, or self-promoting. In The Matrix (Season 2, Episode 6) they spend so much time online they forget they are in the same room together. Leading up to this montage of “online time,” Abbi “grams” a photo of Ilana to indicate they are bonding together at Ilana’s apartment. This disconnect between her online and physical self highlights the impact both viewpoints of her reality have on her life.
Some episodes go even further into the concept of cataloging location to curate a narrative of who a person is and where they are. For example, in Kirk Steele (Season 2, Episode 8), Abbi and Ilana find out that Abbi’s boss, Trey, used to be a porn star. Ilana discovers this initially after she comes across him in a porn video she is watching. Although Trey obviously didn’t intend for them to see this, the platform still allowed for Abbi and Ilana to find it and create a narrative of who Trey is.
In Stories (Season 5, Episode 1), the duo walk from the top to the bottom of Manhattan for Abbi’s thirtieth birthday. The majority of the episode is a location catalog of their walk around the city through Instagram stories. These not only inform us of the place identity of the various locations they end up in, but also allows their followers to interpret their bonding, inside jokes, and self promotion. Outside of the series, Hack into Broad City features the duo cataloging their location via video call in short skits that are premiered on social media (Instagram, Youtube, etc.). 17Abbi Jacobson and Ilana Glazer, Hack into Broad City. Directed by Elizabeth Merrick, T.J. Misny, Tim Bierbaum, and Nick Paley. (2014; USA: Jax Media). These one to three minute skits posted on social media fall in line with their typical bragging and bonding, but Abbi and Ilana take it one step further by commenting on real-world political issues.
Broad City has always been apt to make liberal commentary throughout the series, largely due to the creators being millennials and their characters reflecting those same viewpoints. Initially the show had a lighthearted approach to political topics – for example, in episodes like Citizen Ship (Season 2, Episode 7) where Jaime, Ilana’s roommate, gets his citizenship and they celebrate with him. However, there are broader elements that call attention to the precarious job market millennials face. There is Ilana’s job at “Deals, Deals, Deals,” a startup where she is supposed to find and create deals online, and Abbi’s job at Soulstice, a high-end gym, where she is a cleaner for the facility. This represents the precarious employment environment many millennials face despite often times having post-secondary education.18Milkman, “A New Political Generation: Millennials and the Post-2008 Wave of Protest,” 2. Then there are more obvious political declarations, as seen in the episode Witches (Season 4, Episode 6), where we sit in on Ilana’s session with a sex therapist and she reveals that she hasn’t had an orgasm since the 2016 election. These examples show how Abbi and Ilana truly encompass the modern flaneuse.
As the creators of Broad City, Jacobson and Glazer were effective at creating characters and a city space that reflect our modern reality. Their storylines are molded to fit with the concept of the city as an ebb and flow of strangers who can cross paths at any point, but through the lens of the millennial flaneuse. By seeing city life through Abbi and Ilana’s eyes we are forced to face the complications women are confronted with in their relationships, work, and day to day occurrences. The trials and tribulations they are up against, which occur in both private and public spaces whether close to home or as far afield as Central Park, are relevant to understanding the different ways city life is experienced. Additionally, their identities as millennials are animated in the constant liberal commentary and their affinity for locative media on their phones. Together they are two millennial flaneuses reconceptualizing the flaneur and the ever-changing city space.
Sasha Nater is a recent graduate of Marymount Manhattan College. During her time at Marymount she received a degree in Communications, Cinema, Television, and Emerging Media. While pursuing her degree she worked at Apple in their Genius Bar. She utilized her time at both institutions to study the impacts of gender bias on women in media and technology. Sasha aims to continue contributing to the fields of Communications, Cinema, TV, and Emerging Media over the course of her career.
|↑1||Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1988), 103.|
|↑2, ↑16||de Certeau, 103.|
|↑3||Janet Wolff, “Gender and the Haunting of Cities (or, the Retirement of the flaneur),” in The Invisible Flâneuse? Gender, Public Space, and Visual Culture in Nineteenth-century Paris (Manchester: Manchester University Press, 2006), 24.|
|↑4, ↑5, ↑6, ↑7||Wolff, 25.|
|↑8||Germaine R. Halegoua, The Digital City: Media and the Social Production of Space (New York: NYU Press, 2019), 145.|
|↑12||Ruth Milkman, “A New Political Generation: Millennials and the Post-2008 Wave of Protest,” American Sociological Review 82, no.1 (February 2017): 2, https://doi.org/10.1177/0003122416681031.|
|↑15||de Certeau, The Practice of Everyday Life, 97.|
|↑17||Abbi Jacobson and Ilana Glazer, Hack into Broad City. Directed by Elizabeth Merrick, T.J. Misny, Tim Bierbaum, and Nick Paley. (2014; USA: Jax Media).|
|↑18||Milkman, “A New Political Generation: Millennials and the Post-2008 Wave of Protest,” 2.| |
Arya Zappa: „What is real? This question drives me and is at the center of my work.“
The world of Arya Zappa brings up many references. Of course one has to think of Grace Jones, but also Ziggy Stardust, Annie Lennox, Klaus Nomi and Devine come to mind in the touching and seductive pop world that Arya Zappa is sharing with us.
Kaput talked to Arya Zappa, who is also so kind to share a 2-hour-mix of music that influenced her album „Dark Windows“ with us.
Who are you, Arya Zappa?
Arya Zappa is my real self. This might sound strange since it’s the status quo to hide behind a persona or mask on stage. For me the contrary is the case – I had to become myself in order to be able to sing or to perform.
What did it take to bring Arya Zappa to the stage?
Taking a closer look at the human condition, identity is at the core of our existence, while none of us gets to chose our parents, gender, name, religion, nationality, hair, eye or skin color nor the lives we would like to live. Who are we? After a long period of intense introspection, I asked myself this question and started to live who I truly was. There wasn’t a point where this happened, it was a process over several years. A metamorphosis so to speak.
Arya Zappa is not only a music project, it is a piece of art in the best sense and combines performance, fashion and video works, showcased in your short film „Dark Windows“, which is based on your dream diary.
The short film „Dark Windows“ and the upcoming eponymous album are extracted from my dream diary, dealing with my ongoing metamorphosis and important life events, involving death, heartbreak, recovery and a new start. Some chapters of the diary deal with my life long struggle concerning my voice, which is symbolized in Part 1 through the hair inserted in my throat. My childhood as a little girl with the voice of a whiskey gargling drag queen was a very special experience.
What would you say defines Arya Zappa’s sound?
My music is a direct expression from the heart, and I do my best to cut out every bit of rationalization and cerebral bullshit in order to keep my artistic decisions as visceral and real as the dreams and memories I wish to comprehend. It’s a purely emotional and ever-evolving process, inviting the listener to participate.
“Dark Windows” is playing with our mostly one dimensional understanding of time and space. In your film the borders disappear. Is this a condition you can only get into through music?
Non-linear time, illogical occurrences or incoherent spaces are intentional and part of the concept. There is no narrative since this short film is a publication of extracts from my dream diary, intended to be felt and experienced rather than to be understood. I usually enter this inner world in my dreams, under hypnosis or when I meditate for example. It’s a plane of existence that is accessible in Theta brain state. My music is just a tool that allows me to express this condition. It does not create it.
To me, this plane of existence is reality and not the material world or our human experience. I perceive our material world as a product of our mind, merely a projection.What is real? This question drives me and is at the center of my work.
What is stimulating your art and lyrics besides the dream diary?
Poetry, cinema, art, mythology, history, Philip Larkin, Don Van Vliet, W.H. Auden, Ted Hughes, etc.
To which degree does the status quo of the world in the year 2020 influence you and your art?
I thought a lot about the extreme times of change we’re living in and believe that change isn’t necessarily a bad thing. It’s up to us how these extreme changes will turn out. As I already said, I believe the world is the product of our collective projection and that it’s in our hands to replace a tipping point of frightening extremes with thriving transformation. But this change starts inside each of us. We have so many opinions about almost everything, but do we really know who we are? Are we the pinnacle of sophistication, and what is our relationship to our past?
Let me rephrase the last question: how political is the world of Arya Zappa to you?
Not political at all. Politics is cheap entertainment, and its sole purpose is to distract. I have bigger fish to fry.
When I watch your clip „Goodbye“, a song built on the idea of life as a chain reaction of hellos, goodbyes and restarts, it is the image of a burning house that sticks in mind. A quite dark and pessimistic picture –how do you suggest to find the courage and energy for a positive new start in this case?
That’s a misinterpretation. I’m asking “if life is a game, what are you going to sow?” This song is about manipulation and deception. It is about coming clean with someone who has wronged you, without passing judgment. It’s also about taking responsibility for our own decisions. The house symbolizes old dysfunctional patterns that have to be replaced for a new start.
Oh, okay. Well, I understand the other two clips „Cut Grass“ and „Falling“ as answers to the brutality of existence, which I perceived watching „Goodbye“. A new start is only possible for the individual, through radical Denialism, in order to reinvent the self. I hear this in the sentimental and cold character of the music. I’m I right?
Well, there is some misinterpretation, again. „Cut Grass“ is a famous poem by the great British poet Philip Larkin. It’s about life and death and implies that death is just part of the cycle of life and that conclusively, we shouldn’t take ourselves seriously.
Let me put it that way, if you talk to a gardener it becomes clear that lawn care is a science in its own right, full of expectation and shared knowledge, just like most things in our life in which we invest a great deal of our energy, keeping a lawn neat is ultimately pointless. „Falling“ is exactly about that. It’s an inner dialogue concerning those pointless or even destructive things in which we ongoingly invest, without questioning them. Both songs suggest that everything is ephemeral and nothing ultimately means anything. Like the gardener, we moan constantly about having to cut the grass but never question the fact that we had to do it. Apparently, we find a respite in such loops.
The voice is a central aspect of Arya Zappa. Is it only me who hears different tongues speaking here? And how good are those different voices for each other?
The characters in the short film for example, represent various aspects of my personality or the self. I understand and experience myself as a dynamic entity, consisting of the conscious and unconscious aspects of the self – always modifying itself and ever-changing. There are no good or bad voices, just voices that are either conscious or unconscious. Ultimately it comes down to how much we’re aware of our inner voices and if we are willing to listen to them and understand them. This process is what I’ve described as a metamorphosis.
You were so kind to record a 2 hours mix for kaput featuring some of your musical influences. Can you say a few words concerning the track selection?
It’s just a journey through my musical background plus some of my favourite contemporary artist. I hope you guys enjoy it as much as I do.
1. Talking Heads – Burning Down The House
2. Escort – Cocain Blues
3. Arcade Fire – Reflektor
4. Siouxsie And The Banshees – Israel
5. Jusice – Safe and Sound
6. Death From Above – Let’s Make Love (Spank Rock Remix)
7. Wire – The 15th
9. ESG – Dance
10. Deerhunter – Greenpoint Gothic
11. Prince – When Doves Cry
12. Eurythmics – Love Is A Stranger
13. Cerrone – Supernature
14. Cristal – Phonic
15. Simple Minds – I Travel
16. The Human League – Love Action
17. Talking Heads – And She was
18. The Rapture – House Of Jealous Lovers
19. Total Coelo – I Eat Cannibals
20. Flock Of Seagulls – Space Age Love Song
21. The Human League – Darkness
22. Bauhaus – Kick In The Eye
23. Simple Minds – This Fear Of Gods
24. Tubeway Army – Are Friends Electric?
25. Tone On Tail – Real Life
26. Gary Unman – Down In The Park
27. Orchestral Manoeuvres In The Dark – Almost
28. Sonic Youth – I Dreamed I Dreamed
29. Altered Images – I Could Be Happy
30. A Flock Of Seagulls – Transfer Affection
31. Tone On Tail – Lions
32. XTC – Making Plans For Nigel
33. A Flock Of Seagulls – Modern Love Is Automatic
34. Sad Lovers and Giants – White Russians
35. Sad Lovers and Giants – Imagination
36. Sonic Youth – New Hampshire
37. Joy Division – A Means To An End
38. Mi-Sex – Computer Games
39. Thompson Twins – The Gap
40. Siouxsie and the Banshees – Dear Prudence |
Spend Your Socially Distanced Halloween Binging These 10 Gay Horror Films
You don’t need to get drunk at a packed house party to celebrate Halloween. Sometimes it’s even better to be alone and eat all the candy you want without the judgment of strangers who simply don’t have the same reverence for fun-sized Twix as you do. So screw ‘em! Stay home, curl up and get spooked with a Halloween binge-watch of the best gay horror films for the socially distanced season.
We’ve rounded up our favorite ‘best gay horror films’ below, from a late-’80s Kiefer classic to that film starring a now-classic monster who Tumblr decided was a gay icon.
And for bonus points, enjoy your Halloween binge-watch of these best gay horror films in chronological order:
1. The Picture of Dorian Grey (1945)
Holy subtext, Batman! Not only is Oscar Wilde (author of the original tale) himself a queer icon to this day, but the titular character is a handsome, wealthy and sinful young man of varying hedonistic desires. He hides his true self — his portrait — in the closet (wink, nudge), where it grows old and decays with time. An instant classic for your Halloween binge-watch.
2. The Lost Boys (1987)
I think it’s safe to say the bisexuality of vampires is widely accepted canon at this point, and this ’80s androgynous metal and leather dream is loaded with queer subtext and aesthetics.
3. Interview with the Vampire (1994)
If you’re going to watch just one of these best gay horror films this October, please let it be THE Anne Rice classic, Interview with the Vampire. You have Brad Pitt. You have Tom Cruise (before we knew about Scientology). You have centuries of yearning, angst, pining and literally adopting a daughter/building a family together. It’s iconic.
4. Hellbent (2004)
Hellbent launched a wave of what are called “gay slasher” films and is worth watching for that alone. One of the less popular entires on our list of best gay horror films, it’s about a hunky killer sporting a devil mask terrorizing the gay men of West Hollywood on Halloween. Director Paul Etheredge-Ouzts says of his process, “Hellbent offered me the opportunity to create a film peopled with confident, likable, queer kids. The young men in Hellbent have moved beyond worrying about whether ‘it’s OK to be gay’ or not. These kids have the real-life concerns of their generation: ‘Who’s that hot guy?’, ‘Why do I always have to be the sober one?’, and ‘Will I never get out of these heels?!’ I was totally writing a movie I wanted to see.”
5. The Covenant (2006)
Before Sebastian Stan stole our hearts as Captain America’s boyfriend, he was in this weird little film about sexy high school boy witches who manifest their magical abilities after puberty, becoming more and more dangerous as they become addicted to their new seductive powers. The female love interest is all but shoved aside as these boys brood, fight each other and brood some more.
6. Jennifer’s Body (2009)
What seemed to be a highly underrated film at the time it came out, Jennifer’s Body has turned into a sort of cult classic. And why not? Megan Fox and Amanda Seyfried deliver delightful performances in this story of a high schooler possessed by a demon — and her best friend who is definitely maybe in love with her.
7. Stranger by the Lake (2013)
This French thriller is taut with psychological tension and lots (I mean lots) of gay sex. Franck, played by Pierre Deladonchamps, is a regular at a nude beach that also happens to be a cruising spot for men, and he finds himself instantly attracted to the dark and mysterious Michel, played by Christophe Paou. When Franck catches Michel drowning another man in the lake, he decides not to say anything. And things progress from there …. Stranger by the Lake has been called “the sexiest and most elegant thriller in years,” and is a must-see for lovers of intense, thought-provoking cinema.
8. The Babadook (2015)
Look, the Tumblr gays took this one and ran with it — who am I to deny them?
my new favorite Tumblr meme is insisting that The Babadook is gay pic.twitter.com/Id1PJpkkgX
— Ryan Broderick (@broderick) February 15, 2017
A rather poignant psychological thriller, The Babadook is about an exhausted widow who is bringing up her young son, Sam. One night, after Sam’s insistence that she reads to him from the book Mister Babadook, Sam becomes convinced the Babadook is real. There’s a ton of beautiful emotion in this film that really sets it apart from some of the campier entries in the “gay horror films” umbrella.
9. IT Chapter 2 (2019)
OK, you should probably watch IT Chapter 1 first for continuity purposes. And OK, IT Chapter 1 is probably the technically better film. But then again, IT Chapter 2 has everything: blowjob shots, evil Pomeranians, gay childhood trauma, sexy Bill Hader …. This movie is responsible for sparking a wave of Richie Tozier/Eddie Kaspbrak fanfiction, and for good reason, too. They’re two of the most compelling, flawed and heartwrenching queer characters I’ve seen portrayed in ages, and they deserve their happy ending, even if it’s fan-made.
10. Scream, Queen! My Nightmare on Elm Street (2019)
While not a gay horror film itself — it’s technically a documentary about one of the best gay horror films of all time, A Nightmare on Elm Street 2: Freddy’s Revenge — it’s still perfect for a Halloween binge-watch. The 1985 flick was so filled with queer subtext that it … well, it couldn’t be considered subtext. But in this doc we follow how that affected the film career of lead Mark Patton, and watch as he ultimately makes amends with the gay horror film he believes short-circuited his career.
Is there something we missed? Sound off in the comments below and let us know which of the world’s best gay horror films you’d include on your own Halloween binge-watch list. |
Manila, Philippines – Want to learn documentary filmmaking from Alyx Arumpac, director of the much-acclaimed film Aswang? Or do you want to learn the history of documentary filmmaking in the Philippines from Prof. Nick Deocampo, one of the country’s most prolific and revered historians?
Daang Dokyu, the ongoing festival of Philippine documentaries, offers these classes for free, for everyone via its Facebook and Youtube Channel.
Documentary Filmmaking 101 happens on October 14, 2:00 PM.
Table of Contents
Arumpac will talk about the challenges of making the first documentary film and seeing it develop from a personal idea to a work seen by the wider public. This session will serve as a practical guide to the essential parts of the creative process.
Arumpac said that she plans to focus more on making community documentaries. She adds “Anyone can make docs. I am thinking of the premise of empowering people; that degrees are not a prerequisite to make a documentary .”
Arumpac is a documentary filmmaker who studied film at the Docnomads Joint Master (Lisbon, Budapest, and Brussels) and the University of the Philippines. She produces current affairs for television in Manila.
Her film Aswang is about the victims of the current administration’s drug war from marginalized communities and is one of Philippines’ most successful online releases this year. It achieved half a million views when it was released online last July, in partnership with Daang Dokyu. It also won the International Film Critics’ FIPRESCI award in Amsterdam in 2019 and the White Goose Award – Grand Prize at the DMZ International Documentary Film Festival
The film is currently streaming for free at DaangDokyu.com/watchnow until October 15. It will come back to Philippine screens in Daang Dokyu’s special Halloween event, #HuwagMatakot.
Historya ng Dokyupelikula is slated on October 21, 4:00 PM.
Prof. Nick Deocampo will discuss the beginnings and movement of documentary filmmaking in the Philippines, through two World Wars, and from revolution to revolution.
Deocampo is both a filmmaker and film historian. He presently teaches as associate professor at the U.P. Film Institute in the University of the Philippines – Diliman. He took up his Master of Arts degree in Cinema Studies in New York University as a Fulbright-Hays scholar and received his Certificate in Film as a French Government scholar in Paris, France. He has made more than 30 documentaries over a span of forty years.
One of his prizewinning works, Oliver (1983), will be streamed by Daang Dokyu from October 16 to 22. The film is about a female impersonator who supports his family by performing in gay bars.
Deocampo will be introduced by one of the festival’s partners, Deputy Speaker Loren Legarda.
Legarda, an avid supporter of Philippine documentaries and herself a documentarist, states “I encourage everyone to support the festival to experience various Filipino voices and stories told in the last century to know more about what it means to be Filipino and what this could mean in charting our country’s future.”
She adds “It’s about time the documentary is given the spotlight. No other platform can give the viewer a near total experience of an issue or a cause in a deeper, more immersive manner.”
Aside from these two, a masterclass composed of veteran journalists Roby Alampay, Ging Reyes, Maria Ressa, John Nery, and Shiela Coronel on October 23, 8:00 PM. They will tackle the current state of Philippine journalism.
GMA Network documentarists Raffy Tima, Atom Araullo, and Kara David will also have a separate masterclass on October 30, 4:00 PM. They will impart their knowledge in documentary production for television.
More About Daang Dokyu
Daang Dokyu was launched last September 19 to 23 with several titles under its “Martial Law, Never Again” program. It reopened last October 2 with a section on “Ecology: Ang Lahat ng Bagay ay Magkaugnay.” It is currently streaming its “Nation: Perception is Real, Truth is Not” section until October 15, 2020.
It is touted as the biggest documentary festival in the country, with 45 titles available for viewing for free until November 5, 2020. The festival celebrates the hundred years since we started capturing in film the story of our islands and of the Filipino.
Three more sections are up for streaming, which are “Taboo: Off the Record,” “Localities: Dagat ang Pagitan,” and “Future: Ganito Tayo Ngayon, Paano Sila Bukas.” A new section is introduced every Friday until November 5.
Aside from the films and masterclasses, it also organizes a weekly talkback entitled Reality Check.
It will also feature some of the best documentaries aired on television recommended by festival partners and the leading news and journalism organizations in the country, which are GMA Network, ABS-CBN, Probe Productions, Rappler, Philippine Center for Investigative Journalism (PCIJ) and the National Commission for Culture and the Arts (NCCA).
It also recently launched its “DokBook,” a collection and recollection of histories and stories, as well as views and interviews, centered on the rich landscape of the Philippine documentary in film and television.
The festival is initiated by the Filipino Documentary Society (FilDocs), founded by documentary filmmakers Jewel Maranan, Kara Magsanoc-Alikpala, Baby Ruth Villarama, and Coreen Jimenez.
It is made possible with the support and partnership with the Office of House Deputy Speaker Loren Legarda, National Commission for Culture and the Arts, UP Film Institute, and Probe Media Foundation.
Others that support Daang Dokyu are Purin Pictures, Japan Foundation, GMA Network, ABS-CBN, Rappler, iWantTFC, Probe Productions, Phil. Center for Investigative Journalism, Sundance, TokyoDocs, British Film Institute, British Council, SOAS University of London, Concerned Artists of the Philippines, Adobo Magazine, Inquirer.net, Directors’ Guild of the Philippines, QCinema International Film Festival, Grupo Sorbetero, JCI Quezon City Capitol, Central Digital Lab, Butch Jimenez, Chevening Alumni Philippines, Unreel, Film Geek Guy, Geoffreview, SineHub, EngageMedia, Greenpeace, Culion Foundation, Pelikulove, Philippine LGBT Chamber of Commerce, PHCan, and Miriam College.
More information about the festival is available at daangdokyu.ph. |
Premiere Cinema 6 is Having Some Work Done
The movie theater inside the mall is getting some much-needed updates.
The Premiere Cinema 6 has been a great place to go to catch a movie. If you are at the mall and don't feel like waiting for someone to try on 50 to 100 different outfits, you can catch a movie. This is also a great place to take the kids to catch a movie on the weekend. The best part, the prices are considerably lower here verse other theaters in the area.
To compete with other theaters Premiere Cinema is closing for a few weeks for some renovations. They are planning to put in some new seats, a new concession stand, and few more things. The new look will be amazing.
The tentative re-open date is March 9th. To stay up to date with all the changes and the reopening of the Premiere Cinema 6 go to The Westgate Mall Website. |
Prices incl. VAT plus shipping costs
Ready to ship today,
|Size:||42 cm x 30 cm x 15 cm (Height x Width X Length)|
A stone’s throw away from the beach, morning sunlight is streaming through the large windows, illuminating the oil paintings on the walls. With a distinct scent of turpentine pervading the air, the
artist Theo Michael sets himself up for another working day in his Larnaca studio.
Theo grew up in London’s Pop culture of the 1970’s. He returned to his birthplace of Cyprus in 2005 and took up painting, fusing his passion for the cinema and film with the local Mediterranean environment.
Theo presents the world as he sees it, a world of romance and nostalgia.
- The bag has black handles and can be closed with a zip.
- The black rear without painting also sports a small zipped pocket.
- Material: durable polyester (100%) with art print on one side, high colour brilliance
- 42 cm x 30 cm x 15 cm (Height x Width X Length)
- size of handles: 45 cm
- The bag has two inner compartments - dimensions approx.14 cm x 14 cm, with two outer compartments on the back - dimensions approx. 22 cm x 13 cm |
In love with Super 8, in love with their local community and in love with each other: For more than a decade, Paolo Davanzo and Lisa Marr have been running the Echo Park Film Center, a small community film workspace and film theater in Los Angeles. Thanks to the Center, kids from their multicultural neighborhood have become the next generation Super 8- and 16mm filmmakers. And their filmmobile takes their film activism to the next frontier. An interview.
(Deutsche Übersetzung: hier.)
How do you teach Super 8 filmmaking?
Lisa: We have been doing free classes for teenagers in the neighborhood since the Film Center began. All the equipment is provided for free, the instruction, anything to do with the classes if free. And it is such a great learning tool because they are forced to really think about their craft and their art and their ideas. It’s not this instantaneous culture that we are so used to. Some of these students fall in love with film and that is their focus for the rest of their lives. For others, it’s just a stepping stone on their way to something else. But everything that they gain through the process helps them in whatever they do: discipline, imagination, planning, the tactile nature of it. It’s really amazing to see these young minds latch on this form.
Paolo: Everything we do is not just about the product, it’s the journey. We have these group meetings, with all the families and the neighbors. In the end, we always show the film. Everyone has to bring food. And there are so many different cultures, people from El Salvador, from Mexico, from Vietnam, and they bring cultural dishes from their communities. We share, we watch the film, and it becomes this social endeavor.
Were you involved in Super 8 before you began the Film Center?
Paolo: My father had a voracious appetite for Super 8. As a kid, watching those films, I was socialized with the beauty of this. But I only bought my own first camera when I was eighteen, at a garage sale, a Eumig. It was in mint condition. This Persian gentleman in Los Angeles was selling them still in the case and maybe used once. And that was when I said that not only I can appreciate looking at this, I can make it, and ended up doing it for more than 22 years.
Lisa: He was doing film, I was making music, touring with a punk band all over North America. And then we met. It was those two D-I-Y aesthetics coming together in a new project, the Film Center.
Punk and Super 8, that’s really a match, isn’t it?
Lisa: Definitely. The first time Dagie Brundert heard my music from the era, the mid-1990s, she said “this is Super 8 sound” – the equivalent of a Super 8 film but a song. I think it’s because of the hand-made, hand-held aspect to it. Everyone can join in and be a part of and get excited about. It’s a collective enterprise.
And then also the rough materiality…
Lisa: Exactly. It’s not very expensive, it’s easy to find in kind-of thrift stores. I found my first Super 8 camera in a thrift store in Joshua Tree. You can find, and immediately you can get going. You’re making things and learning as you go, there is no preciousness about accessibility or knowledge. It seems very welcoming to people.
Paolo: You validate your own creativity, in a sense that you have a Super 8 camera and, boom, you make a movie. In punk, you have a guitar, you know three chords, you make a song. You don’t need a professional venue or a film festival to validate you.
Would you say that this has changed? In the 80s and maybe still in the 90s, the easy way to start music was to pick up a guitar and learn three chords, or pick up a Super 8 camera and make a film. But to just quickly shoot things, you would nowadays use a cheap video camera. Hasn’t Super 8 become more crafty and exclusive? Can it still be punk?
Paolo: That’s a good question.
Lisa: We try to keep it as the punk aesthetic. We don’t want it to become a rarefied art form, we want to keep it in the everyday. But I agree with you: as something that everyone has, that your grandfather and your little brother can use, digital technology is the Super 8 of today. But we do believe that there is something irreplaceable about Super 8. There is this return to craft in all forms, things that are made with your hands, things that are made with the community. People are hungry for that. It’s like the church of our generation, a way to gather people and celebrate something that everyone has a common belief in. There is that conscious community building aspect to it now that maybe didn’t exist before. We don’t want it to become a rarefied art form, we want to keep it in the everyday which is why we teach our students to use it, which is why we encourage our community to use it, which is why we show it as much as possible to say that it’s still a vital art form.
Paolo: When people were shooting in Super 8, whatever, first 8mm in the 40s and 50s and then, since 65, Super 8, it was still more like family videos. And in the 80s
it became once again like an outsider art because people were shifting towards video. I think that’s the same thing with punk. Now, if every kind can buy a little crappy cell phone that has a video camera on and all of a sudden becomes a cultural producer, at least a content producer, but it doesn’t have that same kind of outsider aesthetic to it. And to see a child at the Film Center that has not even a conception of how motion picture works, for them to touch it, and feel it and even lick it – that’s the magical physicality of it.
Lisa: Our students get very excited about it. They talk about it in these ways: “This is more real to me, this is more powerful, this is more meaningful”. And they have this real desire to continue to explore that craft.
So would you say that Super 8 culture has gone full circle, that it is now becoming one with the old amateur culture. The punks were anti-establishment, and the typical punk filmmaker would be the anti-family filmmaker, but now they are one family?
Paolo: Exactly. That’s hilarious, yes, well said.
Lisa: Yeah, it’s complex, the way these media come and go in our culture.
On the one hand, you do sociocultural work, but on the other hand you are also internationally known as a workspace for experimental filmmakers. How do these two sides match?
Paolo: For me, there are more similarities than differences. Our artist-in-residency program invites well-known artists from all over the world. We had the American filmmaker Roger Bebe, Dagie Brundert, Joff Winterheart, a very accomplished animator from England, and Elena Pardo, an amazing Super 8 filmmaker from Mexico City. They come, and they do their practice. And they are inspired to see a new generation adopt these tools. And the kids, they think: Wow, this is an adult that’s doing this professionally, for a living, and doing it well, and they can learn from them, skills and practice…
Lisa: I think that we are one of the few cinemas that encourages people from all walks of life to come and participate. Most cinemas are catering to a student audience, some sort of intelligentsia. But for us, literally, you can be sitting with the clergyman from down the street with some punk teenager, somebody’s mom. We even had people come by and say: when you first moved into this neighborhood, I was really resentful – who are these white folks coming in here with their fancy art center? But now I’ve gained access through either my son or my daughter, I’ve come in because I’m interested or there’s a program that’s really about our community.
Paolo: Currently in this class that’s starting in a few weeks, everyone of the teachers is a former student. We have four teachers, and that’s an amazing social and educational model. We have some kids now who are in pretty prestigious art schools. So, who knows, in ten years, they may be running Warner Brothers, but that’s not our concern.
Isn’t there contradiction between seeing Super-8 as a DIY medium and teaching it?
Paolo: I think teaching is relative. We were talking about Super 8, but for us there is a strong relation between 16mm and Super 8. We shot this city symphony film which I was talking about, very pristine, you know…
Lisa: There are so many choices nowadays that you have to illuminate these things or people will never find them. We are bombarded with so many gizmos and gadgets and things to do that I think we shine a light on things and say: Here it is, now take it and do what you will with it. Our teaching style is very open. We work within a framework, but within that framework, they have complete freedom to create things. It’s easy for the young students to work that way, but it’s our adult students who are very worried about
doing everything the right way. It’s our job to almost get to this unlearning process, just take it and see where your eye goes, see where you heart goes, see where your hands go through the world of this camera, and make something. It doesn’t have to be the right way, just make it. We also tried to incorporate learning that lets people understand film history. So we went back and showed a lot of these early city symphonies, and films like “Rain”, “Berlin” and…
Lisa: … all these things. There has never really been one about Los Angeles which was interesting – aside from Tom Anderson’s “L.A. plays itself” that’s a kind of a modern version of it. And then we introduced them to 16mm technology. None of them had ever shot it, none of them had ever seen 16mm film, and they were sent out to create a 24 hour meditation on Los Angeles. There were about 48 students. They were paired up, each student chose an hour of the day, and they were given up to two rolls of 16mm film. It had to be black and white, and they had to select a portion of the city that they thought represented L.A. at that particular time. Obviously, it was silent, they each worked on their minutes. Each hour was condensed into a minute, so it ended up being a 24 minute film. It started at midnight, finished the following midnight. We had a live score provided by a local experimental ensemble. It had its debut in a large theater in Downtown Los Angeles. It was just completely magical.
How do you finance your activities?
Paolo: The majority of our staff works volunteer. However, since our inception we have always paid teachers, filmmakers and visiting artists. We feel it is important to nurture the system and reward those who are making work. The funding stream in the US with non-profits – or NGOs as you may say – come mostly from foundations. We get most of our funding from large foundations that by-law need to give a percentage of their funds to groups working in the community. We also get grants from the government. However, that is a tiny percentage, maybe ten percent. We rent film and video gear and do repairs. That creates some funds, maybe twenty percent. Lastly, we charge for the cinema events and that raises maybe twenty percent.
Isn’t the fundraising a never-ending chore for you?
Paolo: In the beginning it was struggle as we had no money and had to always hustle for some dough. However, now we have built a name for ourselves in Los Angeles and people truly appreciate what we are trying to do. So bit by bit we are able to get funds. Never a lot but always enough.
You also run the filmmobile. Did you feel that it was not sufficient to stay in one space?
Paolo: Yeah. It’s a combination of our desires and passions. The idea came from Lisa. She was like: We are doing what we are doing, and we can reach more communities, so what if we became itinerant.
Lisa: When the Film Center started, every students was really from the surrounding blocks. Now, we have kids coming from far away, being two hours on the bus to reach us. But that’s not what it’s about, it’s about community filmmaking. So the bus serves that purpose. Some of the workshops we do at the bus last literally an hour, and we set up direct animation. We are on a picnic table outside in the park, set up a long strip of film, everybody works on it, an hour later we watch it. That’s probably the quickest workshop we do.
How does the bus technically work?
Paolo: It’s about seven meters long, not humongous, but pretty big. We tore away all the seats. A friend of us is a carpenter, so it’s beautifully furnished. If we have a very small group, we can work on the bus, if we have a larger group which is normal, we do it in a classroom or a church basement or an afterschool anywhere. We are in process of buying second bus, a hand-processing truck. Then we will have the Filmmobile which teaches the workshops, and the hand-processing bus that can go together. So you can run around, shoot Super 8 and, go into this light-tight bus, process it and then watch it the same day.
Lisa: We also use the bus for a screening series where we show films in a location where they were originally shot. So we park it somewhere, put the screen out and attach it the outside of the bus, set up a projector and show it right there.
Paolo: Once we used the bus for a guerilla screening on Hollywood Boulevard. There we were at the heart of the Hollywood machine, and we were taking it back. We were showing films from inside the bus, and people were walking by which was a powerful moment.
A last but inevitable question: What are your favorite Super 8 cameras?
Paolo: I’ve gone through phases: the Eumig, when I first had it, was like the first girlfriend you fall love with and never fall out of love, like that first kiss. But then, I became obsessed with Canon, and now Nizo is what we are using often.
Lisa: Yeah, Nizo. It’s all about the Nizo 480 for me, the little one with the “B” setting.
Interview by Florian Cramer, photographs by Florian Cramer and Paolo Davanzo |
When Luke Skywalker, played by Mark Hamill, looked out at two suns setting upon the dusty plains of Tattooine in 1977’s A New Hope, many considered Star Wars to be the pinnacle of science fiction fantasy.
But more than 40 years later and NASA’s hard-working scientists on the Kepler space exploration mission have proven what was once considered science-fiction is now much closer to actual science-reality.
What science fiction fans saw in cinema theatres four decades ago was a so-called binary star system setting over the horizon of Tattooine.
Binary star systems consist of two stars orbiting each other in tandem around a common barycentre or centre of mass.
Today we known that binary star systems like the one seen in Star Wars are absolutely real and quite common.
Kepler and TESS mission investigator Jon Jenkins, NASA Ames Research Center, said spotting such a binary star system in the wild may just be the Kepler Space Telescope’s greatest discovery.
Appearing with NASA’s chief scientist Jim Green on the August episode of the Gravity Assist Podcast, Mr Jenkins candidly spoke about the historic NASA Kepler mission.
The computer scientist said: “One of the most fascinating discoveries that Kepler has made is that planets don’t form just around single stars, but they form around binary star systems.”
Star Wars discovery: A NASA scientists revealed a real-life Star Wars discovery made by Kepler
Spotting the obvious reference to the Star Wars universe, Dr Green said: “Wow, Tattooine.”
Mr Jenkins agreed, saying: “That’s right, exactly like Star Wars, which I remember in 1976, my dad taking me to see Star Wars and seeing Tattooine and seeing the two stars, you know, setting, behind that planet.
“And, indeed, part of what brought me to the mission was that I was part of a very small team of scientists who were trying to find planets orbiting CM Draconis which is a small M-class pair of stars.
“And we believe that if there were stars transiting the system, that an Earth-like place, a habitable zone, would be in a 17-day period orbit.
“And because it’s so small, we could actually from the ground determine whether or not there were planets as small as Earth there.”
Although the discovery of distant binary star systems can be traced as far back as Galileo Galilei’s observations of the sky in the 17th century, NASA’s Kepler gave astronomers unprecedented views of the stars.
One such star system was found by Kepler at the centre of the Kepler-47 system, where at least three larger-than-Earth planets orbit a pair of stars.
The binary star system is found roughly 3,200 light years from our home world or about 30,274,337,512,258,560 km away.
NASA Star Wars discovery: The binary stars setting over Tattooine exist in deep space
NASA Star Wars: Binary star systems are two stars orbiting one another
NASA launched the Kepler space telescope into orbit in partnership with the European Space Agency (ESA) on March 7, 2009.
Since launch, the first leg of the Kepler mission has discovered a confirmed 2,327 exoplanets and another 2,244 exoplanet candidates.
The second leg of the mission, dubbed K2 Mission, has so far confirmed 323 exoplanets with another 479 candidates on the waiting list.
Mr Jenkins said: “Well, in terms of the planets that we’ve discovered, we discover more smaller planets than we do larger planets. And that’s very interesting because it’s actually harder to find the smaller planets.
NASA discovery: Thousands of binary stars are out there in the depths of space
Kepler Space Telescope: The Kepler spacecraft hunts down exoplanets in distant star systems
“It’s kind of like if you were blind and reaching down into a pond fishing, you really want to find the small, cool fish that are down there at the bottom.
“But, the warmer fish–because the water is warmer at the top, the larger, warmer fish are easier for you to find because they are closer to you, they are easier for you to reach, and they are easier to find and catch. The smaller fish are harder.
“They dart out of your hands. And that’s the way it seems to happen and what it feels like when you’re looking for very small planets like the Earth in data from Kepler.”
You can listen to NASA’s latest episode of the Gravity Assisted Podcast with Mr Jenkins online here. |
In May, we continued the XReality Center series of online meetups on zoom and experimented with social VR platforms. With students graduating this month we decided to bring in experts who are actively working in the XR industry. In a conversation led by the XReality Centers Director Maya Georgieva we engaged with students from all corners of the New School to talk the latest developments in XR. Heres a quick recap of our meet-ups.
May 1st, 2020 – Shared Storytelling in the Metaverse: Interactive Cinema and the MetaMovie Project
Topic: Second Person Narratives in VR
- How were you first introduced to VR?
- What was the biggest challenge transitioning from traditional film to VR storytelling?
- What was your experiencing building in High Fidelity and why have you switched to NeosVR?
- What challenges have you faced working with actors in VR?
- Can you describe your on boarding process for getting your ‘VIP’ into character?
- What limitations still exist for VR narratives and how do you think we can overcome them?
- What principles from traditional filmmaking do you think carryover into VR storytelling?
- What opportunities are out there for VR and AR storytellers? Audiences, Grants, etc.
May 8th, 2020 – What’s NEXT in XR?
Topic – Upcoming Companies and Technology in the XR Industry
Speaker – Emory Craig, Co-founder of Digital Bodies
- What new XR companies should we all be paying attention to?
- What has been the most impact XR project you’ve experienced thus far?
- How have XR companies shifted during Covid -19?
May 22th, 2020 – Design in XR
Topic – Design in XR
Speakers: Akshansh Chaudhary and Yanzhe Wu
- What was the inspiration for your project?
- What technical problems did you have to overcome?
- Why did you decide on this particular platform (VR, 360 etc) to showcase the piece?
- What was your development workflow for creating your piece?
- What are the next steps for you in producing this project?
- What sort of audience does your piece cater too?
May 29th, 2020 – Exploring Social VR
Topic Exploring Social VR |
Centro Cultural Vale Maranhao
Avenida Henrique Leal/ Direita, 149, Centro (centro historico). Sao Luis – Maranhao
Opening hours: April 5th to June 4th, 2017. Tuesday to Sunday – From 10 am to 7 pm.
FILE, for the first time in the northeast of Brazil.
In the exhibition “FILE Sao Luis 2017” we present for the first time in the Northeast of Brazil a cut from FILE – Electronic Language International Festival, with virtual reality works using 3D glasses, interactive and non-interactive installations, games and animations.
The coming of FILE to Sao Luis indicates the tendency of the close connection of the art with the recent technological developments. Art has always been the result of the application of techniques in the development of poetics. Now, increasingly, recent digital technologies are being applied by the artists in the creation of different experiments, hence the importance of showing what has been accomplished by the creators who deal with this interrelationship in different regions of Brazil and the world.
For 18 year, FILE promotes exhibitions, workshops and meetings whose objective is to foster the debate on the interrelationship between art and technology. With annual events in Sao Paulo, exhibitions in Rio de Janeiro, Belo Horizonte, Curitiba and Porto Alegre, as well as the participation in international events, the festival is the biggest event of electronic art in Latin America.
In this edition in Sao Luís, the public has the opportunity to live different experiences in our world or in other fictional worlds through total immersion in virtual reality with the use of 3D glasses. In “Be Boy Be Girl”, by Frederik Duerinck & Marleine van der Werf, we are invited to visit a beach in Hawaii, choosing to be in the body of a man or a woman. In “The Night Cafe”, by Mac Cauley, it is possible to explore the world of the paintings by Van Gogh and even meeting the painter himself in an animated version. In “Swing”, by Christin Marczinzik & Thi Binh Minh Nguyen, the dream of flying becomes reality. Sitting on a swing, the bigger the movement applied by the visitor, the brighter the colors of the world experienced.
In addition to the experiences in virtual reality, the dialog between the physical world and the digital world is possible through different interfaces, which involve the interaction of the visitor through word and body. The works of the Brazilians Rejane Cantoni and Leonardo Crescenti “Fala” (Speak), “Túnel” (Tunnel) and “Piso” (Floor) are machines that respond to actions like speaking and walking on a floor or a tunnel. In the work “Piso”, a wave that goes back and forth can be felt by others who walk, sit or lie on the installation. In “Starry Night”, by Petros Vrellis, it is possible to change the iconic flows of an animated version of the work “Starry Night”, by Van Gogh, by touching the screen.
In a non-interactive line, “Vídeo-Boleba”, by Celina Portella, shows the passage from the digital world to the physical through the game of marbles, that leave the plane of the screen and spread through the gallery’s space. In turn, “Hardwired”, by Marcel Van Brakel & Frederik Duerinck, consists of about 18,000 LED lights in a physical network, which symbolizes the transfer of knowledge that occurs in the synaptic networks of our brain.
The acquaintance with different experiences in our world or in other fictional worlds is also possible in the selection of electronic games and animations. Yet among the installations, in “Journey”, by That Game Company, it is possible to walk through dunes and ancient ruins. The objective is to reach the top of the mountain, but the experience involves the discovery of who you are and what your purpose is. In addition to the installations, FILE Anima+Games gathers animations and games in the same event, with the intention of highlighting aspects that would go unnoticed if shown in its own logic. On the one hand, the animations with their own creation and production strategies, with its already known influence by the cinema, and on the other, the games, with the notorious problematic between narratology and ludology, but also among the games and the metagame.
This is an unprecedented visit of FILE to the Northeast of Brazil. Don’t let the wave slip away!
Celina Portella – Vídeo-Boleba – Brazil
The “Vídeo-Boleba” installation is composed by a TV set and a mechanism that shoots marbles. In the video, two boys take turns playing the marbles, which appear at the side of the screen when they leave the frame, scattering in the space close to the public, and giving continuity to the scene in the material world.
While the video seeks a faithful representation of reality, its unfolding outside the screen seeks to replicate the image. The device created by the artist swindles the spectator’s eye, confusing its perception, creating interfaces with “new spaces”, and articulating material reality and the virtual world.
This project was developed through Edital de Apoio à Pesquisa e Criação Artística 2011 from Secretaria de Estado de Cultura of Rio de Janeiro.
Christin Marczinzik & Thi Binh Minh Nguyen – Swing – Germany
Swings have always held a special fascination for us. As children, we used to play with them. Today we like to reminisce about the enjoyment which we felt while swinging. We felt disconnected from reality, weightless and free.
“Swing” brings these feelings back and makes a dream come true: the dream of flying. Thus, the swing becomes a physical component of an interactive installation. The use of 3D oculus enhances the swinging experience with virtual reality, creating a unique immersive adventure and sending you to a crafted watercolor world.
While swinging you leave the drab monotony of everyday life behind, find a place to ease your mind and regain your strength. You rise smoothly into the virtual world. The flight level depends on how long and how high you actually swing.
The starting point in the digital world is the same as in the physical world: the ground. Here everything is pale and dull. When you have the courage to swing more intensively, you will fly higher and the vibrancy of colors will increase. The climax is in space. Upon reaching it the world reaches its maximum in color intensity. If you want to go down, you have to stop swinging, but the colors around you will stay vivid and bright.
Frederik Duerinck & Marleine van der Werf – Be Boy Be Girl – The Netherlands
“Be Boy Be Girl” is a multi-sensory experiment that engages sight, hearing, touch, and smell. In the experience, our bodies become more than just our eyes and ears. They are the vehicles to experience and challenge reality.
In the installation, we create an illusion by activating all senses by a combination of smell, touch (through infrared light and a fan), image (with 360 degree 3D film glasses) and omni sound.
The shooting of the 360 degree 3D film material took place on Hawaii and was filmed with 16 cameras on a self build rig. This camera-rig was placed on top of the head of several man and woman to recreate the same perspective as our audience will have in the installation. The omni audio which changes perspective while the viewer turns his head was specially created for the installation.
Lindsay Grace – Big Huggin’ – A Bear for Affection Gaming – United States
“Big Huggin’” is an affection game designed for use with a custom teddy bear controller. Players complete the game by providing several well-timed hugs to a 30 inch teddy bear. “Big Huggin’” is an art gesture and game system. The work is displayed as a playable game with a single control – a teddy bear wired for affection. The controller allows for varied levels of hugging, so the player must be careful to hug (not squeeze) the stuffed bear using their entire body.
Mac Cauley – The Night Cafe – United States
“The Night Cafe” is an immersive VR environment that allows you to explore the world of Vincent van Gogh first hand. Take a moment to enjoy his iconic sunflowers in 3 dimensions or walk around the chair he painted in his bedroom to see it from another angle. Step into the vivid colors straight from his palette.
Petros Vrellis – Starry Night – Greece
This is an interactive installation based on Van Gogh’s masterpiece “Starry Night”. The iconic flows of original painting come to life, as an animation. Furthermore, the visitor can interact with the painting, altering the flows by touching. Any influence is temporary and the animation gradually returns to its original state. The background music also responds to the flow. The installation provides an immersive interpretation of the original masterpiece that can be used for “re-discovering” classical art and serve educational purposes.
POLYMORF: Marcel Van Brakel & Frederik Duerinck – Hardwired – The Netherlands
“Hardwired” consists of around 18,000 LED-lights that symbolize the transfer of knowledge. Individual luminous pixels connect and then disappear. In a process of constant transformation, new patterns, interrelations and complexities emerge.
The installation was developed by POLYMORF with alumni from the Department of Communication Media Design at the Avans University of Applied Science in Breda.
Lead designer: Marcel van Brakel (POLYMORF), Frederik Duerinck (POLYMORF)
Coding: Dominggus Salampessy, Peter Schmidt
Rejane Cantoni & Leonardo Crescenti – Fala – Brazil
An autonomous, interactive speaking machine, designed to establish automatic communication and synchronization between humans and machines, and between machines and machines. In the installation, a microphone makes the interface with a “choir” of forty cellphones. The whole equipment is ready to capture voices and other sounds. The autonomous speaking machine analyzes the information and establishes equivalences with its memory. In positive cases, the machine generates an audiovisual result with a semantic meaning similar to the captured sound, i.e., it speaks and shows on the screens an identical or similar word to that of the listened word. Soundboxes and the visualization of words on the cellphone screens make a “dialogue” possible, and humans can listen and see the machines chatting.
Rejane Cantoni & Leonardo Crescenti – Piso – Brazil
“Floor” is an interactive interface designed to transfer strength and movement data in the human-human relation and the human-space-time relation. The action of stepping on one of the two ends of the machine produces a wave that is displaced in the direction equivalent to the action. For the other users (not interactors), it is worth noting that the wave in movement lifts the steel plate and the assemblage lifts who or what is on it.
Rejane Cantoni & Leonardo Crescenti – Túnel – Brazil
“Tunnel” is a kinetic, immersive and interactive sculpture, composed of 92 porticos that become disordered in function of the position and body mass of the interactor. Numerous users can simultaneously enter and interact with the machine. Interactors agency the machine via their position and weight. An example of interaction is: you go into the “Tunnel” and stand by one of the side walls. In this case, the relative position and the gravitational force of your body provoke variations of floor height. The floor inclines up to 5º, the associated porticos progressively rotate in the corresponding direction and angle, and this propagates undulatory movements throughout the entire installation. For the outside observer, the internal movement or your displacement in relation to the installation produces kinetic optic effects.
That Game Company – Journey – United States
“Journey” is an interactive parable, an anonymous online adventure to experience a person’s life passage and their intersections with other’s. You wake alone and surrounded by miles of burning, sprawling desert, and soon discover the looming mountaintop which is your goal. Faced with rolling sand dunes, age-old ruins, caves and howling winds, your passage will not be an easy one. The goal is to get to the mountaintop, but the experience is discovering who you are, what this place is, and what is your purpose.
Curatorship: Raquel Fukuda
1 Asteroid Base – Lovers in a Dangerous Spacetime – Canada
2 Bedtime Digital Games – Back to Bed – Denmark
3 House House – Push Me Pull You – Australia
4 Media Molecule – Tearaway Unfolded – England
1 Adrian Flury – A Place I’ve Never Been – Switzerland
2 Anthony Rousseau – My Last Round – France
3 Camilo Colmenares – Quimtai – Germany
4 Christo Guelov – White Cubes | DLC2015 – Spain
5 Daniela Krajcova – Stability – Slovakia
6 David Mussel – Cartas – Brazil
7 Fabricio Lima & Marcelo Jeneci – Um de nós – Brazil
8 Henning M. Lederer – Anatomic – Germany
9 Jan Goldfuß – 2=1(+1=n) (Cold Memories 2) – Germany
10 Jorge F. – Nightmare Endless – Brazil
11 Leandro Angare – O Sapato – Brazil
12 Matthew Schoen – Vehicles – Canada
13 Milan Zulic – The Circle of life – Serbia
14 Ove Pictures: Veronika Obertova & Michaela Copikova – Nina – Slovakia
15 Peter Whittenberger – What’s the Worst that Can Happen? – United States
16 Sandrine Deumier, Sonia Paço-Rocchia & Philippe Lamy – [Play;] – France
17 Sandra Crisp – Auroville Dream (Tales from the City) – England
18 s-ara – Telephonophobia – Portugal
19 Tiny Inventions: Ru Kuwahata & Max Porter – Perfect Houseguest – United States
20 Uwe Heine Debrodt – Fotosintetico – Mexico
For more information: [email protected] |
Construction is well underway on the last major buildings that makes up the core of Epps Bridge Centre, the shopping complex surrounded by Epps Bridge Parkway, SR Loop 10 and the Oconee Connector.
The Oconee County Code Enforcement Office issued a permit on March 27 for the shell of a 25,024-square-foot building that connects the building housing Marshalls with the building under construction that will be home to Party City and Bed, Bath & Beyond.
The county issued the permit for the shell of Party City and Bed, Bath & Beyond on Jan. 22 of this year, and work on this part of the building is expected to be completed by Sept. 30.
The shell of the building connecting Marshalls with Party City and Bed, Bath & Beyond, labeled as Building 330, is being completed on speculation. Construction is to be finished by Aug. 31.
The application for the building permit for Building 330 filed by Epps Bridge Centre LLC on March 25 listed “Ross” as the tenant.
|Bed, Bath & Beyond At Right|
Looking Toward Cinema
Both the sewer service request filed with the Oconee County Utility Department on Jan. 5 and the water service application filed with the Utility Department on March 27 also list Ross as the tenant of this latest building.
The Oconee Enterprise reported in its April 2 edition that Ross has not agreed to lease the building.
Frank Bishop of The Bishop Company, the Atlanta developer of Epps Bridge Centre, confirmed to me in an email message on Friday afternoon that “At this time Building 330 is not under contract with a tenant.”
Ross Stores Inc., which operates as Ross Dress For Less, is the third largest off-price retailer in the United States, according to Wikipedia. Ross, headquartered in Dublin, Calif., is behind T.J. Maxx and Marshalls, both of which are owned by TJX Companies. |
|The Phantom of Liberty|
THREE FILMS BY LUIS BUNUEL (1972-1977, Bunuel)
Criterion Collection, Blu-ray, Release Date Jan 5, 2021
Review by Christopher S. Long
You know how annoying it is when you see a character in a movie suddenly jolt awake and you realize the scene you've been watching was really just a dream? Director Luis Bunuel certainly knew, which at least partly explains why this exasperating trick plays out multiple times in “The Discreet Charm of the Bourgeosie” (1972). The radical who first shocked audiences by slicing an eyeball in “Un Chien Andalou” (1929) still hadn't tired of his assault on complacency nearly half a century later.
I don't mean that Bunuel was just trying to yank the chains of his viewers, no matter how bourgeois his film festival audiences were likely to be, but rather that the septuagenarian artist hadn't let success blind him to the fundamental absurdities and inequities of a society he'd spent his professional life mocking. Dream logic hardly seems more absurd than a social structure which grants respectability to its worst people for the flimsiest of reasons. Call yourself an ambassador and you can smuggle cocaine while still being hailed as a gentleman. Wear a priest's cassock and you can get literally get away with murder. Master the courtly manners that help you negotiate a fancy dinner with grace and everyone scrambles to serve you with a smile, no matter how much contempt you have for them.
In “Discreet Charm,” that fancy dinner never quite happens. Bunuel and screenwriter Jean-Claude Carriere (who collaborated with Bunuel on most of his later films, including all three in this Criterion box set) force the same set of rich snobs to show up for a dinner that is constantly deferred for various reasons. At first, they arrive at their hosts' home on the wrong night which prompts them to dash out for a quick bite at a nearby inn where they find that the owner has just died. In fact, his dead body is on display for mourners in an alcove just off the dining room. And then things start to get weird.
One party is spoiled because the host couple (Stephane Audran and Jean-Pierre Cassel) sneaks off for a bit of afternoon delight in the bushes, leaving their unattended guests bored and offended. One dinner transforms into an impromptu stage play with the diners unwitting actors. A duel brings a lavish buffet to a bloody end. The local bishop (Julien Bertheau) drops by because he wants to fulfill his lifelong dream of being a gardener. And, of course, the vengeful spirit of a murderous policeman returns from the grave to enact justice on our very hungry protagonists.
The film only gradually fleshes out the relationships among the upper-crust characters. Francois (Paul Frankeur) and Simone (Delphine Seyrig) are married, but Simone is also shacking up with the ambassador (Fernando Rey). There's little to the players save their venality or outright corruption, and Bunuel enjoys tormenting them by constantly delaying any substantive gratification beyond a few sips of booze.
Which parts are real, and which parts are dreams? All of them, of course. Bunuel doesn't distinguish in such literal terms, and it hardly matters. A society that would reward these vapid cretins with wealth and prestige is too ludicrous to be believed (or respected) anyway.
At a few points in “Discreet Charm,” a minor character suddenly claims center stage. For example, a sad-eyed lieutenant interrupts the ladies' lunch (where they can't even get tea or coffee) to tell his tale of a woeful childhood. Bunuel and Carriere would expand on this discursive storytelling approach in their next collaboration, the absolutely bonkers “The Phantom of Liberty” (1974).
“Phantom” fractures its narrative into multiple vignettes with no main plot or lead actor. Each segment is connected, however tenuously, to the previous one, but the film frequently abandons a story just as it builds to a climax, often following a minor character who then becomes the protagonist of the next story. And so on.
As unconventional as the narrative structure is, “Phantom” is still a quintessential Bunuel film, relying on the twin engines of sacrilege and fetishism to propel the action. Sacrilege: French troops with a bad case of the munchies ransack a church and chow down on holy wafers. Horny monks play poker with religious medals: “I'll open with a virgin.” Fetish: A young man spirits his much older aunt off to a hotel for a weekend tryst. A traveling businessman in the same hotel invites the poker-playing monks to watch his dominatrix secretary whip him into an orgiastic frenzy - as the guests flee in horror, the businessman cries: “At least let the monks stay!”
It's futile to relay the protean plot in greater detail. But a focus on one segment provides a reminder that surrealism is, etymologically, built “on reality.” In one section, the mother of a young girl is called to school because her daughter has gone missing. As the teacher explains what happened, the young girl in question tugs her mother's arm. Mom tells her to keep quiet because everyone is looking for her. Later, the girl is taken to the police station so they can file the missing person report. The officer deems it convenient that the absent girl is right there, the better to prepare a detailed description so they can start the search. This sequence deploys no disorienting stylistic techniques, no canted angles or shocking reveals. It just plods through a mundane series of shots of people directly interacting with a little girl who they also consider to be missing, rendering the whole spectacle profoundly uncanny and unsettling. Downright Bunuelian, you might say.
“That Obscure Object of Desire” (1977) was Bunuel's final film (he died in 1983), and is less formally audacious than the other two films in this set. Toying with an almost archaic classical story structure, the film centers on Mathieu (Fernando Rey), an older man of wealth from an unspecified job who boards a train and regales his cabin mates with his tragic love story. Mathieu fell for the teenage Conchita, briefly his maid, later a hat-check girl, and possibly a revolutionary. Conchita allegedly falls for him too but steadfastly refuses to have sex with him, leading to a series of tragicomic frustrations for Mathieu, one involving the sudden appearance of Conchita's impenetrable chastity belt. Mathieu cannot break the spell the seductress has over him, yet also cannot break her spirit and possess her. “I belong to no one but myself”, she insists.
Though the film provides a few surrealist touches (a doting mother turns out to be swaddling her precious baby pig) the story, based on a 1898 novel by Pierre Louys, unfolds in fairly linear fashion, though with Mathieu serving as the unreliable narrator. The idiosyncratic touch this time is that Conchita is portrayed by two actresses, Carole Bouquet and Angela Molina. Supposedly, Bunuel made this decision partly as a lark after he found it difficult to work with actress Maria Schneider, who was originally cast. Bouquet and Molina sometimes switch off in the middle of a scene, and there's no clear reason why either appears at any particular moment. Each takes turns at playing Conchita as diabolical or as innocent. Reportedly, most viewers at the time didn't even realize there were different actresses, likely a disappointment to the filmmakers.
Domestic terrorism plays a role in all the films in this set, but becomes more prominent here with urban ambushes, shootings, and bombings punctuating the anti-romantic love story. In Bunuel's films, civilization is a thin veneer over a violent society, and that's as true of the rituals of love as of the cultured manners of the bourgeoisie. It can all blow up in your face at a moment's notice, no matter how fancy your suit or how dignified your title.
All three films are presented in their original 1.66:1 aspect ratios. These “new high-definition digital restorations” all showcase sharp image resolution and a rich color palette. They also feature a fine grainy look. I only have the old “Phantom” DVD as a comparison point, but the new Blu-ray image represents a substantial upgrade.
The films are all presented with linear PCM mono audio tracks. The mono audio is crisp with no evident distortions. The sound design isn't particularly robust, and the mono track serves it well. Optional English subtitles support the French audio.
Each of the three films in this set was released as a stand alone DVD by Criterion 15 or more years ago. The Blu-rays in this set maintain their old spine numbers (102 for “Discreet Charm”, 143 for “Obscure Object”, 290 for “Phantom.”) Some of the old releases had substantive extras, others few at all. Criterion has pretty much packed each of these discs for these 2021 Blu-ray upgrades.
Each disc has its own keep case, all three of which are tucked into the outer cardboard slip case titled “Three Films By Luis Bunuel.”
The “Discreet Charm” begins with an import from the old DVD release, the documentary “Speaking of Bunuel” (2000, 99 min.) Directed by Jose Luis Lopez-Linares and Javier Rioyo, this feature-length documentary aims to be a comprehensive biography of the filmmaker, detailing his childhood through his early days as an artist (covering his friendship with Salvador Dali and Federico Lorca) and his wanderings as a filmmaker in several countries over many decades. Covering so much territory, it doesn't dive deeply on too many subjects, but it's an informative piece, spiced up with interviews from collaborators such as Jean-Claude Carriere, actor Michel Piccoli, and many others.
Another import from the old release is “The Castaway of Providence Street” (1971, 24 min.), an eccentric feature filmed at the Mexico City home of Bunuel and his wife, Jeanne. It shows Bunuel mixing drinks, while we also hear interviews from friends and collaborators raving about Don Luis.
New for this Blu-ray is a 2011 episode of the French show “Once Upon A Time” (52 min.) which consists mostly of interviews (Carriere again, actresses Bulle Ogier and Stephane Audran, and others) discussing the production of “Discreet Charm.”
In addition to a Theatrical Trailer (3 min.), the final feature on this disc is a short “Making Of” piece (14 min) that mixes interviews with some on-set footage.
The old “Phantom of Liberty” disc only came with a short interview with Carriere. That interview (4 min.) is included here. The other features on the disc are new.
Film scholar Peter William Evans analyzes (20 min.) “Phantom,” touching on as many of the vignettes as possible while trying not to over-interpret.
A 1985 documentary (30 min.) turns the spotlight on producer Serge Silberman, who worked with Bunuel on most of his later films.
The disc also includes an interview with actor Jean-Claude Brialy (6 min.) and a separate interview with both Brialy and Michel Piccoli (5 min.)
The “Obscure Object” disc arrives with another Carriere interview (19 min.) in which he talks about his close working relationship with Bunuel, and how they'd live together for long stretches while bouncing ideas off each other daily.
“The Woman and the Puppet,” the Pierre Louys novel Bunuel worked from, had already been adapted to film several times before. Criterion has included three scenes from the 1929 silent version by Jacques de Baroncelli. Running 11 minutes total, these scenes suggest that Bunuel borrowed considerably from the film, one which he acknowledge as a favorite.
“Portrait of An Impatient Filmmaker” is a 2012 documentary short (16 min.) in which cinematographer Edmond Richard and assistant director Pierre Lary discuss Bunuel's work habits on set, with a focus on his reasons for replacing Maria Schneider with two different actresses in the role of Conchita. A separate extra titled “Lady Doubles” (2017, 37 min.) invites the two actresses, Bouquet and Molina, to discuss their participation in this unusual experiment.
“Remembering Bunuel” (1977, 31 min.) is an episode of the French TV show “Allons au cinema” in which a round table of collaborators (Carriere, Piccoli, Fernando Rey, etc.) talk about Bunuel.
Finally, Criterion has included an excerpt (15 min.) from a 1977 episode of “Le monde du cinema” in which Carriere, Rey, and Silberman discuss their work with Bunuel.
The thick insert booklet includes essays on all three films, with author Gary Indiana writing about “The Phantom of Liberty” and film critic Adrian Martin writing about the other two films. The booklet also includes some extensive excerpts of interviews with Bunuel that were originally published in “Objects of Desire: Conversations with Luis Bunuel” by critics Jose de la Colina and Tomas Perez Turrent.
It's not that unusual to see a filmmaker still at their creative peak into their seventies and beyond. Agnes Varda, Robert Bresson, Frederick Wiseman, Manoel de Oliveira, and Jean-Luc Godard spring to mind instantly. But it's remarkable that the veteran Luis Bunuel of the 1970s was every bit as radical and provocative as the young punk Luis Bunuel of “Un Chien Andalou.” I guess he kept paying attention to the world and stayed angry about it. |
Directed by James Gray, Written by James Gray, Richard Menello
I am somewhat surprised that this is screening as often as it is now. Four times a day?! Perhaps this is due to the gradual yet consistently rising popularity of Jeremy Renner, who posses a unique singing voice; though his character he plays here is a decidedly different type of entertainer. In this dramatic, tense, bleak film, we also have Joaquin Phoenix playing a shady immigration officer of some sort – or at least he poses as one; as this is how his ‘theater’ picks up its talent. Caught in this net is a very memorable Marion Cotillard, a name I had never heard, a beautiful face that I had never seen, but damn is she memorable. Her performance; equally so.
Back to Joaquin Phoenix though for a second. Has this guy been in a remotely bad movie recently?! We Own The Night, The Master, Her, this, and Inherent Vice later this year which seems sure to sizzle. He hasn’t disappointed me once, perhaps I am wrong, but despite each movies’ flaws, Phoenix never disappoints and throws himself head-first into his character, whether the pool is deep enough or one foot shallow. Here we follow him as he plasys two personalities, one a cover for the other, and he does it with ease. He is great, but I must admit that there were a few times where it didn’t look like he was trying. But it doesn’t seem he needs to, he brought his character to life, and he shocked me when the real personality of Bruno Weiss came to the fore. Certainly, one of the best actors around today.
This movie instantly looks amazing, you don’t need to look up what era it is based in as the set and costume design is so good, in addition to the way almost every character acts – towards women in particular. Not only was the treatment awful and unfair, but when it came to female immigrants, an element of disdain was shown towards these desperate people. Stories would be fabricated to ensure the desired result of those ‘in charge’. This film depicts that regrettable era in human history devastatingly accurately, and Marion Cottilard gives us a sledgehammer of a performance, really bringing home this unfortunate reality of that era in America’s history. Somewhat disturbingly though, I also see similarities to today, which is again somewhat heartbreaking.
Thanks to Cottilard’s performance though, the film didn’t just focus on this. She, and others of the supporting cast, showed the strength and resolve that many of these women had, despite being emotionally and often physically tortured, and additionally the surprising feats of mental strength that these women could become capable of. On another note, it simueltaneasly shows how strong unconditional love can be, and how far it can affect one’s actions.
Engaging, but I can’t help but feel more could have been done with the story and the world it was depicting. This movie ‘held back’, though.. I imagine not holding back would turn this into a horror film of sorts. One only needs to use their imagination to think of what othert atrocities went on during this period – which is perhaps the biggest coimpliment I can give this movie.
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In January 2023 it arrives in Italian cinemas with Eagle Pictures Babylonthe new film by Oscar winner Damien Chazelle, director of The Earth And Whiplash; a memorable tale starring Brad Pitt and Margot Robbie set in 1920s Los Angeles. “Babylon” is a tale of boundless ambition and outrageous excess, which traces the rise and fall of several characters to a time of unbridled decadence and depravity in glitzy Hollywood between the transition from silent films to sound.
Plot and Cast
The official plot: “Babylon” is a tale of boundless ambition and outrageous excess, which traces the rise and fall of several characters to a time of unbridled decadence and depravity in 1920s Hollywood brilliance between the transition from silent films to sound.
The cast led by Brad Pitt and Margot Robbie also includes Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, PJ Byrne, Lukas Haas, Olivia Hamilton, Tobey Maguire, Max Minghella, Rory Scovel, Katherine Waterston, Flea, Jeff Garlin, Eric Roberts, Ethan Suplee, Samara Weaving and Olivia Wilde.
Babylon – trailers and videos
- In the summer of 2019, screenwriter and director Damien Chazelle brought a draft script for the film to major film studios. There were rumors about the quality of the script, which actor Brad Pitt later called “really, really good”. However, several executives reportedly hesitated due to an expected budget of between $80 million and $100 million. As a result, Chazelle spent time reworking the script to cut the budget. Soon after, a bidding war broke out between Paramount Pictures and Lionsgate Entertainment to secure the film’s worldwide distribution rights. In the end, Paramount triumphed.
- The story is set in a “Pre Code” Hollywood, in the late 1920s and early 1930s, during the motion picture industry’s transition from silent films to sound films. This Hollywood era was renowned not only for its legendary parties and rebellious behavior, but also for its transgressive cinematic content. Prior to 1934, Hollywood movies could depict or involve nudity, lewd gestures, same-sex relationships, adultery, rape, abortion, and drug use. When “Code” film production was enforced in 1934, film content was severely restricted, and censorship did not allow pre-Code films to be reissued without permanent cuts to the mainstream press. The “Code” would remain in effect until 1968, by which time the transgressive era of pre-Code cinema had now faded into national memory.
- Brad Pitt and Leonardo DiCaprio both read Damien Chazelle’s script for ‘Babylon’ (2022) during filming Once upon a time… in Hollywood (2019). DiCaprio’s friend, actor Tobey Maguire, is one of the producers of “Babylon.”
- Emma Stone was originally cast in the lead role, which was announced to be based on Clara Bow, an American actress who successfully transitioned from silence to sound in 1929. When Stone left due to scheduling conflicts, after production has been delayed due to the COVID-19 pandemic and Margot Robbie is replacing him, the role is being reworked to become more fictional in nature.
- During a podcast, Damien Chazelle said that the screenplay was inspired by Babylon Berlin (2017), a German neo-noir television series created, written and directed by Tom Tykwer, Achim von Borries and Hendrik Handloegten, and based on the novels by German author Volker Kutscher. The series takes place in Berlin in 1929, during the last years of the Weimar Republic (the German Reich in the period between 1918 and 1933). The plot follows Gereon Rath (Volker Bruch), a police detective in Cologne who is on a secret mission to dismantle an extortion ring, and Charlotte Ritter (Liv Lisa Fries), a police employee with ambitions as a detective. day and night clapper. , slang to define the women of the Roaring Twenties, free and rebellious spirits with excessive make-up, a passion for alcohol, a casual and free sexuality and a series of habits defying the social norms of the time such as smoking in public and driving cars alone.
- Margot Robbie and Brad Pitt previously starred together in “Once Upon a Time…in Hollywood.” “Babylon” and “Once Upon a Time… in Hollywood” explore periods of transition in the film industry. This story explores the transition period between silent film and sound as Tarantini’s film explores the final years of Hollywood’s Golden Age in 1969 Los Angeles.
- Third collaboration between Margot Robbie and Brad Pitt after The big bet (2015) and “Once Upon a Time… in Hollywood”. However, the two actors did not share scenes in these films.
- Coincidentally, just as Margot Robbie eventually took over the lead role from Emma Stone in that film, Stone was eventually cast instead of Robbie in Birdman or (The Unpredictable Virtue of Ignorance) (2014), in the supporting role of Sam.
- The opening scene of the film, which should last 30 minutes, will be characterized by “the debauchery of Fellini” and graphic images involving a long orgy, reminiscent of films such as Eyes wide closed (1999) by Stanley Kubrick.
- Olivia Wilde and Spike Jonze previously worked together on She she (2013).
- The film’s cast includes two Oscar winners: Brad Pitt and Spike Jonze; and two Oscar nominees: Margot Robbie and Eric Roberts.
- The film is produced by Olivia Hamilton, Padraic Murphy, Marc Platt and Matthew Plouffe. Tobey Maguire, Michael Beugg, Helen Estabrook, Adam Siegel and Christa Vausbinder serve as executive producers.
Who is Damien Chazelle?
Oscar-winning director/producer Damien Chazelle wrote and directed the musical La La Land, which received 14 Oscar nominations and won six, including Best Director for Chazelle, which is the most young director never rewarded. The film also broke the Golden Globe Awards record and had the honor of receiving five BAFTAs (British Academy of Film and Television Arts) and 11 nominations. His previous 2014 film Whiplash received five Oscar nominations with three awards including Best Supporting Actor for JK Simmons. His 2013 short film, based on the script of “Whiplash”, received the Jury Prize for Short Films at the Sundance Film Festival and the following year the feature film won the same festival, both the awards of the jury and public. Chazelle directed his first feature film Guy and Madeline on a park bench, while still a student at Harvard University. The film was ranked among the best movies of the year by The New York Times, Chicago Tribune, LA Weekly, The Village Voice and others. In 2018, Chazelle directed First man – The first man with Ryan Gosling and Claire Foy. The film, a film adaptation of the official biography “First Man: The Life of Neil A. Armstrong” written by James R. Hansen and released in 2005, tells the story of Neil Armstrong, the first man to set foot on the Moon, and in previous years the Apollo 11 mission. The film received 4 Oscar nominations: best scenography, sound editing, sound and special effects, winning the statuette for this last category.
- The original music of the film is by the composer Justin Hurwitzin his fourth collaboration with director Damienne Chazelle after “Whiplash”, “La La Land” which earned Hurwitz two Oscars (best score and best original song “City of Stars” with Benj Pasek & Justin Paul) and First man – The first man (Golden Globe for best score). |
Apple’s Funny Taylor Swift Ad Boosts Drake’s Music Sales
Do you recall that Apple Music ad showing how Taylor Swift falls from the treadmill? It wasn’t an April Fools’ joke, and since it launched, Drake’s “Jumpman” song sales have surged an amazing 431% globally on the iTunes Store, reports AdWeek.
The Swift–Apple Music recipe has turned out to be a success: Swift’s epic treadmill fall has pushed Apple Music’s curated #gymflow playlist to the #5 spot in the week’s top list.
As detailed by AdWeek, the ad has been watched more than 20 million times on Facebook and Instagram, and her tweet has generated 66,960 retweets and 119,000 likes. However, we need to add that Swift has 74.4 million followers on Twitter. The ad was produced by Black Hand Cinema and directed by Anthony Mandler.
“To really get an idea that was simple, informative and funny with hooks is really like writing a song,” Larry Jackson, Apple Music’s head of content, told Adweek. “With an artist that’s got 73 million followers on Instagram, that’s bigger than NBC, CBS and Fox and the viewership of prime time combined.”
The video is now running as a 60-second TV ad on various TV networks, and two more ads are planned to be rolled out in the coming weeks. Swift will also star in a bigger Apple Music campaign in the next few months. Jackson and Mandler declined to talk about the two upcoming ads, but Mandler said they would build on the idea that the viewer is part of Swift’s world.
“We wanted to capture that feeling that music accompanies every element of your life, and the [Apple Music] service is the backbone of that concept,” said director Anthony Mandler. “When you match that with Taylor’s stance of dancing like nobody’s watching, I think it was a very effortless flow.”
It’s interesting to see how the relationship between Apple and Swift has changed over the course of a few months. First, Taylor Swift wrote an open letter to the iPhone maker, which helped Apple execs change their minds about paying artists during the first three months of Apple Music availability when the service was available for everyone for free. |
Harry Potter and the Half-Blood Prince (Audio Book 6)
Maybe it is unthankful to befall of love, or at any rate out of like, with the Potter films. Nearly single-handedly, JK Rowling’s development has actually saved cinema participation figures in this nation and the British producer-wizards like David Heyman and also Tanya Seghatchian, who detected the big-screen potential of Potter 10 years ago, most likely be entitled to some kind of industry medal. Respect needs to be paid.
A strange publication previously possessed by the Half-Blood Royal prince enters Harry’s hands early on during his Potions course and changes the training course of his school year by providing him a track record for Potions luster that frustrates everyone. Harry quickly expands to rely on the info he obtains from the Half-Blood Royal prince’s book and makes use of a few of his spells outside of course, much to displeasure.
Back in 2001, with Theorist’s Rock, the series started with an enormous rush of excitement and participating in that really first testing in the middle of myriads of overjoyed children was awesome and even relocating. However the reserve of goodwill is running low; the spell is wearing away, and also it is challenging, to state the least, to remember how the previous flick is meant to have actually finished and also exactly how this new one is supposed to progress some overarching series plotline. Every term at Hogwarts is Groundhog term. They’re all beginning to look the exact same. And also as guides get longer in the direction of the end of the saga, attempts to stuff in all those disjointed episodes right into a conventional feature film appearance curiouser and curiouser. Listen Harry Potter and the Half-Blood Prince Audiobook Free. There is a very unique series right here, when the major activity is put on hold to ensure that Harry and Hagrid can attend what appears to be the funeral of a big crawler. Huh? That gets my elect the 2010 MTV movie award: best WTF moment.
Harry additionally maintains a significantly close eye on Draco Malfoy. Convinced that Malfoy has actually replaced his father as the head of the Fatality Eaters, Harry believes Malfoy is building a dark story inside the college yet can’t for the life of him figure out what it is. In Between Ron and also Hermione’s suspicion, and Malfoy’s disappearances from the college premises, Harry has his hands full attempting to reveal what Malfoy’s up to.
All of it lasts for a solid two-and-a-half hrs, of which about 60 minutes is substantially unneeded. Yet due diligence has to be paid to the HP source, as well as to its hyper-alert fanbase. It is definitely amazing to assume exactly how the 3 cast principals have actually grown up, in real time, before our extremely eyes. However frankly their acting style and practices have not matured all that much below.
For all the saucer-eyed commentary concerning just how much darker and also harder and realer the new Potter is meant to be, it is still truly concerning as dark as the journeys of Timmy Tiptoes, and also the young leads still look essentially as reserved and also acceptable as when they were knee-high to a one-sixth scale model of Bonnie Langford. And, paradise understands I was an extraordinary suck-up at school, however I do not think I ever called the masters “Sir” fairly as often as Harry does.
Points reach a frantic speed when numerous points take place all at once. Harry and Dumbledore leave on their mission, Malfoy’s dark story finally works and he is able to sneak in Fatality Eaters to assault the institution, and a strong battle happens in between the trainees, members of the Order of the Phoenix az, as well as the Fatality Eaters. Having done well in their objective to recover the horcrux, Harry as well as Dumbledore return just to obtain trapped on the Astronomy Tower where, to Harry’s discouragement, Teacher Snape kills Dumbledore.
As Harry Potter goes back to Hogwarts – as well as oh, merciful Jesus, exactly how usually have I keyed in out those last 6 words – he finds himself dealing with a redoubled threat of evil from Lord Voldemort, as well as a dark secret should be evoked from a brand-new educator, Horace Slughorn, genially played by Jim Broadbent, and also the powers of improbity show up to reside, ambiguously, in Severus Snape, played by Alan Rickman, and also Harry’s unpleasant, pasty-faced fellow student, Draco Malfoy (Tom Felton). These spiritual fights are made complex by the growing miseries of teenage love, as well as there is some U-certificate copping off.
But fabricating excitement at what takes place in the movies themselves is currently difficult for any sentient person. Having claimed that perhaps it’s a late-series wobble before a final sprint to the goal. (Perhaps the Narnia movies will experience the very same point around the Illusionist’s Nephew phase.) And also possibly splitting the last volume right into two will make each of the different films shorter, sharper and shapelier, as well as the finality of an ending will retrospectively provide significance and also significant strength on the previous 3 or four hrs’ material. It can take place. Yet something requires to reignite that magic sparkle.
Dumbledore’s death is a horrible impact to Harry, however it enables him to see plainly what his true goal is. J.K. Rowling – Harry Potter and the Half-Blood Prince Audiobook Free (narrated by Stephen Fry). He solves that he will certainly not go back to Hogwarts, but instead triggers to damage the continuing to be pieces of Voldemort’s spirit. He is reinforced by Ron and also Hermione’s persistence on choosing him, and as quickly as Dumbledore’s funeral service is over, they accept begin their trip together.
As the year rates by, Harry and Ron are both surprised at their progressing love lives. Harry especially falls hard for somebody he recognizes he shouldn’t, his buddy Ron’s sibling, Ginny. His lessons with Dumbledore proceed sporadically, and also he’s thrilled to listen to that he might be able to choose Dumbledore on an unsafe goal to aid damage a horcrux that contains a part of Voldemort’s spirit.
Possibly the only truly great moment in this film is a whooshing camera-move at the really beginning that sweeps us, airborne, through London’s West End, past the Millennium Bridge miraculously via into Diagon Alley. It’s like a theme-park trip – probably that’s what each movie is now. |
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The Adonis Lyon-Est is ideally located for your Lyon getaways. Its proximity to Parc Olympique Lyon Décines (10 minutes) and the Stade Gerland (20 minutes) makes the Adonis Lyon Est, the place to go for sports fans!
All our rooms are pleasant to live in, comfortable and spacious, they are all equipped with large windows that make them very bright as well as a bathroom.
Our rooms are equipped with a TV with the reception of TNT channels, Canal +, Canal + Sport, Canal + Cinema, Canal + Series, BeIn Sport 1, BeIn Sport 2, XXL and BBC World.
Free Wifi throughout the hotel.
For your business meetings, an equipped seminar room is available upon reservation.
Private parking is free of charge
It is quite possible, in double rooms, to add a bed, or a cot. Feel free to ask us!
Each bathroom is equipped with a hairdryer.
Adonis Lyon Est Hotel Artys conditions & policies:
Cancellation policy: 48h before arrival.
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Living the dream at the most expensive penthouses — imagine the views.
From private pools to designer interiors and exclusive services, these residential spaces come with amenities most can only dream of. The views they afford are breathtaking and the privacy is a plus. Of course, all this comes at a high price. We give you a glimpse into some of the most expensive penthouses in the world.
La Tour Odéon is a skyscraper in Monaco located next to the country’s border with France. Inaugurated in 2015, the building designed by the Monegasque architect Alexandre Giraldi is one of the tallest in Europe at 170 metres height. Its Sky Penthouse is widely considered the world’s most expensive penthouse. In 2016, the five-storey penthouse, which occupies the top of the 49-storey Tour Odéon, was put on the market for a reported US$335 million (about RM1.481 billion).
Measuring 3,500 square metres in area, it has a kitchen on every floor, a rooftop deck, cinema, library and an infinity pool. There is also a water slide that begins from the dance floor and goes directly into the pool. The owner of the penthouse gets access to the exclusive private chauffeur, caterer, a 24-hour concierge service and three staff bedrooms.
One Hyde Park, London
The One Hyde Park is a set of four diamond-shaped buildings in the Knightsbridge area of London. Its location — between Buckingham Palace and Kensington Palace with the Hyde Park next to it — makes One Hyde Park one of the costliest addresses in the world. There are four penthouses and 86 apartments across all buildings. The total area for all penthouses measures up to 30,000 square feet.
The amenities provided spell luxury at another level. A wine cellar, golf simulator, private cinema, spa with swimming pool, sauna, steam, squash court and gym are just some highlights. There is also a 60-member team of the Mandarin Oriental hotel, located next to the complex, deployed at One Hyde Park 24 hours a day to help residents with gourmet cuisine, beverages, room service, doorman and on-site concierge services. The top-notch security staff is trained by the members of British special forces SAS.
In 2014, the Daily Mail reported that one of the penthouses was sold to an Eastern European buyer for £140 million (about RM822 million) making it the most expensive flat ever sold in Britain at the time. Four years later, The Sun reported that property tycoon Nick Candy, who constructed One Hyde Park along with his brother Christian, mortgaged his penthouse in the complex for £160 million (about RM940 million).
OPUS, Hong Kong
When the building is designed by renowned Canadian-American architect Frank Gehry, you know that the asking price of a house will be as high as the luxury quotient. The penthouse also called the Presidential Unit, is at the top of the 12-storey high Opus. In 2015, it sold for HK$509.6 million (about RM277 million), making it the costliest ever sale of an apartment in Asia.
Opus is located right in the middle of Hong Kong Island in The Peak Area, near Mount Cameron and Wan Chai Gap. Its 5,444 square-foot penthouse has its own 1,508 square-foot rooftop with a Jacuzzi. It also has a study, powder room, two parking spaces and four en-suite bathrooms. The building also offers electric car charging systems.
The helical external structure of the building ensures that light flows into every apartment at any level. From the top, the views of bustling Hong Kong and its natural surroundings become even more breathtaking.
One Palm, Dubai
A top-floor penthouse at the One Palm was sold in 2017 for US$27.56 million (about RM116 million), making it the most expensive penthouse sold in Dubai. The property was reportedly bought by a Gulf Cooperation Council (GCC) member.
Built by Omniyat Properties at the entrance to the world-famous Palm Jumeirah, the ultra-luxe residential apartments offer spectacular views of Dubai Marina, the Jumeirah as well as the Persian Gulf.
It is managed by Dorchester Collection, a 5-star hotel operator. Its architect is Michel Abboud of SOMA. The interiors have been done by Japanese firm Super Potato and London’s Elycion, which is also the designer of One Hyde Park. The luxurious, spacious and sophisticated interior of the penthouses is also the work of Elicyon. Landscape architect Vladimir Djurovic created the spectacular greenery that is a hallmark of One Palm.
Among the amenities is the 12-seat state of the art indoor cinema, business lounge with private meeting room, private jetty, gym, sauna, ESPA managed spa, swimming pools, library and hair salon. There is a 100-metre long stretch of private beach for the residents, a private restaurant and beach club facilities.
In 2019, Omniyat Properties sold a second penthouse in One Palm. According to reports, the 20,000 square-foot penthouse was sold for US$20 million (about RM84 million). The five-bedroom apartment has an exclusive rooftop terrace.
Wallich Residence, Singapore
The Wallich Residence, which is part of the Guoco Tower, begins from the 39th floor at 180 metres and rises to the 64th floor at 290 metres above sea level. It has a collection of 181 luxury residences, including one- to four-bedroom units, four penthouses and one exclusive super penthouse.
Located directly above the Tanjong Pagar MRT station, the Wallich Residence is built by property company GuocoLand and is part of an integrated development that also includes Sofitel Singapore City Centre business hotel, a 100,000 square-foot retail podium, the 31-storey Guoco office tower, and an urban park of 150,000 square feet.
The top three stories of the Wallich Residence make the super penthouse. Measuring 21,108 square feet, the five-bedroom space comes with a private swimming pool and deck, jacuzzi, private entertainment area, bar, 600-bottle wine cellar and a private lift from the basement car parking straight into the apartment. There is an en-suite bathroom with each bedroom and spacious closets in the master and junior master bedrooms. There are separate dry and wet kitchens. The owner of the penthouse gets a dedicated butler and concierge service.
Dyson founder Sir James Dyson purchased the triplex in 2019 for Singaporean $73.8 million (about RM230 million) but sold it the very next year for S$62 million (about RM193 million) reportedly to co-founder of IT provider SHI International Leo Koguan.
The Boyd Residence, Sydney
The luxurious penthouse sits on the 43rd floor of the 191 metres tall ANZ Tower and offers a 360-degree view of Sydney, including its famous harbour. It has four bedrooms, a gymnasium, cigar room, conference room, fully-fitted marble kitchen, five marble bathrooms, swimming pool, 24-hour security and a private express lift.
Architect Richard Francis-Jones and interior designer Blainey North combined forces to give the penthouse its sleek look, marked by high ceilings and massive glass windows that bring in enough sunshine to brighten every corner. The furniture includes many Art Deco pieces. No wonder that the International Design & Architecture Awards named the sprawling three-level penthouse the world’s finest residence in 2017.
Property developer John Boyd and his family own the place. In 2018, it was listed for Australian $66 million (about RM205 million) on the market and has since remained unsold.
One Thousand Museum, Miami
The reason why One Thousand Museum looks like a masterpiece in modern architecture with its curved exoskeleton design that holds the glass fibre reinforced concrete structure is because it was designed by Zaha Hadid. The 62-storey building is the Iraqi-British architect’s only work in the Western hemisphere.
There are multiple full-floor penthouses in the building and one duplex penthouse at the top besides other residences. The full-floor penthouses are located from floors 50-59. The building also has a helipad — the only residential building in Miami with such a facility.
The residences are fitted with appliances and hardware by some of the renowned companies such as Gaggenau Hausgeräte, Sub-Zero, Dornbracht and MTI. The illumination is customised by German industrial and interior designer Uli Petzold and the automation of several features by lifestyle technology company Crestron.
One can soak in the pleasing views of Biscayne Bay, the Atlantic Ocean and the Miami skyline from the heights of the One Thousand Museum.
In early 2020, a penthouse in the building which had originally sold for US$12.76 million (about RM54.03 million), was resold for US$13.8 million (about RM58.4 million). The 9,910 square-foot penthouse has five bedrooms and is spread through the entire length and breadth of the 57th floor.
In mid-2020, a penthouse on the 50th floor was put up for sale for an asking price of US$18.8 million (about RM79.6 million). Measuring 11,500 square feet, including a terrace, it is also the first and only full-floor penthouse in the building that was placed on the market fully furnished. Besides other facilities, this apartment has a gym and home office.
The most illustrious owners of these expensive penthouses known so far are David and Victoria Beckham, who reportedly purchased a full-floor penthouse at one of the higher levels measuring more than 10,000 square feet.
Eighty Seven Park, Miami
How about having Novak Djokovic as your neighbour? The Serbian tennis legend owns a condo in the beautifully designed Eighty Seven Park, which directly overlooks the Atlantic Ocean. Designed by renowned Italian architect Renzo Piano — his first in the US, the building stands 233 feet in height and has 70 residences spread across 18 floors.
Renowned landscape architects West 8 redesigned a 35-acre North Shore Park to the south of the building for the residents and created an expansive private garden for those in the north end. There are Wolf and Sub-Zero appliances, Zucchetti bathroom fixtures, vanities and other accessories in the residences. Other features include ten-foot ceilings and unobstructed views of the ocean, park and Miami skyline. Many houses have massive sundecks, which are basically terraces almost as big as the interior surface area.
In 2018, a penthouse here was listed for US$68 million. It measured 12,410 square feet with an additional 18,000 square feet of outdoor terrace, together making it the largest penthouse space for sale in Miami. Located on the top floor, this one reportedly has six bedrooms and 11 bathrooms. There are two infinity pools — one gives a beautiful view of the sunrise and the other of the sunset. Last but certainly not least, there is also a personal Turkish hammam in the penthouse.
(Main image credit: Luca Lago via Unsplash, featured image: Roberto Nickson via Unsplash) |
Off the Netherlands’ north coast, near the island of Tershelling, the 54-metre tug Yak strained at its four-point mooring, its solid rectangular hull trembling from the onslaught of the gale and from the sea currents harping at the anchor cables. On board,four divers waited for a break in the hellish weather. Even the slightest of spells would allow them to confirm, perhaps even to claim, their prize.
Somewhere below, buried beneath the constantly shifting black sands, lay one of the greatest treasure-troves ever lost. When the 32-gun frigate Lutine had struck a sandbar during a similarly violent storm on the night of October 8, 1799, she had perished with her entire crew of 200 and a reputed cargo of 914 gold bars, worth, at the time of this salvage attempt, an estimated $NZ25 million.
Some of the treasure had already been recovered, the four men knew. A year after the sinking, 58 gold and 38 silver bars plus over 40,000 coins had been scooped up with iron nets before the wreck had become smothered by sand. More gold had been salvaged in 1858 with the use of a diving bell. But the bulk of it was still there, awaiting the lucky, the prepared and the daring—and the four certainly saw themselves as such.
Their leader was Kelly Tarlton, instantly recognisable by his bald pate, with its wild mane of peripheral hair, his beard, and the thick spectacles that framed his friendly face. It was the northern summer of 1980, and Kelly was by now a world-renowned marine archaeologist and treasure-hunter. Only two years earlier he had been in the Caribbean with American treasure-seeker Mel Fisher, looking for the fabled riches of Atocha and Santa Margarita, Spanish galleons that had sunk with Inca gold in their holds.
But Lutine had drawn him away. This was his project the biggest to date, the best organised and financed, and with the highest stakes. He had with him his most capable and trusted veteran diving buddies: fellow New Zealanders Steve Macintyre and Willy Bullock, and Britisher Peter Oselton.
Two years earlier, Kelly had commissioned an electronic survey of the search area, which had pinpointed a string of 120 possible targets scattered over some 5 km2. To cope with the sand cover, he had designed two prop-wash units—tubes that could be used to redirect the outwash from the ship’s propellers—capable of moving 3000 t of sand in 20 minutes. They could blast craters in the seabed 12 m wide, which would then serve as prospecting shafts. All Kelly needed was some decent weather, but this was proving a tall order.
The diving conditions were desperate, even by professional standards. Steve Macintyre recalled: “It was the only diving job I remember when your fellow divers would not take your turn for you. When we left, none of us was ever going to go back there again, except maybe Kelly. He didn’t say.”
The water was only 6–7 m deep, Macintyre continued,but they were well off-shore and in horrendously rough seas. It was like being on the bar of the Manukau Harbour. We worked in holes dug 20–30 ft [6–9 m] deep in the sand, with the walls collapsing and fluidised sand settling around you. It was like being in a bog, usually with no visibility at all. Kelly was the only one to prefer an aqualung—perhaps he thought it saved time. We reckoned that if you were on a hose [whereby a diver trails an air hose reinforced with a rope] and the sand caved in, you’d live another 10 minutes and the guys on board might be able to follow the hose down to you. If a 20 ft wall of sand collapsed on you when you were wearing a ’lung, that would be it.
But it was equally dangerous to be tethered to the ship, which pitched and rolled violently as it was buffeted by waves and wind. And yet, despite the setbacks and dangers, under Kelly’s leadership the work of blasting holes, diving into them and moving on to the next target proceeded with such professional efficiency that observers concluded it would be only a matter of time before the gold was found. Kelly was even called off to Amsterdam and asked to pay advance VAT (equivalent to GST) on the soon-to-be-salvaged gold and silver. The Dutch officials estimated the tax at $NZ3–4 million. In his diary Kelly fumed: “…the ridiculousness of being asked to pay duty in advance, before we’ve even found the goddamned gold, is beyond belief.”
Earlier, using the smaller and faster Zeehond while Yak was undergoing repairs, the team had found a wreck. Kelly wrote:
Stephen [Macintyre] and I descended the shot-rope, and in the murk we could make out the shape of huge timbers of a sailing ship. Our excitement mounted as we could see in the beams of our torches the flat floor timbers of the hull scattered with ballast stones. Big copper bolts protruded through the timbers. It was 10 days before they got Yak over the find, and when the weather finally allowed them to dive their spirits soared. Kelly again: …it is a huge piece of ship…more than 30 feet [9 m] in beam and at least 100 feet [30 m] in length. We exposed this whole section…in one day’s digging, which indicates that if we found a ship semi-intact we would empty it out of sand in no time at all. If we could find a section of Lutine with gold in it, we could have the whole job finished in 12 hours.
But it was not Lutine: evidence dated the wreck to around the 1850s. They continued the search but all they found was junk from previous salvage attempts. Eventually, with their budget allowing only 40–50 days’ tug charter, black liquid sand pouring back into the holes the moment they stopped blasting them, and Yak retreating to port for yet further repairs, Kelly had to admit defeat.
The final straw came when, for the second time, Yak lost two anchors and the cables of the other two became crossed, putting such a strain on them that “a winch weighing tonnes was ripped right out”.
They limped to port, where repairs were to cost $NZ100,000. After two months of searching, they had nothing to show but a few bits of shipwreck debris. Such failure would have been enough to dampen anyone’s enthusiasm but Kelly’s. He returned home and began dreaming up an even grander project. With this one he would succeed beyond anybody’s expectations. It was the one for which he’d be best remembered—and which would arguably also claim his life.
There were no early indications that Kelvin Tarlton, born near Dargaville on October 31, 1937, as the only son of Ewart and Elsie, was to become a larger-than-life figure in the New Zealand maritime community, that his future dreams and exploits were to touch and inspire so many. As a child he was neither scholarly nor especially healthy, although, when the family moved to Christchurch, Kelly showed a focused passion for climbing. He joined the Canterbury Mountaineering Club and quickly progressed through its training programme.
Then, in 1956, fate played its trump card. Kelly was about to join a climbing expedition to Peru when that country was swept by a wave of political unrest and closed its borders. Legend has it that, with a few hundred pounds of hard savings and nowhere to go, Kelly wandered into a cinema that was showing Jacques Cousteau’s The Silent World, one of the first underwater films ever made. It was a turning point in Kelly’s life.
In his diary he wrote: I tore down the road and ordered an aqualung. I could not get one straight away, but then found that one of my friends living in Auckland was using one.
Kelly travelled to Auckland to learn how to use the equipment, and his first diving experience was, like most of his future underwater missions would be, an off-the-deep-end and make-it-up-as-you-go-along affair. His diary continues:
He [the friend, Robin Hall] did not tell me anything about how to use an aqualung at all. We went out on a local boat; he put the thing on my back, put a mask over my face, gave me some fins and leapt over the side. I leapt too. He grabbed me by one hand and dragged me in 18-inches visibility to about 30 feet down. He had not told me about clearing ears or getting water out of my mask. I was getting this tremendous pain in one of my ears…and my mask was slowly filling up with water. I thought I was going to drown.
But he survived. He was a diver. The earache, the flooding mask—these were just “details” to be worked out later.
Back in Christchurch, Kelly met Wade Doak, who, equally eager to dive, had made an underwater breathing apparatus of his own devising out of an ice-cream tin, a garden hose and a bicycle pump operated by a buddy on the surface. Together the two young men formed the nucleus of a diving fraternity that began to explore and document New Zealand’s hitherto unknown silent world.
Scuba diving was still in its infancy, and what gear the pair couldn’t buy they made themselves, cannibalising parts and ideas, brainstorming to come up with the missing links, and putting it all together into workable units. Their innovations included a regulator made of aircraft parts, diving masks fashioned from tyre tubes, several versions of a camera housing, and air tanks in the form of converted industrial oxygen cylinders.
Thus Kelly found his calling, both in the ocean and in the tinkerer–inventor’s tool shed. Never bothering to patent anything, he designed and made, or had made, whatever was required for the task at hand.
He constructed the first buoyancy compensator seen in New Zealand, using waterproof canvas for the body and a piece of garden hose to connect this to the snorkel mouthpiece. He played with the design and testing of manta boards—underwater wings on which a diver could be towed, exercising a degree of depth control and manoeuvrability, in order to explore the seafloor. One manta board, like something out of Jules Verne, was a shark-proof perspex wing that enclosed the diver. Its windscreen functioned as a down-thruster, and “flight” was controlled with a joystick. Kelly crashed this particular invention against a reef after ploughing into a school of sardines and losing visibility.
With Doak, he perfected a Venturi suction dredge for vacuuming the sand and sludge from shipwrecks. (The first version used air recycled from the operating diver’s regulator and was soon abandoned, since it required the operator to breathe like a farrier’s bellows.) Roger Grace, who subsequently joined Kelly’s bunch, recalls: “If anything was possible Kelly would do it. If something wasn’t working, Kelly would fix it. If a wreck or any other marine object was somewhere on the seafloor, Kelly would find it.”
John Dearling, a close associate and partner in Kelly’s innumerable projects, adds: “If something broke down Kelly could fix it with a broom handle and a bit of wire, whereas everyone else would have to get an electrician or an engineer. He was a wizard with electronics. He could make things out of nothing.”
At 21, in Cousteau-on-a-budget style, Kelly led his first diving expedition. To attract publicity he organised a public demonstration of ice diving under the frozen surface of Lake Ida (just north of the much larger Lake Coleridge), and then set the New Zealand free-diving depth record in Queen Charlotte Sound, reaching 24 m. (He bettered this later with 34.7 m).
To begin with, his team of four (Ron Crockel, Andy Lawrence, Dennis Fowler and himself) were undecided where to go, but that was quickly settled when, following their publicity campaign, an invitation arrived from the Hermit Islands, off the northern coast of New Guinea. For Kelly and his friends this was a dream come true—five months in a remote and rarely dived tropical paradise resplendent with coral reefs, sharks and rays.
Their plan was to produce a movie like The Silent World, one that would jump-start their careers as underwater filmmakers. Unfortunately, in the tropical heat the emulsion on their film stock melted and the colours became psychedelic, rendering most of the footage unusable. Yet despite the failure of the film project, the expedition was a magical journey that cast a potent and enduring spell. After the Hermits there was no going back.
For a while Kelly’s bunch confined their attention to tropical reefs, organising annual trips to New Caledonia. Then they found an equally exciting location closer to home, one that Jacques Cousteau himself would later proclaim among the top 10 diving destinations in the world.
The discovery of the underwater riches and architectural splendour of the Poor Knights Islands caused so much excitement in the diving community that both Kelly and Wade Doak promptly moved up north to be near them. They dived the Knights in their every spare moment—Doak does to this day—discovering new species, exploring underwater caves, photographing their finds. Meanwhile, Kelly had married Rosemary Hastie and was to soon quit his technician’s job with the Post and Telegraph Department to launch, at 29, a commercial diving venture, Underwater Construction Ltd. It was in his new capacity as professional diver that his inventor’s genius would realise its full potential.
Commercial diving is the antipodes of recreational scuba (self-contained underwater breathing apparatus) diving. Kelly recorded the conditions he encountered when he was contracted to put in a caisson wharf at Port Chalmers: “…visibility was usually zero and the temperature often just above freezing…in the winter… we were going under water before daylight and…coming out after dark.”
At the beginning the going was tough. Kelly also freelanced as a writer–photographer, and he and Rosemary often had to rely on her veggie garden and the pipi beds outside their front door. Spear-fishing wasn’t so much a hobby as a necessity.
The diving jobs varied from looking for a lost engagement ring and raising a sunken fishing boat to burying pipes and cables under the seafloor and surveying coastal waters for sand and gravel deposits. Some of the industrial contracts involved major feats of engineering.
Engineer Ian Mellsop remembers one such: “There was a water intake structure for the Waikato River for which we built this 350 t concrete structure. We built it on the bank and had to winch it out into the river, where we had dug a big hole. It was a horrendous job…after two weeks we were using inch-and-a-half wire ropes and 300 tonne winches. We finally got this thing down the slope and it took off at about 30 miles an hour down this big, greasy slope. Kelly was standing eyes agog. It went down, hit the bottom and then stood upright in exactly the right spot…Kelly shook his head and said, ‘Remind me, Mellsop, never, ever, ever to do another job with you.’”
Kelly soon developed a reputation for getting hard jobs done without a fuss. Known as “No Bullshit Tarlton”, he was soon in demand: before long, too much so. As he confided in his diary:
Everything is happening at once. They want the Mt Maunganui pipe finished urgently; I’m being asked to bury two miles of…water pipe across Tauranga Harbour; Fullers want the Kerikeri River deepened by three feet for half a mile; the harbour board at Whangarei wants to talk to me about burying power cables to the harbour beacons; and I want to work on wrecks.
Shipwrecks—their research, exploration and salvage had become a major part of Kelly’s life, his favourite pursuit. He worked on many, returning again and again with more knowledge, improved tools and new ideas.
His first major wreck was Elingamite, which had sunk in heavy fog off the Three Kings Islands on November 9, 1902. She had disappeared in 20 minutes, first coming to rest on a rock ledge at a depth of 16 m, then sliding deeper, stopping only when her nose had become planted in the bottom 40 m down. She had taken with her a consignment of 4000 gold half-sovereigns and 1.5 t of silver coins, a hoard which, because of the bends-inducing depth at which it rested, would claim the lives of several future salvors.
Kelly first visited the Three Kings on a spear-fishing expedition in 1963. He returned two years later and located the wreck. It wasn’t long before he started finding gold and silver coins and treasure fever was upon him.
Wade Doak, Dave Moran and John Pettit were his salvage partners. Later, in his book The Elingamite and Its Treasure, Doak wrote:
With picks, crowbars, screwdrivers and knives we levered out silver coins. Some, neatly stacked in vertical seams, could be chipped out one by one. Others came out in great black chunks of tumbled half-crowns, florins and shillings. The immense pressure of the collapsing wreck had flattened some coins to wafer thinness, or doubled them…Some coins were found adhering by their edges to the roof of the cave.
But underwater treasure-hunting is rarely as simple as picking gold coins off the bottom, for the sea guards its secrets, moving them around, burying them under sand and encrusting them with marine growth. Finding them requires a technical and pragmatic mind, like Kelly’s.
“We’ll need a three-inch air lift driven by a piston-type compressor,” his diary records. “We lift off all the heavy rubble, loosen the whole area with explosives, airlift it to the boat and sort it out through chicken-net screens.”
Kelly became known for his trigger-happy approach towards the use of underwater explosives such as gelignite to clear obstacles, earning the insider nickname “Jelly Kelly”.
During one of his Elingamite expeditions he wrote: As master blaster, my diving time has consisted mainly of digging holes and cramming in charges which grow progressively bigger as we try desperately to uncover the mother lode. The site now looks like a battlefield, with bomb craters gaping at regular intervals among the wreckage.
Despite the employment of increasingly complex equipment, much of the gold eluded Kelly and his team. Partly this was owing to extremely limited bottom time at the depth at which they were operating—about five minutes a go according to modern recreational diving tables. To overcome this problem and to make the diving safer, in 1979 Kelly designed a two-person recompression chamber.
Pettit recalls “Our divers always worked in pairs and, after about 70 minutes’ bottom time…would come slowly back to the surface. The helpers on deck would literally tear their equipment off them so that within two minutes the two divers would be inside the air lock…[they] would take seats in the main chamber…and breathe pure oxygen through mouthpieces for 20 to 25 minutes at two atmospheres’ pressure. It was the quickest and most efficient method of defeating the bends.”
Though their pickings, spread over a decade of diving, were impressive, Kelly and his mates never found the mother lode of gold half-sovereigns. Kelly saw this as a failure. “If I ever go back it would be with a good system for moving boulders,” he wrote after his last dive on Elingamite, in March 1981. “…the coins must be there somewhere, unless there was extensive salvage in the 1908–1915 period that we do not know about, and that is unlikely.”
Elingamite was one of two signature wreck projects for Kelly. The other was Tasmania. This 86 m passenger steamer had foundered in gale conditions while rounding Mahia Peninsula on the night of July 29, 1897. Diving on Tasmania was just as hard as on Elingamite but the potential rewards were much greater on account of one Isodore Rothschild, who had travelled aboard the ship with a case of jewellery he intended to sell in New Zealand. Rothschild had survived the ordeal, including the capsizing of his lifeboat, but had left the jewellery in his cabin.
In 1973 Kelly found the wreck, 30 m down and buried under sand. A year later he returned with a home-made suction dredge and salvage rights acquired from the Rothschild family. He wrote:
When we measured the ship, we found that where the [Rothschild’s] cabin should be was covered with four metres of sand. We sucked at this sand with Venturi dredges and cleared it off; but the cabin wasn’t there. It had completely broken up. So we started searching to the side of the ship, sucking up more sand. Then we found the floor of the cabin. It was in one piece.
On the floor were five pieces of gold jewellery.
Better gear was needed to remove the mud with which the wreck was smothered, and after a stint in his workshop Kelly came back with a blower that harnessed the outflow from his jet-boat motor. The jet stream, redirected through a fire hose to a nozzle operated by a diver, created an underwater mud storm that was then swept clear by the current, revealing the wreck.
The work was tough and dirty, the sea boisterous, the water cold, the visibility nil. Kelly referred to that dive as his most difficult, but the Venturi dredges kept picking up pieces of treasure one after another. Kelly catalogued 103 items recovered between October and December 1976: rings, brooches, studs and cuff links. It was his best haul ever and it kept him coming back until February 1983. By that time, he estimated, he and his diving buddies had recovered about a third of the jewellery.
Wrecks were now Kelly’s driving passion, and he was looking for the most attractive way of displaying his finds to the public—which is how his Museum of Shipwrecks at Waitangi came to be. First he found Tui, a 100 ft (30 m) sugar lighter with a kauri hull. Then he salvaged the rigging from a wrecked Canadian barque, Endeavour II, and had local kauri milled to make up the broken and missing spars. Then, as if by providence, a master boat-builder and expert on square-rigged ships, Ian Barrett, came sailing into the Bay of Islands and in no time threw himself into the work Kelly needed doing. (It was typical of Kelly to enlist help in this way—he could enthuse anyone about his projects.) On January 12, 1970, the first visitor walked over the gangplank into the museum, whose collection included artefacts from Wairarapa, Wahine, Elingamite, Tararua and Tasmania.
The museum gave all the more impetus to Kelly in his pursuit of further wrecks. He dived on more sunken ships than any other New Zealander. On one of his road trips, from Paihia to Stewart Island, he and Dearling explored over 30. By 1971, Kelly had charted and researched some 1200 of them around New Zealand, assessing their potential and making a “to do” list of some 300. He compiled files on all major wrecks around the world and acquired salvage rights to some of them.
He took on challenges that had defeated many before him. For example, through sheer detective power he located the enormous anchors lost by French sailor Jean de Surville, who visited the New Zealand coast in 1769. Though the Frenchman left precise records of his tribulations, including co-ordinates, all previous searches for the anchors had failed. It was Kelly who deduced this was because those looking hadn’t allowed for magnetic variation, which in 1769 was 12º 40’. With the new co-ordinates—which pointed to a spot near Whatuwhiwhi, on Karikari Peninsula Kelly found the first anchor after a mere 12 minutes underwater on his manta board. The anchor remains the oldest authenticated relic of European contact with Aotearoa.
More perilous was Kelly’s quest for the remains of another French ship, the frigate Alcmène, which in 1851 came to grief in the pounding surf off the coast of Dargaville. She was easy to spot from a light aircraft flying low over the breakers but nothing was easy after that. “Diving in the surf is a completely new experience,” Kelly wrote.
The lack of visibility and turbulence mean that often you do not even know if you are right way up. The sea is not water but liquid sand. If you turn side on, it will knock off your mask; if you turn into it, your face is plastered with sand. There is a strong rip. Lifelines become a must; two of our divers lost theirs, one was swept away and was lucky to be carried ashore again down the beach.
With winches and tow-trucks the salvors dragged their prizes ashore—anchors and cannons, which Kelly rushed off to preserve. He was already more of a marine archaeologist than a treasure-hunter; in a Perth museum he had undergone an intensive training in the treatment of underwater artefacts.
There were more wrecks, more adventures: two unsuccessful attempts to locate the remains of General Grant along the treacherous west coast of the Auckland Islands, then the memorable search for Lutine. And all the while Kelly was doodling plans for what would become his greatest undertaking, his legacy to the nation.
His dream was to give the public an opportunity to experience undersea wonders from the diver’s point of view. The result was Kelly Tarlton’s Underwater World.
The project began on April 2, 1984, with the backing of a finance company and the acquisition of some mucky, disused sewage tanks on Auckland’s waterfront. Important as these things were, the key components of success would prove yet again to be Kelly’s preternatural “don’t worry, it’ll be all right” enthusiasm and his ability, as his biographer E.V. Sale phrased it, “to persuade people that the impossible was really nothing unusual”.
It was a homespun project from beginning to end, realised on a shoestring budget of $2.2 million. (Cousteau was later to say that he couldn’t have built anything similar for less than $14–20 million.)
The greatest challenge was the transparent acrylic tunnel, extending 120 m underwater, from which visitors would view marine creatures swimming above and beside them, just centimetres away, in a purpose-created habitat inside the tanks. The acrylic came in sheets 7 cm thick, which had to be bent to fashion the tunnel’s curved ceiling and joined with utmost precision. Failure in this regard could have jeopardised the entire project.
The technical details of how to work with the acrylic—the temperature to which it should be heated for bending, the timing of the various stages of the process—were perfected in the Tarltons’ kitchen oven. Then Kelly and his team built a 60 kW furnace the size of a small house. The sheets of acrylic were heated for eight hours, placed in a mould with the correct curvature, then left to cool for another 12 hours. The result was a world first, and even before the aquarium was finished Kelly received how-to enquires from several marine parks overseas. Rob Davy, who perfected the technology for Kelly, went on to install similar tunnels around the world.
For nine months they toiled, working 15–18 hours a day. The finance company put crippling pressure on Kelly. As he said, every hour the place wasn’t open cost them $1000. The Tarltons sold their Paihia house and put the proceeds into the project. Failure was not an option.
They made it, though exactly how remains the domain of the supernatural. Mellsop remembers that “the guys were painting walls and putting the carpet down…at six o’clock in the morning and we were opening at eight”.
And open they did, on January 25, 1985. In the first hour, 200 people came through the door. The place was an instant success.
Kelly wanted his main attraction to be big sharks and during construction a billboard outside proclaimed THE SHARKS ARE COMING. However sharks proved nervous and fragile creatures. Kelly had to “walk” them for hours through the aquarium (sharks have to swim to breathe), and even then several died from stress. But Kelly knew he was on the home stretch and he gave it his all. He spent 24 hours at sea catching three grey nurse sharks near White Island, then kept them alive on the back of a truck from Whakatane to Auckland. His legs were raw from rubbing against sandpapery shark skin, but in the end the big fish swam about outside the acrylic tunnel and thousands of visitors gaped in wonder.
The success of the aquarium was so overwhelming even Kelly found it hard to believe it. One day the cashiers took $27,000. For the first time ever Kelly was financially in the clear. It would take no time at all to pay off the loan. With the steady profits he could finance any expedition that took his fancy, cast his eyes towards distant attractions—the treasures of the Spanish Armada, perhaps; the secret riches of the Indian Ocean pirates.
Within 18 months of the Underwater World opening, the millionth visitor would pass through the doors. Sadly, its creator wouldn’t be there to greet him. On March 17, 1985, after he’d welcomed the 100,000th visitor, Kelly looked even more tired than usual. He went to bed early. Sometime during the night his heart gave up. He was 47.
If there was any blame in the matter, both Kelly’s family and his friends agreed it lay entirely with Kelly himself, for even though he knew he had a heart problem—a dicky ticker as his mates called it—he continued to be his own worst pacemaker. Dave Moran, now publisher of Dive New Zealand magazine but in those days the aquarium’s electrician and later its manager, says that Kelly always had time for everyone. Everyone, it seems, except himself.
His death created an enormous vacuum among his friends and fans. He was irreplaceable. Rosemary Tarlton found herself the majority shareholder of the Underwater World but it wasn’t long before, in the murky waters of corporate machinations, a public float of the company, and the share market crash of 1987, she lost the lot. Today, Kelly’s aquarium continues to rate as the country’s top tourist attraction.
But what of Kelly the man? What of the legend? His ashes were scattered at the Poor Knights—fittingly, for he himself was something of a poor knight, chivalrous and kind, always crusading, forever unconcerned with things material. As friend and diving buddy Quentin Bennett recalls: “I don’t think he ever looked at the economics of things. That was one of the great things: even when Tui was going really well and Kelly could have just stood by the door and taken the shekels…he kept on and on and on, finding more stuff and doing more wrecks.”
For him it was the hunt itself, not the treasure, that counted most, and even through his time of fame and high achievements he remained the quintessential Kiwi bloke, with a shed full of tools and inventions and a sketchbook filled with dreams; a man who, as E.V. Sale put it, took the whole world for his friend.
“He had the mana,” says Pettit, noting that doors that were closed to others would miraculously open for Kelly. “He seemed to be able to walk up to people and they would want to help him.”
Moran adds: “His charisma could gather people around him, and because people believed in him, because Kelly was going to do it, we all just went in and made it happen for him.”
Peter Pettigrew, who also dived with Kelly regularly if infrequently, says: “He led from the middle of the pack and took everybody with him. The reason he achieved what he did was that he was just not frightened at all about taking on a project. He wasn’t technologically, mechanically or scientifically frightened by anything, even though to begin with he might not know everything about how he was going to do it; he’d just go out and teach himself.”
This is perhaps the closest we can now get to defining the phenomenon that was Kelly Tarlton.
For a long time after his death, when faced with a problem or a challenge, his friends would find themselves thinking, “What would Kelly do?” Unconsciously, perhaps, some of them already knew the answer: he’d doodle something in his notepad, scratch his head, doodle some more. Then he’d nod, smile and say: “Don’t worry, it’ll be all right.” |
The institution was founded on January 1, 1882 as the “School of Fine Arts” (“Sanayi-i Nefise Mekteb-i Âlisi, formally Mekteb-i Sanayi-i Nefise-i Şâhâne or simply “Sanayi-i Nefise Mektebi”) by the renowned Turkish painter, art historian, archaeologist, and museum curator, Osman Hamdi Bey. Mimar Sinan Fine Arts University was the first educational institution in fine arts and architecture in Turkey. It opened on March 2nd, 1883 with 8 instructors and 20 students.In 1914, the school became co-educational. It was converted in 1928 from a school to an academy, the first in Turkey– and its name was changed to “State Academy of Fine Arts” (Devlet Güzel Sanatlar Akademisi). In 1969, it was renamed again, to “Istanbul State Academy of Fine Arts” (İstanbul Devlet Güzel Sanatlar Akademisi abbreviated İDGSA). On July 20, 1982, its status was again changed, and the academy became “Mimar Sinan University” (Mimar Sinan Üniversitesi) after the great Ottoman architect Mimar Sinan. Finally, in December 2003, the administration of the university changed its name to “Mimar Sinan Fine Arts University”.
Faculty of natural sciences and literature (archeology, pedagogy, physics, statistics, mathematics, history of art, sociology, history, Turkish philology and literature)
Faculty of fine arts (photography, traditional Turkish handicrafts, graphic design, sculpture, painting, stage design and stage clothes, ceramics art and glass art, cinema and TV, textile design and fashion design, bookbinding, tilework restoration, calligraphy, rug and old textile design), Restoration and Conservation of art works ( Painting and Sculpture )
Faculty of architecture (industrial design, interior architecture, architecture, urban planning and regional planning) |
How do you say “Cesars So Rapist” in French? Google Translate tells me it’s “Cesars Si Violeur,” but I bet that’s not it. This year featured a compressed Oscar season and the earliest-ever Oscar Awards. Every other awards show got in line with the compressed schedule, even the BAFTAs (and that was so nice, actually). The only awards show which did not fall in line was the Cesar Awards (the French Oscars), which usually take place a week or a few days before the Oscars (in recent years). This year, the Cesars are scheduled for February 28th, nearly three weeks after the Oscars. If you stand apart, people are going to notice, and the Cesars are being scrutinized like never before.
It seems that Roman Polanski’s latest film, An Officer and a Spy, was nominated for 12 Cesars. This comes after several women have come forward to say that yes, Polanski raped, assaulted or molested them as well, and the 1977 LA case was not an isolated incident. The nominations (and the sheer volume of them) made headlines days ago. But did you know that the 21-person Cesar Awards board has resigned in protest?
The 21-person board that runs the César Academy announced Thursday they are all jointly resigning after the upcoming César Awards, France’s equivalent to the Oscars. The awards ceremony is set to take place February 28. It’s a shocking announcement, the French equivalent of the film Academy’s board of governors—which includes Oscar winners Laura Dern, Whoopi Goldberg, and Steven Spielberg—departing from the 92-year-old film institution en masse.
The announcement arrives shortly after this year’s César nominations were announced. Leading the pack of nods this year? Roman Polanski and his film An Officer and a Spy, which earned 12 nominations total. Though Polanski, who pleaded guilty in 1977 for unlawful sex with a 13-year-old girl, has been rejected by the U.S. film industry in the wake of the #MeToo movement, certain prestigious corners of France’s film industry have embraced the controversial director.
Per Variety, the board’s decision to step down stems from discord surrounding the César Academy’s practices, as well as protests spurred by Polanski’s nominations. In addition, the César Academy generated backlash after excluding venerated feminist figures like Claire Denis and author Virginie Despentes from a recent gala ahead of the ceremony.
There have also been clashes over the French academy’s lack of transparency over its voting process, in addition to a general lack of inclusivity. A recent petition calling for a “complete overhaul” of the organization signed by 400 prominent figures in the film industry, including stars like Léa Seydoux and director Michel Hazanavicius, was published in the French newspaper Le Monde on Tuesday, signaling the need for change within the César Academy’s ranks. Currently, there are about 4,700 members in the organization.
In the statement announcing the mass resignation, the exiting César board said it was making the move “to honor all those who made [French] cinema in 2019, and to gain back some serenity and ensure that the celebration of cinema remains a celebration,” per Variety. It’s unclear what steps will be taken to revamp the organization’s leadership after the César Awards take place.
I have a lot of questions, actually. Why are there Americans on the Cesars’ de facto board of governors? How are nominations voted on, or does the board of governors do that? It doesn’t sound like it, it sounds like the board of governors had no say in the nominations. And does the entire Cesar Academy vote on the nominations AND the awards? Anyway, this kind of controversy and mass-resignation is good overall – it shows that the Oscars weren’t really alone in being problematic and too white and male dominated. The BAFTAs had issues, and now the Cesars are problematic AF too. I do hope the French peeps go with a “complete overhaul.” AMPAS should have done that too, and so should the British Academy.
Photos courtesy of WENN. |
Based off of her adorable, carefully curated Instagram feed, you might get the impression that Laura Nadeszhda is purely a girly-girl, a Pollyana type with an endearingly naive love for the world. But look a little closer and you'll notice that there are several dualities to her character.
It's not that she hasn't faced hardships. Her work has a definite dark streak, and her career in art is marked by her struggle with mental illness. It's about recognizing that there are positive aspects to human existence, without over-exaggerating them to create a saccharin narrative; her art is also real. Rejecting the idea that social media has to be estranged from reality in order to be appropriate, Laura is pretty transparent about her day-to-day life, and the access she gives her audience only heightens the emotional value of her work.
I came for the over-the-top femininity of her visuals, but I stayed for the honesty and bravery behind those images. Her photographs, zines etc. are a celebration of the power and freedom of being honest with yourself and allowing yourself to be vulnerable around others. The contrast between the bleak and the joyful depicted in her work is illustrative of an affliction that we all face, and I, for one, am grateful to Laura for communicating these feelings in a completely uninhibited way.
What work are you most proud of?
I couldn´t pick one! I´m pretty proud of my artwork in general because of the implications this has on my mental health; I spent lots of years very overwhelmed by the impostor syndrome and I was unable to contemplate myself as an artist, so any little step I take towards fighting against that is a great achievement to me. I could tell you, though, how intriguing it is to me that my favorite pieces are usually the ones that are the least liked by the people who interact with my content on social media.
Anyway, I´m not solely proud of my artwork, but of the way I project and expose myself on the internet too. I decided a long time ago that my Instagram account wasn´t only going to be my portfolio, but also a place where I could overshare to normalize sensitivity, vulnerability and emotional intimacy. Following this motto, I’m equally proud of my fanzines and my podcast, Lirio Arlequín (sorry, both are in Spanish), where I talk about my usual conversation tracks and open myself inside out.
Who are your inspirations?
Mostly female artists I found on the internet from all sorts of disciplines. My biggest aesthetics inspirations in my beginnings were Petra Collins, Yungelita, Lora Mathis and Dara Scully. I also draw inspiration from different sources like cinema (Lucile Hadzihalilovic, Sofia Coppola, Carlos Saura, Xavier Dolan, Yorgos Lanthimos or Dario Argento), literature (Pilar Adón, Joyce Carol Oates, Adelaida García Morales, Joan Lindsay…) or painting (Dorothea Tanning, Leonora Carrington, Remedios Varo, etc).
When was a time in your life when you felt the most happy?
I’d say now. I’ve been going to therapy for some months and that´s helping me amazingly to regulate my emotions and setting boundaries towards others. As a result I’m improving in terms of self-respect, which is something that I had a huge problem with and for which I felt people were constantly taking advantage of me because of showing myself vulnerable.
How would you describe your style?
I feel kind of weird sometimes theorizing about my style, so I’ll tell you lots of people describe it as girly and dark. I prefer thinking it´s just a balance between thanatos and eros, like Lana del Rey´s imagery, but I suspect the most accurate definition would be saying my art is like a sad millennial in her pink bedroom full of toys reflecting on how people mistreated her. There’s that regarding one part of my corpus. About my fantasy portraits… Well, I didn´t have a very happy childhood and I was quite an imaginative child, I guess as a means to looking for some escape. I remember a toy commercial where a kid got under his living room table and suddenly showed up in a fairy tale land. I tried it so many times but I couldn´t make it. During that time I was pretty obsessed over fantasy and the sinister; I still remember how I obliviously stuck a chick pea inside my nose while watching Beetlejuice. My mother had to take me to the hospital but it was completely worth it.
So, I’d say these pictures are portrayals of the creatures you could find in this realm under living room tables. People say those portraits are full of fantasy and nostalgia, which I love, because it´s just the atmosphere I want to reproduce; that’s why I use disposable cameras to capture those moments as if they were washed-out, dreamy memories. I take great pleasure on my portraits because my models are often people I love, like my sister or my friends. It´s so tender to me that we work together in putting my abstract ideas into something tangible.
What's the biggest risk you've taken?
I don´t know if you mean in my art or in my life. In my art, it could be opening that much emotionally, as it is so easy that other people use your weakness against you or patronize you. In my personal life it comes from what I said before, setting boundaries even knowing it would lead me to losing lots of people I cared about, but getting self-love and respect instead even if the path is tough.
Why are you attracted to girly aesthetics?
It makes me feel myself and free! During most of my life I felt people didn´t consider me a feminine woman even if I´ve always felt highly represented by this adjective. It seems lots of people around me believe my personality is way too strong to be associated with a concept they relate to weakness. It´s fascinating, because this usually happens face to face, I don´t really think I show that hardness online; in fact I´d say people there assume I´m all love and kindness, and that´s not quite true either. I´ve been always a little bit obsessed and disturbed on how I project myself and how others perceive me. I know it´s not healthy, but I´m giving you honesty in its place.
Anyway, I love everything related to girly art and nowadays we can perceive women are reappropriating this to get rid of all prejudices around it and giving this aesthetic an empowering meaning.
What sorts of things have you acted in?
When I studied Drama I acted in several plays I´m not especially proud of because, even if I consider I did a good job, they didn´t represent me. When I graduated and moved to Madrid, the capital city of Spain, at first I was in a La La Land mood but later I decided to be my own artist and stopped auditioning, so I started writing my own plays to later act in them, as well as taking part in other artists´ projects I really liked. I knew that would mean looking for a side job, but I preferred that instead of taking part in plays I didn´t feel passionate about. In that moment I wrote a play called Las canciones de invierno (in English probably Winter Songs) based on the myth of Pigmalion, the concept of confinement and the strategies we create to overcome it. I put it on stage two years ago with my colleague and friend Ana Rocío Dávila and we´re still working on it.
Who would you love to collaborate with?
I would love to continue collaborating especially with female artists who I share principles with. It may sound crazy, but I would love to work as a music video art director, they are a great source of inspiration to me and these are a wonderful way of exploring your creativity.
If you were to compare your body of work to an animal, what animal would it be and why? Maybe a rabbit, because they look apparently cute but when they open their mouth you can see long, sharp and scary teeth.
Where do you feel most at home?
In my hometown house, where my family is (I don´t believe in consanguinity bonds, but I feel blessed ‘cause I truly love them), but about feeling myself, and even if it´s too cliché, I pick the bedroom of the house where I am currently living with my boyfriend. My house is my sanctuary, especially my bedroom; I´m intensely territorial and don´t usually invite people over. It´s my refuge, I have the urge to spend lots of hours alone and feel safe.
I´ve always loved the concept of bedrooms as sancta sanctorums (in fact I´m obsessed over that notion since I read about it in a book called El cartero siempre llama mil veces, that could be translated as The postman always rings a thousand times, which has nothing to do with the Jessica Lange movie!), so there it goes.
Images used in collage via @lauranadeszhda |
June 2, 2022 Thursday June 2nd – the history walk What a friendly bunch! Participants in our ‘History Walk’ gather at the St Thomas Centre. And we’re off! Outside The Heron reminiscing about when the Regal Cinema used to stand on the same site. Looking across Alfred Squire Road to the car park where the original Wednesfield Market stood. Still in Alfred Squire Road, outside the Council Offices – as was. We’ve landed ourselves on the Dentist’s carpark in Neachells Lane – but really just to look at the green space across the road where Marshall’s trapmaking firm used to be. Outside Pickering Road Community Centre. Lovely field of wild flowers as we pass over Pinfold Bridge (known to locals as Gregory’s Bridge) No – we hadn’t stopped for a pint – albeit tempting. In Taylor Street with attention being paid to number 43 which used to be Williams’ trapmakers. Still in Taylor Street. We were there a while – holding up the grocery delivery van. The driver was very nice about it. Just entering the park area at the bottom of Taylor Street. The trees in the park looking beautiful. Having walked over Trapmakers Bridge (replacement for Barn Bridge) we wander up the canal towepath to pass under Church Bridge. We have a lot of bridges in Wednesfield – comes with canal territory. … and finally back to the St Thomas Centre for tea and cake. |
I arrived to Tirana airport in the mid-morning, collected my backpack and tried to leave the airport. I had been told that I could catch a furgon from the airport to Shkoder instead of taking a taxi to Tirana and then taking a furgon from there, as the airport is on the way to Shkoder. I was quite excited to hear this, as it would save me a trip to Tirana, where I would no doubt get frustrated and angry. Where to get on, however, was not so simple.
After walking through customs I was immediately harangued by taxi drivers offering me their services to Tirana. No, I responded to them, I was looking for the furgon to Shkoder. They told me that this furgondid not exist, that I would have to go to Tirana, and that their taxi was just over there. I muttered to myself in disapproval and walked out of the airport, determined to find where I would find this minibus. In these situations, though, you will neither escape the taxi drivers nor get any useful information out of them. Just when you think you’ve gotten away from them, there’s one still latched to you, knowing that you don’t know where you’re going and you’ll eventually need to crack.
The taxi driver was following me, telling me that there was no furgon to Shkoder, and I was scanning the parking lot looking for where there might be one. I finally decided that I wouldn’t find it. Since the taxi drivers all wanted to take me to Tirana, they weren’t going to tell me where to get on the furgon, so I got into a cab for Tirana. I tried to negotiate the price, but it’s a fixed rate, so I wasn’t very successful.
Around an hour later on the furgon, we passed the airport. I got off the bus in Shkoder and started heading to where I was going to stay. I couldn’t afford the guesthouse where I’d been before, since I planned on being there for a few days. I was told to go to the Kuduku hotel, where someone there would take me to a little dorm room that I could rent out for ten Euros per night. This was where the guests for the meeting would be staying as well, but I hoped to be able to have my own room. After a little rest I went out to meet the woman with whom I had been in contact about coming to the meeting. She was going to inform me what this program was all about and what was going to be happening at this meeting.
The purpose for this meeting was to help a proposed park in the border region of Albania, Kosovo and Montenegro become a reality. Participants from all three governments, representatives of other NGOs, guest house owners in these mountain villages, Peace Corps volunteers, and a few other stragglers were expected to be there. For the past few days Antonia had been running all over Albania trying to remind everyone that this meeting was going to happen. The day before she had been in Tirana trying to remind the Albanian ministries that they had agreed to come to this meeting, but didn’t find many of them around. She didn’t know who was going to be there.
This blog is not the correct format for me to comment on the meeting and the project in depth. It’s not my area of expertise; I don’t know anything about international development or Peace Studies or things like that, I was just interested to see if this was a program I would like to become involved in for summer teaching.
I was a bit embarrassed because I was simply a lowly English teacher. I didn’t even have nice clothes. I was in my traveling clothes, ratty jeans I hadn’t washed since April and was bursting through the knees, my boots and a t-shirt. One of the Peace Corps volunteers was roughly my size, however, so I borrowed a shirt from him so I wouldn’t feel so self-conscious.
I like the project and everyone at the meeting had the best of intentions. Unfortunately, however, the only representative of any of the governments’ ministries was from Kosovo’s Ministry of Environment. So for everyone’s good intentions and hard work, the actual people who could do something about this project were not present. This resulted in lots of talk about needs analysis and how important it was for everyone to continue talking to the government ministries who weren’t there.
Before the lunch break I was sent next door to talk to the restaurant owner who had prepared food for the guests. He liked to talk about his life story and how hard life is in Albania. He has great stories of how he wound up back in Shkoder after living most of his life in California. He’d run into hardship and eventually had to relocate back to Albania and set up this restaurant. He was immediately harassed by the mafia, and when he refused to cooperate with them, preferring to run his business legitimately, he started receiving threats.
The day of the meeting, though, I came in with just a short message about the time of lunch, and then had to get back to the meeting. But he sat me down and got me a coffee. I forgot that they drink espresso with milk in the Balkans, though, so I stared forlornly at my milky coffee while the owner talked at me and shared his troubles.
I tried to be polite but had to excuse myself to get back to the meeting. Round two of the meeting was similar to round one, and then at lunch we were at the restaurant. I talked to the Peace Corps volunteers and a few Albanians from another NGO there who told me that Ataturk was an Albanian. What? That’s absolute nonsense, I told them. But he was born in Salonica!Yes, you are right, but that still makes no sense. But Salonica was an Albanian city! This conversation amused, annoyed and perplexed me to no end.
That evening we walked out and on Shkoder’s pedestrian street we saw a protest. There were young people making an announcement on a megaphone, a projector showing an animated film, a board with a list of names on it, and another board with a collection of signatures. It was a gathering in protest about the abundance of blood feud murders in northern Albania. Say what you will about Enver Hoxha, at least under his totalitarian rule he stopped the blood feud tradition. In the past few years it has been coming back. In the month since I had been in Shkoder last there had been another three murders, and I’m told that the total now is around twenty this year.
The next day was a meeting just with the members of the project itself. The organization was going to be run entirely by the Albanian members from now on; it could not continue to be run from the U.K. I didn’t really participate in the meeting at all, I just observed. It reminded me of a scene in Monty Python’s Life of Brian. Visiting guests were upset and wanted to offer input, as they had traveled and taken time off work to be there and had valuable things to say. I went outside and drank tea.
Bright and early the next morning I was going to head up to Valbone and walk up to stay with the family I had met on my prior visit. I checked out of my hotel room and found a place to print the photos from my camera to give to the family when I saw them. For my last evening I had arranged to stay with the Peace Corps volunteer I had met who had let me borrow his shirt. I was surprised by his lodgings. He had his own flat which was twice as big as my place in Istanbul had been. Internet connection, Smartphone, Tablet, movie projector, sofa, guitar, bed, 10 pairs of shoes… It wasn’t my picture of the Peace Corps. This was much nicer than Kutaisi, which was quite a lush place to be in Georgia. There were smooth roads, a pedestrian walkway, lots of bars and a cinema in Shkoder! Peace Corps Man had just left a six-figure job, was new to his new position and was quite idealistic about what he was going to be able to do. He eagerly tried to talk me into joining with lots of patronizing pats on the back.
We went to a pub and met some other people from the meeting and drank beer. At one point we began discussing something Peace Corps Man didn’t agree with, so he stormed off in the rain and told me to send him a message when I was outside his gate. A while later, the rest of us went our separate ways and I headed back in the rain to Peace Corps Man’s flat. I tried calling him but the way Albanian phones work is that they have to call you before you can call them for some reason. So I was unable to send him a message or call him to unlock his gate.
His flat was in a complex of flats surrounded by a large stone wall about two meters high. I would have to surmount this wall somehow to get into his flat. It was raining quite hard and there were deep puddles all around the base of the wall. After a few running attempts trying to navigate deep mud puddles, I was able to get a good hold on the wall and drag myself up by my fingertips. All of this noise greatly upset the dogs on the other side of the gate, who went berserk as I dropped down on the other side.
Peace Corps Man had left his door unlocked for me. He was in his room watching films, grunted hello when I came in, but did not come out to talk. It was around 1am and I had to be on the furgon to Koman at 6:30. I tried to sleep but wasn’t able to, so I sat in the flat, writing in my journal.
At 5:45 the next morning I was out the door, walking to catch the furgon to Koman for the ferry to Valbone. |
I am looking for open people, who loves traveling and that wants...
I just want to improve my conversation skills, as here in Spain I do not have the change of talking in German as much as I would like.
Traveling, sports (specially running, padel, tennis or hiking), videogames, TV-Series, food and of course, Germany. I love everything about this country, not only its beautiful towns and breathtaking nature but also their culture, traditions, dishes, etc
Nice people with engaging conversatio...
Busco un tándem francés en Madrid para este verano, yo puedo enseñarte español ☺️ I'm also fluent in English since I work as a teacher, so although I'm not a native, we can rather speak English!
Music, cinema, culture, travelling
I just want to be confidently fluent...
I like to talk about movies, music, and things related to beauty. I also like video games and watching cartoons!
I’m just looking to talk to someone who is open-minded and patient. If you have a sense of humor, we’ll get along just fine.
There’s very few things that I don’t really like. I like MUSIC,...
Someone who’s not afraid to point out my mistakes? People who can teach me things, open my mind, and people who have open minds
Just to be better at speaking and thinking in another language I guess. Being able to do everything faster in Spanish, and to not be so reliant on translators and dictionaries |
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Ghanaian Fintech Zeepay team and partners after the announcement.
Ghanaian Fintech Zeepay, has announced completion of a USD7.9 million Series A.0 funding. The funding is a hybrid of both equity and balance sheet funds to support its operations. Zeepay enables digital remittances from the diaspora to mobile wallets, bank accounts and visa cards across 20 markets in Africa.
The fundraise was led by I&P, an impact investing group with over USD250m in assets under management in the amount of USD3 million, and supported by ARK Holdings, a privately held family investment portfolio on behalf of Andrew Takyi-Appiah (Managing Director) and Zoe Takyi-Appiah in the amount of USD800,000.
GOODsoil VC, an African-focused early-stage venture capital firm committed a follow-on investment to the tune of USD800,000 and were advised by Obsidian Achernar, a financial services firm licensed by Bank of Ghana.
The transaction advisors for this raise were Verdant Capital and JLD & MB legal Consultancy. The company raised a debt of USD3.3 million to drive balance sheet activities mainly for liquidity purposes which was led by Absa Bank Ghana in the amount of USD1.8 million and USD1.5 million supported by First National Bank Ghana.
Zeepay, prior to the fund raise had efficiently deployed a total of about USD450,000 since its go-to-market in May 2016 to achieve a cumulative average growth rate of about 146 percent during the 5 years leading to these transactions.
“An exciting story on the continent, full of hope and inspiration for the New African – that is the young African looking to chart their own path through startups across the Continent”, said Andrew Takyi-Appiah, Managing Director and Founder of Zeepay.
Zeepay Chairman Mr. Yankey noted: “Our strategy remains to drive our remittance to digital assets agenda across Africa and the Caribbean and we are excited by the rate of expansion. We have a number of strategic acquisitions lined up and anticipate closing before year end. We look forward to being able to expand our operations beyond our current 20 countries and increase our active 30-day business from 13 markets to 20 plus markets across Africa. Indeed, what we celebrate today could not have been possible without the passing of the Payment Systems Act 2019, which has been a very progressive Government initiative.”
Egypt’s BONBELL seeks $10 million seed funding after closing $350,000 initial round
Egypt’s startup BONBELL, the first mobile App in the Food-tech industry specialized in food ordering, digital solutions for table and meal reservations, has closed an initial funding round for $350,000. This is through a Canadian Angel investor, to help further develop the App services and achieve a level of growth in regard to user count and daily orders.
BONBELL launched its own App in early 2022, to offer a wide range of food ordering services in Egypt. The App offers many food ordering solutions, from food delivery to restaurant’s reservations and Dine-in ordering through a QR Code on the tables, as well as take away services. The App offers various payment solutions through cash or credit cards.
BONBELL has partnered with many restaurants and cafes, as well as clubs like Heliopolis Club and Smash Club. It also offers its services in Malls and Cinemas, to offer a smoother food ordering experience, reserving tables and food delivery, for mall and cinema goers. It has also strategically partnered with many leading major companies and institutions. Most notably the German University in Cairo (GUC), and Raya Telecom, in order to offer its services in their respective headquarters for employees and visitors alike.
The Food-Tech startup targets raising its partnered restaurants to 750 by the end of 2022. The company is also negotiating with two venture capital funds from Europe and the Gulf, to close a $10 million fund in its seed round by the end of the year.
Doaa Abdel-Hameed, the Chief Business Officer of the company said: “we aim to help restaurants in offering an easier food ordering experience to their customers. Either through food delivery or reserving a table in the restaurant, as well as taking away orders and also the special orders made by customers in their restaurants.”
“We pursue a better experience for the Egyptian user in food ordering. We see a lot of potential and opportunities to do that through developing the App constantly based on the user reviews. And adding more restaurants in all of the Egyptian governorates.” She added.
BONBELL has earned the trust of more than 12,000 customers, who used the app in food ordering in all the ways offered through the App, in just 6 month.
Doaa Abdel-Hameed emphasized that the success of BONBELL App, in offering the best experience to its users can only be done through strategic partnerships with many more restaurants. In addition to the constant development of the technology used in the App, as well as relying on offering inventive solutions to the Egyptian user such as (Robotic Stations) service.
This service will offer customers the experience of food ordering and serving through a Robot, without any human intervention. It is expected to launch in Egypt at the end of 2023.
Dream VC applications: A peek behind the scenes
Dream VC breaking down the numbers and representation in its programs
A year ago, Dream VC quietly launched its first inaugural cohort applications with the hopes of closing the investing knowledge gap for check-writers and ecosystem builders across the continent. Fast forward one year later, they have received an overwhelming amount of interest from people curious about investing and contributing to the African startup ecosystem. Across two cohorts alone, they have processed more than 2000 applicants from 30 African countries. With fellows dialing in five continents and multiple time zones.
That being said, they’d like to share some interesting findings they have extracted and learned from the whirlwind that Dream VC has been in from last year to now.
By the end of 2022, Dream VC will have 2 cohorts under its belt with 3 programs run. There has been an increase in total applications despite the difference in price point between the 2021 program and this year.
Breakdown Of The 2021 Cohort
For its inaugural cohort, they received a total of 1002 applications and had an intake of 31 fellows, with an acceptance rate of 3%. The average age of its fellows was 25, with most being in their mid-twenties to late twenties. And exploring VC as a new career pivot after a few years of full-time work experience. After 4 months of rigorous and community-driven engagements, a total of 19 Fellows graduated from the program with an issued certification.
When looking at the specific demographics of Dream VC’s inaugural fellows, findings show that 90% of the fellows were homegrown. Which they classified as having been born, raised, and educated on the continent. They also had 12 African countries represented and 16 different Nationalities in total.
Although its initial intake consisted of 33% women, the final certified graduating fellows consisted of 60% women. Meaning that all of the female fellows who joined the fellowship finished the program.
This is a strong indication of the perseverance of its female fellows in particular. And they are committed to making a strong push to convert more women into its talent pipeline. Especially given that only 15% of the 2021 applicants identified as female. At Dream VC, they urge more women to apply for its programs and also reapply for future cohorts if they were not accepted initially.
Breakdown Of The 2022 Application Cycle
For 2022, Dream VC opened its applications on March 8th and had then remained open for over a month and a half until its final deadline on May 1st. In total, they received a total of 1,375 applications for its Launch into VC (“LIVC”) and Investor Accelerator (“IA”) programs.
Around 81% of the total applications were for our Launch into VC fellowship, and the remaining 19% were for the Investor Accelerator. We received a total number of 1,113 applications for Launch into VC, and 262 for Investor Accelerator.
Out of the total applications for 2022, 31% of the applicants identified as female. When taking a closer look at the gender breakdown for each program, Investor Accelerator had a higher percentage of female applicants with 37% of total Investor Accelerator applicants, while Launch into VC had 29%.
When reviewing the nationalities of the applicants, it was found that for 2022, Dream VC has exponentially expanded its reach of applicants in both nationality and location. However, most of the applicants are still overwhelmingly from the continent and diaspora, which accounts for 86% of the total applicants. The remaining 14% hail from non-African countries such as India, Singapore, and Germany with non-African backgrounds.
When looking more closely at each program, 87% of the applicants for Launch into VC applicants were homegrown or African diaspora, compared to 83% of the Investor Accelerator applicants. This year saw 30 different African countries across the continent represented. With a majority of the applicants coming from Nigeria (43.7%), followed by Kenya (10%), Rwanda and South Africa (3.9% each respectively), Ghana (3.6%), Uganda (3.2%), Zimbabwe (2.9%), and Tanzania (2.3%).
Interestingly, the country represented the most by the diaspora applicants was Cameroon, followed by Nigeria, across both programs.
Across the different African regions, West Africa took the lead in applicants with over half of the applicants hailing from the region (58%). East Africa contributed to another quarter with approximately 29% of applicants coming from the area, followed by Southern Africa (6%), Central Africa (4%), and finally North Africa (2%). Dream VC’s footprint can still be solidified further, particularly in the ecosystems in North Africa, and its team will be traveling actively to Egypt, Morocco, and Tunisia to build relationships there.
When looking at the locations of applicants applying from outside the continent (including diaspora and non-Africans), over 50% of them applied from the United States and the United Kingdom. Dream VC also saw an increase of Indian and Singaporean applicants from Asia. And a spread of interesting European countries including Belgium, Belarus, Germany, France, Finland, and Sweden.
Closing Remarks & Reflections
Since launching Dream VC in 2021, the team has been endlessly grateful for the overwhelming interest from the African & International community. As well as the selfless support that has been extended by various ecosystem partners and connections in our network.
Its application cycles have revealed several interesting insights into where the strong interest can be found in various startup ecosystems. As well as certain areas we are endeavoring to have better reach in (ex: North Africa and Arabophone countries).
They also strongly encourage more female applicants to apply AND reapply to its programs. As they are strongly committed to building out the opportunity and talent pipeline for black women in particular focused on investing in Africa.
Base10 Partners Led By Adeyemi Ajao Becomes First Black-Led VC Firm To Cross $1 Billion AUM With New Fund
Base10 Partners co-Founder and CEO, Adeyemi Ajao (Source Adeyemi Ajao Image: Base10)
With today’s announcement of our newest fund, Base10 now has $1.3B in assets under management, just three and a half years after announcing our debut $137M Fund I.
A venture capital firm managing $1B in assets is not as newsworthy as it once was; many of the firms we work and co-invest with routinely raise multi-billion dollar funds. In fact, the VC industry as a whole raised $128B last year.
What is newsworthy, for better or for worse, is that we are the first black-led fund to cross that $1B threshold, which is both encouraging and a sobering reflection of how much work we collectively still have to do.
And while we are honored and energized to keep pushing forward, we are thankful to not be pushing forward alone. If there is one message we want to focus on today, it’s “thank you”: Thank you to the entrepreneurs that decided to work with us, choosing a new firm like Base10 over much more established groups and deciding to build alongside us. It is an honor and it is a lot of fun.
Thank you to our investors, who took a chance on TJ and myself when we were just two people with a new idea in venture, and have supported us every step of the way. You have encouraged us to embrace principles from venture capital, private equity, and hedge funds, all while continuing to think radically like the entrepreneurs we are at heart.
Thank you to our team, who decided to leave jobs at much larger venture capital firms, promising startups, and well-established corporations to execute on the ambitious (and sometimes bizarre) goals and visions we put in front of them every day.
And thank you to the proverbial Silicon Valley: a truly indescribable cohort of co-investors, mentors, journalists, and advisors. Silicon Valley is, in fact, imperfect, and feels criticized on a daily basis from the outside looking in. But as imperfect as it is, this is a truly unique and wonderful place to be in and we can’t imagine building Base10 anywhere else. If the Base10 Partners story means anything to the broader industry, it’s proof that the Silicon Valley dream is definitely alive and well.
But the ecosystem has changed a lot since we got here. Back in 2010, when I was an entrepreneur going down Sand Hill Road pitching VCs my startup, I was told there were about 20 firms that could realistically invest in my round. Being a VC in those days was fun. It was essentially an oligopoly, and you sat at your desk at one of those 20 firms, waiting for entrepreneurs to come to you with the next billion-dollar startup. We actually ran the numbers and, back in the day, if you were an investor and wanted to see the “entire market,” there were about eight deals each day to consider.
Things are different now. As investors today, we’re competing with nearly 1,110 firms for the honor of being the lead investor in an early stage round, and instead of 8 deals per day, you have 111 to evaluate. So there’s two conclusions we can draw from the way venture works today: first, I picked the wrong time to stop being an entrepreneur and start investing as a VC. Second, to be successful in venture with the way things are now, differentiation and focus are the only things that will set you apart.
Despite things being busier and more competitive than years past, I am more excited than ever about Base10 Partners because we’ve spent the last three and a half years on differentiation and focus, fully embracing who we are and honing in on why we do what we do. We’re doing things a lot differently than most and, importantly, we’re putting our money where our mouth is. We believe that a world, empowered by technology, in which the 99% have as many opportunities as the 1% to build things that benefit us collectively, is a better world for all of us, and one worth working towards. |
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Should you beloved films like Get Out and Us, it’s possible you’ll need to know easy methods to watch Nope at residence on-line without cost to see Jordan Peele’s latest horror sci-fi.
Nope is a science-fiction horror film directed, written and produced by Peele. The movie follows follows brother and sister OJ Haywood (Daniel Kaluuya) and Emerald Haywood (Keke Palmer), two ranch-owning siblings who—after a phenomenon that causes random objects to fall from the sky and kill their father—make it their mission to seize video proof of an flying saucers with the assistance of expertise salesperson Angel Torres (Brandon Perea) and documentary director Antlers Hoist (Michael Wincott).
In an interview with Fandango in 2022, Peele defined how the thought for Nope took place. “I wrote it in a time the place we have been slightly bit apprehensive about the way forward for cinema,” he mentioned. “So the very first thing I knew was that I wished to create a spectacle. I wished to create one thing the viewers must come see. So I set my sights on the nice American UFO story right here and the film itself offers with spectacle and the nice and dangerous that come from this concept of consideration.”
Steven Yeun, who performs Ricky “Jupe” Park additionally instructed Fandango about how Peele’s films reinvent the horror style. “I wrote it in a ti“I believe I believe via that have, the factor that I’ve discovered is in these style setups, it’s straightforward to possibly depend on the tropes, however actually I believe we’re all searching for one thing deeply human and that’s what makes it unsettlin,” he mentioned. “When Jordan requested me to be part of this, we had a variety of conversations, and I believe we may have left it at sure locations the place it could have ended up possibly being extra of a trope. However we’ve by no means actually let the dialog stay there. It at all times ended at like a deeply human particular person. So for me, I simply comply with individuals who see that.” He continued, “I believe Jordan sees that. I don’t assume he’s essentially at all times making an attempt to assemble one thing that’s, like, not actual. I believe he’s at all times making an attempt to do one thing that’s very actual.”e the place we have been slightly bit apprehensive about the way forward for cinema. So the very first thing I knew was that I wished to create a spectacle. I wished to create one thing the viewers must come see. So I set my sights on the nice American UFO story right here and the film itself offers with spectacle and the nice and dangerous that come from this concept of consideration.”
So…is there a method to watch Nope at residence on-line without cost? Properly, there’s a means, however you’ll have to attend. Learn on for when Nope shall be accessible to stream and easy methods to watch it without charge.
When does Nope come out?
Nope premieres in theaters on July 19, 2022.
watch Nope on-line
How can followers watch Nope on-line? Nope is anticipated to stream on Peacock on September 2, 2022, which is 45 days after its theatrical launch date. Nope is distributed by Common Footage, which is underneath NBCUniversal—the identical firm that owns Peacock. Although Nope’s launch date on Peacock hasn’t been confirmed, most up-to-date Common Footage films—reminiscent of Downtown Abbey: A New Period, The Northman, The Unhealthy Guys and Ambulance—have streamed on Peacock 45 days after their theatrical launch date, so it’s anticipated that Nope will comply with the identical timeline.
Peacock, NBCUniversal’s streaming service, provides three plans: a Peacock Free, which customers can join with simply their electronic mail; Peacock Premium, which incorporates advertisements and prices $4.99 monthly; and Peacock Premium Plus, which is ad-free and prices $9.99 monthly. To observe Nope, nevertheless, customers might want to subscribe to both Peacock Premium or Peacock Premium Plus.
watch Nope on-line without cost
How can followers watch Nope on-line without cost? Learn on for our ideas and methods to stream Nope as soon as it’s launched on Peacock—even for those who don’t have a subscription but.
If you wish to watch Nope on-line without cost, there’s a means, however you’ll must be an Xfinity subscriber or know somebody who’s. Clients who’ve Xfinity Flex, Xfinity X1, Xfinity Web or Xfinity Digital Starter TV accounts can obtain a Peacock Premium subscription without cost. Sure, free. Peacock has a information for easy methods to join your Xfinity and Peacock accounts, however we additionally listed the steps beneath
One other method to watch Nope on-line without cost is to be a Cox subscriber or know somebody who’s. Cox clients with an Important web plan or a better video bundle can obtain a free subscription to Peacock Premium. Clients with Cox’s Contour Stream Participant or Starter Video plans even have entry to free Peacock Premium. See step-by-step directions for easy methods to watch Firestarter on-line without cost with Cox’s free Peacock Premium subscription beneath.
What’s Nope about?
What’s Nope about? Nope is a science-fiction horror film written, directed and produced by Jordan Peele, who has additionally directed movies like Get Out and Us. Nope follows brother and sister OJ Haywood (Daniel Kaluuya) and Emerald Haywood (Keke Palmer), two ranch-owning siblings who—after a phenomenon that causes random objects to fall from the sky and kill their father—make it their mission to seize video proof of an flying saucers with the assistance of expertise salesperson Angel Torres (Brandon Perea) and documentary director Antlers Hoist (Michael Wincott).
Who’s within the Nope forged?
The Nope forged contains Daniel Kaluuya and Keke Palmer within the lead roles of OJ Haywood and Emerald Haywood. The Nope forged additionally contains Steven Yeun within the function of Ricky “Jupe” Park, Brandon Perea within the function of Angel Torres, and Barbie Ferreira within the function of Nessie. See the total Nope forged beneath.
- Daniel Kaluuya as OJ Haywood
- Keke Palmer as Emerald Haywood
- Steven Yeun as Ricky “Jupe” Park
- Brandon Perea as Angel Torres
- Michael Wincott as Antlers Holst
- Wrenn Schmidt as Amber Park
- Keith David as Otis Haywood Sr.
- Donna Mills as Bonnie Clayton
- Barbie Ferreira as Nessie
- Devon Graye as Ryder Muybridge
- Eddie Jemison as Buster
- Oz Perkins as Fynn Bachman
- Terry Notary as Gordy
- Andrew Patrick Ralston as Tom Rogan/Brett Houston
- Jennifer Lafleur as Phyllis Mayberry/Margaret Houston
Our mission at STYLECASTER is to deliver fashion to the individuals, and we solely characteristic merchandise we predict you’ll love as a lot as we do. Please word that if you are going to buy one thing by clicking on a hyperlink inside this story, we could obtain a small fee of the sale. |
Duane Murray has accumulated an extensive list of credits in film and television as well as on the Canadian and International stage. He has appeared as Sebastian in Nicky Silver’s Raised in Captivity (Directed by Paul Lampert), both in Toronto and the International Theater Festival in Berlin, Germany. He also performed in internationally renowned theatre director, Robert Wilson’s, Hamlet Machine and performed at the National Arts Center in Ottawa, receiving a Gold Medal in improvisation. Mr. Murray has also received recognition in television for his portrayal as Gord in the Gemini award-winning comedy An American in Canada , as well as roles in the Gemini award-winning The Newsroom and Foolish Heart for the CBC. Most recently he completed roles on Murdoch Mysteries, Flashpoint, HBO’S Grey Gardens, and Accidental Friendship opposite Emmy Award winner Chandra Wilson. On the big screen Duane most recently appeared in Universal Pictures, Flash of Genius opposite Dermot Mulroney and Greg Kinnear as well as Atom Egoyan’s award winning Adoration and will appear in competition at this years Sundance Film Festival in David Bezmozgis’ Victoria Day. Upcoming, Duane will be appearing in Amelia with Oscar winner Hillary Swank and New Line Cinema’s The Time Traveler’s Wife. His own film, Tkaronto, for which he produced and played the lead roll, recently finshed a succesful festival and theatrical run and he is now at work writing his next feature film.
Based out of: |
Welcome to Celebration
World-class entertainment and luxe resorts in a master-planned community
The town of Celebration puts Old Florida glamor on display with unique architecture and charming pastel colors. A Disney creation, every detail of this diverse planned community has been masterfully designed. Developed in the 1990s, this sleek enclave is right next door to the Walt Disney World Resort and sets the tone for opulence and luxury. The Celebration aesthetic carries the magic that Disney is known for yet shines in its own right as a self-governed community.
Celebration impresses residents and guests with warmth and elegance. From the grand, palm tree-lined entrance to the charming architecture, every inch of this lavish resort town is a lesson in style and luxury. The real estate market offers posh townhomes, luxe condos, and commanding estates, including breezy Key West designs, crisp and coastal Mediterranean styles, and French Provincial properties.
What to Love
- A collection of local boutiques
- Chef-driven bistros
- Friendly atmosphere
- Stunning estates with community-centered amenities
People & Lifestyle
Known as much for a strong sense of community as it is for luxe glamor, Celebration pampers its residents with world-class services and exquisite cuisine. Residents have things to do from morning to night, if they desire, with everything from leisurely Sunday mornings at the farmers’ market and chef-driven brunches boasting panoramic views of the stunning surroundings, cheerful holiday festivities, and outstanding golf facilities.
Dining, Entertainment & Shopping
Old-world charm and Mediterranean elegance make The Columbia one of Celebration’s most coveted restaurants. Family-owned since 1905, this stylish spot is Florida’s longest-running restaurant and serves up fresh seafood and the rich flavors of Spanish cuisine. Celebration Town Tavern brings the taste of New England to Florida with a menu of northern classics like clam chowder and lobster rolls, while the retro vibes and comfort food menu at Downtown Diner delight guests from breakfast through dessert. Offering a whimsical mix of romance, sweeping lakeside views, and elevated cuisine, the dining room at the Bohemian Hotel sets the stage for intimate dinners and lively brunches with friends. Dine alfresco and take in the sparkling waterfront vista, or cozy up in the elegant dining room for a sophisticated night of music and New American dishes.
Things to Do
Sunday mornings belong to Celebration Farmers’ Market, a vibrant marketplace of the freshest local ingredients and artisan cheeses and honey, while Friday nights, you’ll find residents perusing the gourmet offerings from local bistros and gastropubs at Food Truck Friday.
Elevate your cinema experience with the luxurious setting at the Disney Springs 24 Theater. This dine-in cinema offers a full menu of delicious bites and creative cocktails, served right at your seat — so sit back, relax, and enjoy both the show and first-class hospitality. Autumn in Florida brings the extravagant Oktoberfest on Market Street and the gorgeous lakeside views and lively music that accompanies this beloved festival, while the holiday season lights up with festive light displays, hot chocolate, and even a winter snowfall at Christmas in Market Street.
Finally, experience quarterly events throughout the community such as The finest examples from Ferrari, Lamborghini, Mclaren, Bugatti, Pagani, Porsche, Aston Martin, and Hollywood film cars on display at the Celebration Exotic Car Festival. Join celebrity hosts, and the best of Celebration society as this event raises money for the Make-A-Wish Foundation.
Celebration offers residents excellent educational opportunities, including:
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Measurements: 28"L x 18"D x 29"H
Heavy Item: Successful bidder MUST bring loading help.
Condition Disclosure: Although we attempt to show and disclose the condition of each lot, we do not always see what may be important to a particular bidder. If the value of an item depends on certain conditions of an item, and you cannot verify from the photos, please call prior to bidding (260) 437-6555. All items are sold AS-IS.
1. Condition of Goods - In publishing this catalog, Bartkus Auctioneers has endeavored to accurately describe all items being sold but all property being offered is to be sold "as is". No statement in this catalog, bill of sale, invoice, or elsewhere by any representative of, or person in the employ of Bartkus Auctioneers shall be deemed to be a warranty, representation, or assumption of liability with respect to age, condition, size, quality, variety, importance, provenance, or historical relevance of any of these items. Please note that photographs may have had size modifications for display purposes, or been trimmed to exclude framing, matting, and wide blank margins. Also, variations in color may occur due to digital processing. Any condition statement, written or verbal, is given as a courtesy to the client and is only an opinion. It should not be treated as a statement of fact. Bartkus Auctioneers shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear, imperfections, or aging.
2. Disputes - The Auctioneer will be the final judge as to who is the successful bidder. In the event of any dispute, the Auctioneer shall, at his discretion, decide whether or not to reopen the bidding.
3. Title to Goods - Title to all merchandise shall pass to the successful bidder at the fall of the Auctioneer's "hammer" or Closing of an Online Auction. The purchaser shall assume full responsibility for the lot purchased once title has passed.
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5. Picking Up Your Items: You are solely responsible for the safety and timely pick-up and removal of any items you may win at this auction. If you are unable to safely pick up and remove your items during the item pick up times that have been scheduled for this sale, PLEASE DO NOT BID. The Auctioneer Will ship all items if that service is needed for the Buyer. The Auctioneer will not issue you a refund if you are unable to pick up and safely remove your items during the published removal times or make shipping arrangements with the Auctioneer. Please arrange for shipping if needed by calling our office at 260-437-6555. When shipping is offered by Bartkus Auctioneers, the shipping costs will be billed to the Buyer plus a reasonable handling fee of $10.00 per lot and cost of shipping supplies. All items will be taken to the UPS store or USPS Office. The Auctioneer is not liable for any damages incurred thru shipping, No exceptions. The credit card associated with your online account will be charged for any expenses incurred by shipping and handling.
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9. Errors - Bartkus Auctioneers are not responsible for any typographical or any other error or omission in this catalog or subsequent price key. Bartkus Auctioneers reserves the right to withdraw any property before the sale.
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11. Agreement to Terms - In bidding on any lot here offered, the bidder indicates acceptance of these Terms and Conditions of the Sale. The title of each lot passes when the auctioneer says, "Sold" or online sale closes. Thereafter, any loss by fire, theft, breakage, or any other cause is the sole responsibility of the purchaser. Merchandise must be packed and transported by the purchaser at his own risk and expense. If any employee or agent of Bartkus Auctioneers shall pack or transport the merchandise, it is fully at the risk, responsibility, and expense of the purchaser and Bartkus Auctioneers shall not be liable for any loss or damage that may be caused by such employee or agent.
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13. Acceptance of Bids - The Auctioneer reserves the right to accept or reject bids in any increment which the auctioneer deems to be in the best interest of the client, the seller. No consignor, Seller or agent for the Seller has the right to bid on their consigned goods. Any employee of Bartkus Auctioneers reserves the right to bid on auction items and purchase an item. POOLS: Pools are associations of dealers or collectors formed with the purpose of keeping down auction prices for the benefits of its members. They are illegal in the United States and England. They have never occurred at our auctions, and under no circumstance will they ever be permitted.
14. Check Out - In order for items to be removed during the auction, the buyer must obtain a copy of their invoice from their email and present it at the door. No items will be permitted to leave the property without a printed invoice. Payment in full is due at the conclusion of the sale or upon leaving the auction. If a checkout area is set up, no items can be removed until full payment has been made.
15. Announcements - All announcements from the auction block will take precedence over any printed matter with the exception of "condition," as previously outlined in paragraph 1. For additional information regarding these Terms and Conditions of Sale, or any other matter relevant to this auction, please contact us for specific information not included in the catalog description: Bartkus Auctioneers 260-437-6555 Telephone inquiries may be made between 9 am and 5 pm EST.
16. Sale Results - Results will be available no earlier than 5 pm on our first business day following the auction, or as soon as Bartkus Auctioneers has audited and verified all sales. Please do not call prior to this time for results, as they will not be given out under any circumstances. Sale results will be posted on our website within two weeks after the sale. We thank you for your understanding in this matter. Bartkus Auctioneers retains all rights to copyright and other intellectual property contained in this catalog.
17. Firearms - Know your State/Federal firearms laws BEFORE bidding. We are not a licensed FFL Dealer. All federal and state firearm laws govern every aspect of this auction and any infraction of the law will immediately be reported to local law enforcement and the ATF. You must be 18 to purchase rifles or shotguns and 21 to purchase a handgun. There is no inspection period for your purchase, ALL GUN SALES ARE FINAL. You are responsible for knowing if your state bans a certain type of firearm/ammo/accessory from being shipped to you. All Indiana residents purchasing modern firearms produced after January 1st, 1899 must complete an Indiana State Police background check. There is a $2 processing fee per background check. The only exception is a licensed Federal Firearms Dealer. Assault Rifles and accessories require additional identification per Indiana State Police requirements. All out of state firearm buyers are responsible for shipping costs and obtaining approval from a licensed FFL dealer to accept your purchase. A current signed copy of the receiving FFL licensee is required to be sent to our office in order to allow the firearm to be shipped. Please email to [email protected]. Do not purchase firearms for someone else. Only the registered bidder is able to pay and pick up firearms from the Property.
Kendallville, Indiana 46755
Monday, June 28, 5-7pm
King Metal IND Co. LTD Round Dining Room Table w/ 4 Chairs, Leather Foot Stools, Ashley Furniture Bar Height Chairs (27” & 33” Seat Height), Bombe Console, Table Lamps, Pier 1 Imports End Tables, End Tables, Coffee Tables, Electric Fireplace, Antique Little Red Riding Hood Cookie Jar, Roomates Rust Rug, Solid Oak Hutch, Solid Oak Tables & Chairs, Creperie Restaurant Art Work (Shvaiko), Antique Table Lamps, La-Z-Boy Floral Reclining & Rocker Chair, Solid Oak Bookcases, King Bed w/ Box Spring, Mattress & Bedding, Ecobox Air Purifier, Breeze AT by EcoQuest, Comfort Zone Heater, DeLonghi Heater, Wall & Table Clocks, Decorative Wall Art, Laundry Rack, Hoover Turbo Power Steam Vac Widepath LS, Moveable Room Heather w/ Remote Control Reliable Products Int. LLC, Dog Beds & Accessories, Cleaning Supplies, Monster Carpet Steamer, Musical Instruments, Toshiba Cinema Series 34” CRT TV, Zion National Park Picture, Room Dividers, Leather Chairs, Gliding Rockers, Dressers, Phillips 40PFL7705DV/F7 40" 120 Hz LED TV, Queen Bed w/ Box Springs, Mattress & Bedding, Conair Clothes Steamer, Mirrors, Solid Oak Filing Cabinet, Board Game Table Set w/ 2 Chairs (Checkers, Chess & Backgammon), Sony VHS/DVD Player, Filing Cabinets, Jensen Digital Speakers, First Act Guitar, Denon Stereo, Bionaire Floor Fan, "L" Shape Desk, Desk Chairs, Free Standing Coat Rack, Antique Dresser & Desk, 3 Drawer Sterilite Storage, Full Size Bed w/ Box Spring, Mattress & Bedding, HP Officejet Pro 8625 & Accessories, Outside Yard Games, Sea Doo Seascooter Dolphin, Coffee Maker, Thermos & Vases, Styrofoam Carryout Food Containers & Coffee Cups, Insulated Travel Cups, Misc. Kitchen Containers, Old Country Roses - Royal Albert Bone China, Crock Pot, Pitcher & Misc., Instant Pot, Jack La Lanne's Power & Breville Juicer, Plastic Storage Containers & MUCH MORE!! |
Don McKellar’s LAST NIGHT (1998) – 35mm print!
Director Don McKellar will be in attendance and participate in a Q&A with Richard Crouse after the film.
CAN 1998 95min.
Directed by Don McKellar
Starring Don McKellar, Sandra Oh, Sarah Polley, David Cronenberg, Callum Keith Rennie
What to do in Toronto as armageddon looms? A group of very different individuals with different ideas of how to face the end come together as the world is expected to end in six hours at the turn of the century. Don McKellar’s directorial debut is a standout classic of Canadian cinema.
The feature will be preceded by 40 000 000 Miles A Year (1948), a short film sponsored by the TTC, which features rare colour footage of various Toronto landmarks and makes a case for a proper transit and subway system in Toronto.
Recently scanned in 2K.
Doors open at 6:00PM.
Please note that since this Revue Film Society event is free, it is our policy to overbook to ensure capacity. We will begin releasing unclaimed seats to the rush line 10 minutes before the start of the event. In case of a full house, your reservation may not guarantee admission. We recommend you arrive early! 🙂 |
Composer John Adams Conducts his Coming-Coup-Collage for the Seattle Symphony
By S.E. Barcus
January 6, 2022
“Don’t know what it is, Adams’ interest in private eyes, but there are two pieces on the program tonight that reference them. These films about a gritty anti-hero, trying to solve a crime, but also doing anything it takes to solve that crime. You hear that sense of threat in the piece; a very unsettling sort of mood….”
–Dr. Anne Searcy in the pre-concert lecture.
Ah! Going back to live performances, an acceptable risk for myself (with everyone vaccinated and masked, anyway!). One sits and relaxes, listening once more to the crazed chaotic cacophonic tone cluster of the artists practicing and tuning simultaneously, playing that universal “opening piece” of any symphony (or of Sgt. Pepper’s, thank you George Martin…). Then out comes concertmaster Noah Geller, an excellent violinist (and a very tall fellow, with an aura of some kind of jovial, good-looking Hogarth, bringing an aura of friendliness to the Seattle Symphony, such as when he fist-bumped the pianist, Jeremy Denk, tonight in the Devil piece…).
Then quiet. Then out comes John Adams himself, guest conductor of his own works tonight, with his stark white hair, thin stature, reminiscent of the Jeff-Bezos-like villain in the recent movie, Don’t Look Up (although with a normal voice). Much deserved applause was given for this American icon.
He came here, during this plague, with looming precarious national elections, to Seattle. What would he choose to conduct; what would tie tonight’s program together? Surely, he knew he was coming on January 6, the first anniversary of the fascist insurrection that attempted to overthrow our democratic government, a trial run by the American brown shirts/red caps? Why did he choose — besides the ubiquitous crowd-pleasing opener of Fast Machine, and the new-ish devilish piano concerto he’s still promoting — why did he choose to highlight City Noir, of ALL the countless wonderful pieces he has composed over his long, eclectic, and amazing career? I believe the two quotes, at the top and bottom of this article, answer that question. And with a name like “John Adams,” after all, it is no wonder he seems to be a (true) patriot.
And also no wonder that he was born and raised in New England. His parents were musicians, and his father knew Charles Ives, after all (or so his earlier piece claims!). He was forced to study and adhere to 12-tone serialism like everyone else in his generation, but after graduation, he blew his mind out in a book — John Cage’s, Silence, to be exact, and moved to California to join forces with the minimalists.
Adams is often not afraid to give evocative titles that embrace programme music, never hiding what his own feelings and intentions are, as so many Derrida-dada-dada postmodernists often did/do, concealing their own works’ intentions with curtains of “it means whatever you want it to mean” bullshit (if their works “meant” anything to them, at all!). Adams is a purposeful and transparent Artist, which I admire.
In California, he helped bring us the style of “post-minimalism”, sharing the postmodernist idea of pastiche, pouring into the rhythmic, driving blender of his own “minimalism” whatever was appropriate, whether older Romanticism forms or jazz music. And also, all with that postmodernist “kitsch” sensibility, seen perhaps more often in the Art and Theater realms. John Adams shares that playful sensibility that California has often so wonderfully given our world, from Henry Cowell to John Cage to Frank Zappa … to John Adams.
Great way to start any concert. A spicy musical appetizer, gets the juices flowing. A “thrilling … white knuckle ride”, as Adams has described it.
The piece starts with a fast pulse from the simplest instrument in the orchestra, the woodblock, which never stops until the end. Not sure who you were, oh dearest woodblocker in the back (either Michael Werner or Matthew Decker, I presume, from the program’s listing of percussion players), but I wish you could’ve been up front and center, like a soloist, beating away on it for us like a Will Ferrell, belly hanging out, dancing and beating away on that little block with joyous sexy confidence! … Guess what?! I got a fever … and the only prescription … is more woodblock!
Then come whirling strings, pulsating horns like the horns from Whoville – “fanfare” indeed! The flutes and piccolos have a very hard screeching section right there in the beginning (likely trying to convey the slipping and sliding on the road?). As Dr. Searcy told us in the pre-talk, give those musicians in particular a break, that’s a pretty difficult-almost-impossible section! Beethoven himself couldn’t have been meaner to a group of instrumentalists, demanding such notes!
The music abruptly “changes gears” throughout. Fast Machine is a fun drive, a Ferrari through Beverly Hills, sharp high-speed turns, at times slowing down to take in a view, beautiful interludes of natural California landscapes or ocean fronts. (Disneyland Los Angeles should have a special event where they let you ride the Americana Cars ride with this piece playing. That would be awesome. Maybe a fieldtrip one day for the LA Phil?)
Per Dr. Searcy’s opening lecture, this piece was one of the first pieces ever to use the minimalist technique of incessant repetition to represent machines — a match made in heaven, and something that was done many times since. And it is quite breathless! (Ah! “Breathless” – like the film!? Perhaps that’s how we can fit this into our “noir” theme for the night!) It is perfectly the programme music of a fast car weaving in and out of high-speed traffic, always nearly skidding out of control…. Fun, yes, but also definitely music that was written by someone who was surely thinking, “I seriously might die tonight.”
The quote, taken from Martin Luther, bemoans that bad guys seem to have all the fun. And the answer to the question, based on the composition, is “yes”.
I loved the energy of the pianist, Jeremy Denk, as he skipped out in the beginning, as excited as a little kid. Throughout the piece he’s bobbing and jiving while he plays, occasionally looking out to the audience with some Liberace-like subtle smile, periodically tapping his tablet to turn the page, like a jazz drummer smacking a cymbal. Really wonderful performance. Dreamy where needed, ferocious when called for. (I guess he trained at Oberlin and Juilliard and has a memoir coming out about studying the piano, “Every Good Boy Does Fine”. I’m looking forward to that!)
I also loved this concerto. And how the symphony only gradually, progressively takes over the piano solo of the beginning. John Adams’ other two concertos are somewhat more traditional going back-and-forth between the piano and orchestra, but not this piece. The piano never really stops. I don’t know if Adams gave the writer of Seattle Symphony‘s program notes, Christopher DeLaurenti, this quote, or if DeLaurenti wrote it himself, but it encapsulates this piano concerto quite adroitly:
“Inverting the old adage ‘idle hands are the devil’s workshop’, the pianist plays continuously, with only a few measures of rest throughout the piece”.
In the first movement — in typical kitschy pastichey John Adamsy postmodern fashion — he also references TV music. The main musical motif driving the piece, from the beginning and throughout, is a variation on the theme from Peter Gunn, by Henry Mancini. Here’s that noir theme for the night coming in again, if we choose to see it.
The quieter second movement is creepily meandering, but at times sweeter, perhaps more melancholic. Spooky, like walking through a dark cave, or an abandoned dusty (haunted?) house. Perhaps this sojourn was Jesus in the desert with the devil?
Dr. Searcy noted that the 3rd movement’s dance-like rhythm harkens back to the many bouncy rhythmic pieces of the 19th century that referred to the devil, most famously to the 5th movement of Berlioz’ Symphonie Fantastique, the Dream of a Witches’ Sabbath…. Also, harrowing bells abound in the 3rd movement – inverted church bells — another trope of the 19th century for demons. And filled with tritones, “the devil’s interval”. Everything creates the scene – from the cello and bass players periodically slapping their strings like the whip of a devil, to the dark farting-burbling-laughing of the trombone (a seeming necessity for any comical devilish piece).
Also, the third movement has just an awesome electric bass guitar riff. Absolutely funky. Again, not sure of the guy’s name in the back who was playing (come on, program, give us the names!), but he was bobbing and jiving back-and-forth just like Denk. At times, they were in sync with each other, very groovy, digging it. Like the woodblocker, I wish he was front and center. (I hate the rigidity of the, I dunno, “Rimsky-rules for orchestration”. All these soloists are always hidden in the back where we can’t see them!)
By the end, for myself, similar to Adams’ two other piano concertos, I felt like the piano really seemed more like a percussion instrument. (Oops — yeah yeah, it IS a ”percussion instrument”…. You know what I mean. I mean, like, drums….) It’s mostly blocked chords or broken up blocks as arpeggios. Not sure what to make of that, but it’s somewhat distinctive for Adams’ piano concertos at this point.
This is considered a symphonic piece, but really it’s a saxophone/trumpet/vibraphone triple concerto. Should probably throw in the jazz drums, too. Timothy McAllister, at least, gets props for his saxophone work in the program. Presumably it was David Gordon on trumpet, but again, the program doesn’t say specifically. And the vibraphone? Or the amazingly groovy jazz drummer? Michael Werner or Matthew Decker, we presume, as (again) the program doesn’t specify. (Isn’t that a shame?)
As Adams says, the music of City Noir recreates the feeling of the noir films, but also of the 1950’s — and there we get the imbuement of jazz entering into the symphony. Gershwin did it perhaps most famously. But Adams’ jazz is of the more recent era – the jazz of the 1950s, of Charlie Parker on sax and Miles Davis on trumpet. McAllister comes right out of the gate with that fast-paced bebop virtuosity. Just wonderful.
This is cinema-inspired programme music, with not very many repeats, just a constant wandering between movie styles and feelings and, again, “tropes”. You will get the déjà vu feeling you are in a movie theater, at times, watching many different films, thinking you are recalling snippets of many different composers’ scores. Halfway through the first movement, there is a definite resemblance to John William’s “Hedwig’s Theme” from Harry Potter, for me, at any rate. (Don’t believe me? Go to minute 7:40 of this YouTube clip with the St. Louis Symphony — and again Timothy McAllister! … Listening to this again — is this whole work a collage of famous film scores? Listen to 4:30 — is that a subtle reference to “Some day my prince will come?”) But then, off in another new direction, perhaps filled with shadows and smoke and dark alleys, or to a Hitchcock film, but then quick cuts to a sultry, sexy femme fatale, shimmering like the glass art of Chihuly that hangs in the Seattle Symphony’s lobby. And even at times, a mysteriousness and creepiness enter, almost Ligeti-like-atmospheres, textural style. But then back to the jazz, with the groovy drum beats and snares, and saxophonist McAllister standing back up to play and jerk around abruptly, off-rhythmically — soulful but frenetic sounds, like we’re in a night club, somehow.
The third movement, Boulevard Night, starts out slower, with a sexy Miles Davis/Chet Baker sounding trumpet. There’s a stillness, a Nighthawks at the Diner feel. Then the sax galloping in again, eventually evolving into what makes for a nice bookend for the night as the music speeds up on these streets, and turns into the feeling of a fast machine, an intense car chase scene. With sudden hitting of the brakes. Silence. Drums like gun shots. Then peeling away again, a sax wailing somewhere up high on a fire escape. The sudden changes of this intentionally dramatic music is very intense. I wish I could have had popcorn to eat! Finally, near the end, something menacing, horns repetitively start out quietly but get loud fast, like cars whizzing by. … Similar to Fast Machine – I think we’re probably in for a crash.
“… With City Noir … I wanted to write a work of symphonic scope that had the feel and dark tonality that we saw in the noir films in that post-war era – late 1940’s, ‘50s, even into the ‘60s. There was a lot of happy PR around the country that we had won the war and America was great, but I think noir really told a different story about American society – one that I think unfortunately has come home to roost in recent years….”
—John Adams, January 6, 2022, words before conducting “City Noir”
Copyright 1-6-22, S.E. Barcus
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The application process was made extremely easy for me through MicroEDU. You just fill out a few forms, submit your certificates and choose your courses. MicroEDU will do the rest for you. It only took me two weeks from filling out the forms to being accepted at the university.
Studies / courses taken
In Kamloops I took two business courses, a politics course and Spanish. I was extremely satisfied with three of my four courses. According to Abbreviationfinder, TRU is the abbreviation of Thompson Rivers University.
Learning a new language (Spanish) was much more demanding than in high school, which was partly due to the fact that I had to learn the vocabulary from English into Spanish, but also because the pace was much faster than one is used to. However, I was able to pass my course with the top grade due to my experience in other foreign languages.
I also really enjoyed the Management Information Systems course. Here, however, the level was not that high. With the right learning methods, you could easily achieve good results.
Overall, I liked Comparative Politics best as I was the only exchange student in this course. This was by far my most demanding course. It is assumed that you prepare 100 textbook pages per week, which is impossible if you want to enjoy your free time. Instead, each time before class I went through the presentations that the teacher put on the internet the night before. It was also expected to write an essay on a regular basis and submit it for grading.
I didn’t like the last course, Organizational Behavior, at all. This one was so simple that you couldn’t take it seriously anymore. However, many students were happy to choose it because it was so easy to pass.
In all courses, one or two exams are written both in the middle of the semester and at the end of the semester. Overall, I was extremely satisfied with the course. Before you choose the courses, I would advise you to take a look at the professors’ rating on www.ratemyprofessors.com and choose your courses depending on this. I can recommend Josi Fischer, Jim Swingle and especially Robert Hanlon.
The on-site support was great. First of all there was the introductory week, during which you will get to know many of the international students. Canadian students arrive on the last day of the induction week. If you have any questions, just get in touch with a teacher, classmate or an administration office. You will always be forwarded to the right contact person. You also have email contact with your International Advisor, who is responsible for European students. If you still cannot be helped, you can also contact MicroEDU, who are always happy to help.
I stayed at UCH (Upper College Hights), which I can only recommend. At the beginning you have to buy everything yourself, such as bed linen, crockery and cutlery as well as bathroom utensils. Here you live with three other, mostly international, students. However, you must be pretty lucky with your roommates. In the first week I lived with two students who had already lived there for 3 semesters. However, these two did not attach great importance to hygiene and were always busy with online games. So I decided to change my room for a fee of $ 50. Then I lived with two Danes and an Australian, with whom I did pretty much everything together. We had a lot of fun and even put on a van for the semester to travel on weekends and to go to the ski resort in winter.
I would advise against McGill Campus Housing. This looks like a prison both inside and out. The rooms are tiny and unclean.
Then there is the TRU residence, which offers the greatest comfort in terms of bedrooms, but also costs the most. I also lived here with my girlfriend for two weeks in January. The beds and the desk are much larger than in the UCH, but the kitchen is a joke. In addition, the residents of the residence are mostly freshmen students and they usually move out after two semesters there. In terms of price-performance ratio, I can recommend the UCH. If the money is enough, I would not advise against the residence either.
Leisure and excursion opportunities
There is always something to do in Kamloops. In summer / autumn it is up to 35 degrees warm. So you can go to the river and go swimming or just hang out with friends on campus. In addition, many different sporting activities are offered, which you can find out about at the university. In winter you can drive to the Sun Peaks ski area, 45 minutes away. The highlight for me, however, was the large sports center on campus, which has a swimming pool, two saunas, two fitness studios, basketball courts and a 200-meter running track. I also found the winter indoor soccer league and the countless opportunities to go out to eat, shop or go to the cinema to be outstanding.
I really enjoyed the semester abroad and I would recommend it to anyone who wants to improve their language skills. I did my semester abroad right after graduating from high school and even decided to stay in Canada two months longer than planned. For a month I moved with my three roommates to Canada’s largest ski area, Whistler, and for a month I traveled around with my girlfriend, who I met at university.
- Management Information Systems: A-
- Organizational Behavior: A-
- Comparative Politics: B.
- Spanish: A + |
I Went on a Weight Watchers Cruise and This Is What I Learned
If you told me five years ago that I would be checking how many calories are in my poolside cocktail or tracking my daily steps on my Fitbit during my relaxing vacation, I probably would have told you that you’re bonkers. After all, traditional vacations are completely centered around the concept of indulgence; they’re about ditching all the stresses of daily life for a week of total relaxation and rejuvenation. But as the days of horrible cabbage soup diets and seven-day juice cleanses make way for a more holistic approach to health, more and more vacationers are looking for healthy options while they’re taking a break from their regularly programmed life. It’s the reason yoga studios are popping up in airports, why hotel gyms are investing in state-of-the-art equipment, and why you can find a heart-healthy salad and protein-rich snack bar in almost every airport across the globe.
Unfortunately, although the demand for smarter choices is growing exponentially, trying to find a healthy-ish meal and a heart-pumping fitness class isn’t always such an easy task when you’re 4,000 miles from your local haunts and trying to make the most out of every hour you have until you have to head back to reality. So when Weight Watchers asked me if I wanted to attend a seven-day cruise to the Caribbean, I immediately jumped at the opportunity to see how the pros stay healthy on vacation. Knowing practically nothing about the Weight Watchers program prior to boarding the ship, I dusted off my passport, packed my cutest yoga pants, and made my way to the Port of Miami for the second official Weight Watchers cruise.
Let’s Talk About the Grub
If I were a betting woman, I would guess that one of the first things that popped in your head when you read the title of this article was why in the world anyone would choose to eat traditional “diet food” while they’re supposed to be relaxing on vacation. Trust me — I was just as skeptical before I boarded the ship. But you won’t find any vacuum-sealed freezer meals on this cruise ship. In fact, the delicious calorie-conscious food was one of my favorite parts about the entire experience.
Every morning and evening on board the ship, we had the option to either attend a swanky sit-down meal in the formal dining room or visit the more casual buffet instead. While the regular cruise ship menu was available for every meal throughout the week, Weight Watchers members were treated to additional health-conscious menus for both the formal and casual dining. Each item on Weight Watchers menu was always accompanied by a sign noting the number of SmartPoints the dish was worth, so Weight Watchers members could track their food intake throughout their day.
For those who aren’t familiar with the Weight Watchers nutrition program, the system is actually quite simple. Every food item is given a numerical SmartPoints value, and each Weight Watchers member is allotted a certain amount of SmartPoints per day to spend however they’d like. While some foods, like fruits and veggies, are essentially “free” at zero points, splurge items (think holiday-themed Starbucks frappuccinos and greasy meat-lovers’ pizza) will eat away at most of your daily points. You track these SmartPoints on the Weight Watchers app along with your weekly FitPoints to help keep you accountable and build healthy habits.
It might be hard to believe, but I’m not kidding when I say the meals were actually pretty damn delicious. A typical dinner included spicy miso-ginger carrot dip (0 SmartPoints), mixed green salad with goat cheese and Champagne vinaigrette (two SmartPoints), bacon-wrapped pork tenderloin with roasted veggies (three SmartPoints), a five-ounce glass of Weight Watchers’ own delicious Cense Sauvignon Blanc (three SmartPoints), and a portion of dark chocolate-cherry cheesecake (five SmartPoints).
For this specific sailing, the Weight Watchers nutrition team worked with MSC cruises to create a menu full of yummy, guilt-free goodies that you could barely tell were calorie-saving hacks. Over 100 original Weight Watchers recipes were available across the buffet and table restaurants during the seven-day cruise, and nearly half of those were created specifically for this cruise. During a quick chat with Nutritionist and Food and Recipe Editor for Weight Watchers Leslie Fink, it became clear how much work went into creating this special cruise menu. Along with creating and curating all those yummy recipes, the WW team even used brain-altering hacks like swapping out ginormous plates for smaller ones and applying tasteful garnishes to the dishes to really make sure every diner felt satisfied with their healthy meal. And all that work definitely paid off — the meals were such a big hit that even cruisers who weren’t with Weight Watchers were choosing them over the alternatives, which resulted in the ship completely running out of cauliflower halfway through the sailing.
With so many healthy options, this experience was a great way to try a ton of healthy meals without having to get myself to the grocery store or justify a hefty Whole Foods bill. The nightly soups and crudités were a particular hit with my dinner crew, and it wasn’t uncommon to find folks quickly jotting down the name of the dish they just ate to make when they get home (a list of all recipes on the cruise ship is available here). I even re-recreated a freekeh tabbouleh recipe that I had during the cruise for a Christmas party the week I returned, and it was a smashing success!
A Typical Day on Board the MSC Divina for the Weight Watchers Cruise
For the nearly 900 Weight Watchers members and their guests who signed up for the cruise, this week was essentially one big master class in maintaining a healthy lifestyle. We ate delicious calorie-conscious meals that could pass as cheat-day grub, danced our butts off doing Zumba under the stars, and attended informative Weight Watchers meetings and lectures about healthy living.
A typical day on board the MSC Divina for the Weight Watchers cruise started with a fitness class of our choice. As something of a fitness class newbie, I was pleasantly surprised by the variety of classes available and how motivational I found each session. I loved my very first yoga class (I know, I’m behind on the times) and even enjoyed the added challenge of frantically trying to stop my yoga mat from blowing away on the breezy ship. I also tried a sweat-inducing circuit workout, a high-energy Zumba class, and some solo workout time at the ship’s gym.
After a quick shower and a scrumptious breakfast, it was time to hit some classes. We attended lectures from Dr. Gary Foster on strategic hacks for healthy eating; learned how to make delicious calorie-conscious cocktails, healthy Thanksgiving alternatives, and good-for-you sweet treats with Julie Hartigan; and even picked up some awesome food photography tips from @RachelsHealthyPlate.
Just because there were always Weight Watchers-themed activities going on doesn’t mean that we weren’t allowed any time to rest and relax on vacation. With poolside hangouts, fun excursions, hilariously competitive bingo nights, a hopping casino, and a 4D cinema, there was plenty to do on board the ship that didn’t involve learning the ins and outs of weight management. All of the classes were totally optional; if I wanted to skip a class to spend a day by the pool or relax in the spa, that was A-okay.
In fact, one of the highlights of the trip was an excursion I had in Antigua. After porting, our adventure-seeking group hopped in kayaks and glided along some of the most beautiful waters I’ve ever seen, hiked to the top of an island, and tanned on a beautiful beach. The delicious Antigua-made rum punch we enjoyed after was definitely a little stronger than I originally realized, but after all the calories we just burned off it was a welcome treat that was totally worth the splurge.
Whether it was a day of activity-packed sea-faring or adventuring through the beautiful port cities of the Caribbean, each day ended with a sit-down meal and some lively entertainment.
The Skinny on the Weight Watchers Cruise Experience
After talking to dozens and dozens of Weight Watchers cruisers during the week, it was clear to me that this experience was a hit with folks looking for a healthier alternative to the traditional vacation. Many cruisers confessed that worrying about the temptations that usually accompany an international vacay kept them from enjoying a trip for years. This cruise gave them the healthy options they needed to actually enjoy themselves on their vacation without having to stress about where to find their next healthy meal.
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AND that's a wrap on the #WWCruise! We're all leaving with full hearts, a lifetime of memories and incredible friendships! 💓✨If you're interested in our next sailings on the brand new #MSCSeaside you can tap the link in our bio for more info on our May and August 2018 sailings! #weightwatchers #wwfamily
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In addition to the easy health-conscious meals, cruisers were also sold by the idea that this experience gave them the opportunity to connect with other like-minded members within the Weight Watchers community. Going into the cruise as a solo traveler, I was delighted to find that nearly everyone on the Weight Watchers program was more than willing to hang out with a complete stranger — I boogied with 78-year-old members, chatted with women from around the world, and even scored some great foodie Instagram tips from the Weight Watchers ambassadors on board the ship. Some of the members even used this as an opportunity to room-share with folks that they met on a Weight Watchers online program or Instagram, making the trip a special way to kickstart a new friendship.
While the demographics for this Weight Watchers cruise skewed older, there were also a handful of 30-somethings who were more than willing to dance off their calories at the disco (or in Weight Watchers terminology, earn their FitPoints) and enjoy their Cense Sauvignon Blanc with their girl squad. As cruising becomes increasingly popular with older millennials, I wouldn’t be surprised if the next Weight Watchers sailing in May is packed with millennials looking for a healthy vacation with their friends and family.
Overall, I thoroughly enjoyed my experience on board the MSC Divina for the Weight Watchers cruise. While I definitely appreciated scoring tons of sunny snaps to add to my Instagram feed, what I enjoyed most of all was having the opportunity to try new healthy options — from a black bean cupcake to a trendy yoga class — while still enjoying all the classic amenities we love about cruises. Sure, coming back to my rainy hometown after a week in the picturesque Caribbean was a tad dreary, but returning 1.6 pounds lighter with several new healthy recipes to test out during the holiday season definitely helped cement this as an awesome experience that I won’t soon forget.
(Photos via Ashley Macey) |
An utility may be made to just one department or program at the Graduate School per term. Other departments/programs on the Graduate School can be combined, however do not have to be. Additionally, some departments and applications is probably not combined. You could addContent a revised statement of objective, resume, or supplemental supplies by way https://www.phdstatementofpurpose.com/theology-statement-of-purpose/ of your Status Portal.
Typically, an SOP follows a easy five-paragraph essay format that covers the entire points that admissions officers count on you to include. Perfection hardly ever takes place on the primary try, so don’t be afraid to write down a number of drafts of your SOP. If you’re uncertain of what you wish to focus on in the statement, write a few versions after which see what themes or information retains showing. Focus on that topic and cut something that feels irrelevant. Don’t assume you’re going to get into the school you’re applying to, or that your assertion is better than others. Discuss an important experiences which have ready you for grad faculty.
When you start to write, have this sheet obtainable and use it to information your assertion of purpose. Professors in your area will know what makes a compelling and convincing statement of function. Ask no less than two who know you nicely to learn over the statement once you’ve drafted it. For occasion, write one thing greater than « I gained vital expertise as an intern in a chemical engineering lab that I will apply to my graduate study. » See your program’s requirements page or the part below for specific directions on content material and transfering recordsdata.
An applicant must never attempt to sound educated with the use of advanced phrases, technical details, or vocabulary and jargon that do not serve the aim. Keeping things simple and conveying all that’s expected to be conveyed in a Statement of Purpose will suffice. Once the brainstorming is completed, choose and choose the best factors to enter the Statement of Purpose. This process is a good technique to short-list thoughts, factors, and concepts and eliminate irrelevant, over-the-top, arbitrary, or just in excess. Before continuing, put together the short-list and look to see whether the factors could be linked up or not.
Admissions tutors will verify that you’ve relevant experience and skills for this programme and that these are up to the standard anticipated of a PhD candidate. Writing is not any different than another intellectual field. A nice many good folks labored across the centuries, testing all sorts of concepts and methods, finding some that worked and a few that exploded of their face. For these causes, I believe I would be a fantastic fit in either the Crane Lab or the Octavius Lab, given my expertise researching metabolic improvement at each the behavioral and mobile level.
For some potential students, writing a press release of function is probably the most dreaded part of the application process. It takes some critical thought, making it each easy to procrastinate and troublesome to complete. If you’re unsure if there’s a potential match on your pursuits amongst our school, it’s perfectly applicable to e-mail the graduate program director or particular person faculty members with an inquiry. Come up with a « hook. » Admissions committees will expect that each applicant is happy to study the sector they’re making use of for, whether it’s biology, historical past, or anything in between.
Address questions arising from elsewhere – If there’s a spot in your CV or a problem with considered one of your references, your private assertion can be an opportunity to explain that. Be trustworthy – If you’re lucky, the content material of your private assertion might find yourself informing questions at your PhD interview. Don’t let elaborations or inaccuracies flip those into awkward questions.
The hardest single page you’ll write during your graduate college experience is your assertion of function. The assertion of function for graduate college, or your private statement, is required by most graduate schools during the application course of. This piece of writing lets graduate faculty admission committees, folks you may have by no means met, perceive who you are and the needs you seek by applying. Many candidates get overwhelmed by this important document and rightfully so. We help lessen the anxiousness by answering the largest questions round composing the statement of function. The Statement of Purpose is a web page essay written by you that outlines your intentions in https://research.library.gsu.edu/SW3500/empiricaldefined making use of to a certain graduate program.
Up till this point, you’ve talked about the past and current and went by way of assertion of objective formatting. These are necessary for exhibiting how you match this system right now. From the admissions and universities’ perspective, they need to select students which have a long-term imaginative and prescient related to this system.
For his master’s diploma, Matthew targeted on “Film Studies with an curiosity in the early cinema and its relationship to opera, mass tradition, Gesamtkunstwerk, the history of faith, and psycho-sociological theories. Matthew discovered these topics as an undergraduate matters that he wished to research additional and in more advanced ways” as a graduate scholar. No, your probabilities for admission cannot be assessed without reviewing your entire application file. Your assertion of objective, curriculum/vitae, and letters of recommendation play a big function within the software evaluation course of. Founded in 1979, USAHS has areas in San Marcos, California; St. Augustine, Florida; Austin, Texas; Dallas, Texas; and Miami, Florida. USAHS is regionally accredited by the Western Association of Schools and Colleges Senior College and University Commission .
MFA applicants can apply in a single genre in our major genres , though candidates in fiction or poetry are welcome to use in an extra genre. If making use of in fiction, the writing sample ought to be about 20 pages. If candidates in poetry or fiction listing a second genre, they are encouraged to submit a writing sample in that style, however it isn’t required.
In the following few paragraphs, you’ll need to outline your plan for completing the diploma and explain how specific programs will allow you to obtain your profession objectives. If you mention professors by name, tell briefly how their interests align with your own. Email these people previous to applying so it’s not simply name-dropping. If you’ll want to complete a thesis, also point out subjects you might pursue and your capacity to secure funding, partnerships and other resources wanted to finish it. We encourage candidates to visit the English Department to be taught extra about our graduate program, see the campus and our facilities, and meet with faculty and graduate college students to debate pursuits and targets. If there are particular professors you wish to work with in graduate faculty, mention them in your statement of function.
If you need any additional particulars in regards to the contents of the Personal Statement, please contact the department to which you are making use of. The committee will know if you’re a world student, and the committee members is not going to anticipate to read an essay written by Shakespeare. Be cautious along with your writing and keep away from naive errors, however don’t spend too much power attempting to enhance your vocabulary beyond what you may be comfy working with. Avoid too many adjectives and adverbs; use short, direct sentences in an lively voice. If potential, you might want to ask some associates to review your SOP. Finally, remember that you know your story better than anyone else and that the SOP ought to bring your own perspective about yourself. |
Brandt's - from Thriving Industry to Cultural Centre
Brandt's Woolen Mill formerly a well renowned company in the centre of Odense.
The Brandt family took over a small dying company in 1796. The dying company was lead by Christian Brandt followed by his son and finally his grandson. It was the grandson Søren Christian Brandt who founded the woolen mill in 1869 which was a successful business until it closed down in 1977.
This city walk in the very heart of Odense will give you the history of the Brandt's company from 1796 until present days where the former woolen mill has been transformed into artmuseums, cafes, cinema and tempting specialist shops. It is a lively part in the heart of the modern Odense with exhibitions, open air music and a friendly atmosphere.
With a your tour guide you can still experience the intense and busy working atmosphere from the 1800s and 1900s and learn about the industrialisation in Denmark which involved child labor. Today you see lots of traces from the former woolen mill. Your guide will point them out to you. |
The often-underused Valeria Bruni Tedeschi finally gets a proper vehicle for her talents in Paolo Virzi’s breezy comedy Like Crazy, their latest collaboration after the considerably heavier Human Capital. Beatrice (Tedeschi) is a would-be socialite flibbertigibbet who’s a patient at a low-security psychiatric clinic in scenic Tuscany. After she takes a platonic shine to skinny, tattooed, and quite withdrawn newcomer Donatella (Micaela Ramazzotti in what would have been the Hilary Swank role in a mid-2000s American film), they escape the clinic. Heading into the city to experience freedom, they confront both their painful pasts and their only-slightly-less-painful present.
Like Crazy is an episodic road movie of the sort in which there aren’t necessarily high physical stakes. The characters continually move on from situations that would have ended their adventures, because the mechanics of the plot are far less important than the characters’ emotional states (and their developing relationship). Along the way, Like Crazy depicts a charming Tuscany in which Valium is available over the counter without a prescription — BRB, applying for Italian citizenship — and mental institutions are such low-key affairs that not only do the patients get to use their cell phones, but the head of the clinic Dr. Zappa (Valentina Carnelutti) has crayon-colored hair, too. There are worse places to be not entirely sane.
Opens Friday at the Opera Plaza Cinema. |
Rushing Like a Banshee | The Residents
Artist: John Sanborn
Synopsis: “Rushing Like a Banshee” is the newest collaboration between director John Sanborn and the seminal (and anonymous) musical group, The Residents. The work foresees the collision between the human spirit and the ruin of the modern world. With humorous results.
John Sanborn is an award-winning media artist whose work has been shown at every major museum in the world, and broadcast worldwide. He has shown at the Whitney Museum (solo installation and 2 biennales), MOMA (where he has work in the permanent collection) the Kitchen in New York; the ICA and Tate Modern in London; and the Centre Pompidou in Paris. He was an artist-in-residence at the celebrated TV Lab at WNET/13 and received grants from the NEA, NYSCA, and the Rockefeller Foundation. Vogue magazine called him “the acknowledged genius in the field.” John Sanborn has an honorary Master of Cinema Arts degree from ESEC in Paris, and was honored by the Minister of Culture of France as a Chevalier of Arts and Letters in 2015. Sanborn lives and works in California.
Screened At: VAEFF 2017 as part of the “Beauty, Sex & Shame” program |
Welcome to Yorkspace
YorkSpace is York University's Institutional Repository. It is a platform that enables York community members to organize and preserve their research online in an institutional context. It showcases the scholarship of the York University community through the use of a special standards-based software platform that collects usage statistics and provides exceptional visibility on the web.
To learn more about YorkSpace, visit the YorkSpace Resource Site
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Select a community to browse its collections.
(Robarts Centre for Canadian Studies, 2022-04)
(Robarts Centre for Canadian Studies, 2021-05)
(Robarts Centre for Canadian Studies, 2019-12)
(Robarts Centre for Canadian Studies, 2018-05)
Turning Japanese: Japanization Anxiety, Japan-Bashing, and Reactionary White American Heteropatriarchy in Reagan-Bush Era Hollywood Cinema (2022-10-04)Envisioned as a contribution to American Studies or, as it is now so often termed, American Cultural Studies, this dissertation examines how popular Hollywood films of the Reagan-Bush era registered prominent US anxieties ... |
May 16 Section Meeting at Linwood Dunn Theater Will Showcase Yedlin’s Work
LOS ANGELES — The Hollywood Section of SMPTE®, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, today announced that Steve Yedlin, ASC will present his work on cinema image quality this month’s Section meeting, May 16 at the Linwood Dunn Theater. The two-part demonstration, titled “On Acquisition and Pipeline for High-Resolution Exhibition,” premiered at Camerimage in 2016 and now is widely available online. The SMPTE Hollywood Section event will give attendees the opportunity to view Yedlin’s demonstration in a high-quality theatrical exhibition venue.
“Steve’s demonstration has stirred excitement among imaging professionals for its no-nonsense, evidence-based approach to understanding resolution and the perception of image clarity,” said SMPTE Member Joachim Zell, vice president of technology at EFILM, who is producing the meeting. “It challenges some of our culturally conditioned dominant narratives about photographic integrity.”
The concepts underlying the demonstration are not camera-specific; the presentation will include footage acquired with Alexa 65, Alexa XT, Super 35mm film, Sony F55, IMAX 65mm 15-perf film, and Red Weapon cameras.
What: SMPTE Hollywood Section, May Meeting
Topic: “On Acquisition and Pipeline for High-Resolution Exhibition” with Steve Yedlin, ASC
When: Wednesday, May 16, 2018 — Reception at 6:30 p.m. and Meeting at 7:30 p.m.
Where: Academy of Motion Picture Arts and Sciences (AMPAS), Linwood Dunn Theater, 1313 Vine St., Los Angeles, CA 90028. Free parking is available behind the building.
Price: Free for SMPTE members and nonmembers
About Steve Yedlin, ASC Director of Photography
Yedlin’s passions and curiosity focus on the art and science of motion imaging and photographic lighting. His obsession is not exclusionary; he examines the broadest emotional scope of visual storytelling and the narrowest mathematical granularity of image science.
The cinematographer is a longtime friend and collaborator of writer/director Rian Johnson. The two filmmakers’ work together began when both were teenagers making homemade short films with unlikely titles such as “Thesaurus Thief” and “Hey Lady, You Dropped Your Wallet” and has evolved to include the highly regarded, if no less singular, feature films “Looper,” “The Brothers Bloom,” “Brick,” and Episode 8 of the Star Wars saga: “The Last Jedi.”
When he’s not working with Johnson, Yedlin enjoys exploring the flexibility of his craft with a variety of directors and projects. His range of work includes intense indie dramas, Hollywood visual effects spectacles, comedies (both broad and dark), horror films, and the occasional documentary. Through an ongoing personal project in which he is studying the nuances of color science, Yedlin has developed methods for the mathematical modeling of physical photochemical processes to emulate traditional film response better when using digital image acquisition.
About the SMPTE® Hollywood Section
The Hollywood Section of SMPTE® was originally organized as the West Coast Section in 1928. Today, as its own SMPTE Region, it encompasses more than 1,200 SMPTE Members with a common interest in motion-imaging technology in the Greater Los Angeles area. The Hollywood Section offers free meetings monthly that are open to SMPTE Members and non-members alike. Information about meetings is posted on the Section website at www.smpte.org/hollywood.
For more than a century, the people of SMPTE (pronounced “simp-tee”) have sorted out the details of many significant advances in media and entertainment technology, from the introduction of “talkies” and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar® and multiple Emmy® Awards for its work in advancing moving-imagery engineering across the industry. SMPTE has developed thousands of standards, recommended practices, and engineering guidelines, more than 800 of which are currently in force today. SMPTE Time Code™ and the ubiquitous SMPTE Color Bars™ are just two examples of SMPTE’s notable work. As it enters its second century, SMPTE is shaping the next generation of standards and providing education for the industry to ensure interoperability as the industry evolves further into IT- and IP-based workflows.
SMPTE’s global membership today includes more than 7,000 members: motion-imaging executives, creatives, technologists, researchers, and students who volunteer their time and expertise to SMPTE’s standards development and educational initiatives. A partnership with the Hollywood Professional Association (HPA) connects SMPTE and its membership with the businesses and individuals who support the creation and finishing of media content. Information on joining SMPTE is available at www.smpte.org/join.
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Golden Age of Hollywood During the so-called Golden Age of Hollywood, or the classic Hollywood narrative, are the terms used in the history of cinema, which designates both a visual style and sound for films and a production mode used in the American film industry between 1910 and 1960 approximately. Classic style, is fundamentally based on the principle of continuity or the release of “invisible” style. That is, the camera and sound recording should not call attention to themselves. At that time the films in the Hollywood studios were shot in a manner similar to that used to assemble cars on the assembly lines of Henry Ford.No two films are exactly alike, but most were a genre: Western, comedy, black cinema, music, animation, biography, etc, and the same creative teams often worked in the films produced by the same studio – for example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at Twentieth Century Fox for twenty years, almost all films of Cecil B. De Mille was produced by Paramount, the films of director Henry King were mostly shot to Twentieth-Century Fox, etc.. You could get to guess what each movie studio had produced only by the actors who appeared in it, each studio had its own style and characteristic touches which made it possible to find out – a quality that does not exist today. Yet each movie was slightly different, and in contrast to car manufacturers, most people involved in the shooting were artists.For example, To Have and Have Not (1944) is famous not only for its pair of actors Humphrey Bogart (1899-1957) and Lauren Bacall (1924 -) but also for having been written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899-1961), author of the novel on which the film was based, and William Faulkner (1897-1962), who worked on the big screen adaptation. But making movies was still a business and made money producing operating under the so-called studio system. The main studies were thousands of people on the payroll, actors, producers, directors, writers, specialists, mechanics and technicians. They also owned hundreds of theaters in cities and towns all over the country, theaters and projected his films always need fresh material. Many historians emphasize the many good films that emerged in this period of tight control for filming.Other titles coming out of the Golden Age that are considered classics today we are: Casablanca, What a Wonderful Life, the original version of King Kong, and Snow White and the Seven Dwarfs.
Transition to democracy Main article: Transition to democracy Patricio Aylwin received command of the hands of Augusto Pinochet, 11 March 1990 in the new Congress located in the city of Valparaiso, beginning the process of transition to democracy. Early in his administration, Patricio Aylwin had to work on a system that kept many vestiges of entrenched military regime. Although the coalition won the majority of the votes in parliamentary elections, due to the binomial system and the existence of appointed senators, could not be expected to make amendments to the Constitution and the local administration of the communes still in the hands of appointed ombudsmen by the military government, which would be replaced after the elections of June 1992. Patricio Aylwin. Aylwin ruled cautiously, taking care of relations with the army, where even Pinochet remained as commander in chief.The army, although he had ceased to participate in the government, remained a major political player and expressed their opposition to certain government measures concertacionista through tactical moves as the “Year of Link” and “Boinazo” in 1991 and 1992 , respectively. In this context, formed the National Commission for Truth and Reconciliation Commission to investigate and clarify the situations of human rights violations during the years of military regime. Directed by Raul Rettig, the Commission faced the rejection of the military authorities. However, the commission report was released via television by President Aylwin, on March 4, 1991, after nine months of work. In his speech, Aylwin announced the results of the study, apologized to the families of the victims on behalf of the Nation, announced measures for moral and material compensation for these and the desire of the State to prevent and to prevent further violations of rights human.During his tenure, Aylwin proposed creating modifications to the tax rules to increase fiscal spending and improving income distribution, at a time when Chile’s economy continued to thrive due to increased exports of copper and agricultural products. Also during his tenure, poverty declined from a 38.75 to about 27.5 and enacted the Indigenous Law (Law No. 19,253 of October 5, 1993), which first recognized indigenous peoples and creating the National Corporation for Indigenous Development (CONADI), which is responsible for promoting policies that foster the integral development of indigenous peoples.Similarly, the Office of National Planning and Cooperation (ODEPLAN) is transformed into the Ministry of Planning and Cooperation (MIDEPLAN) and creates the Fund for Solidarity and Social Investment (FOSIS) to promote social policies and the enactment of Law on General of the Environment (Law No. 19 300 of January 9, 1994), which sought to structure a framework for environmental management, establishing the National Commission for the Environment (CONAMA), to promote sustainable development and coordinate the actions arising of environmental policies and strategies of the government. Eduardo Frei Ruiz-Tagle. In 1993, new presidential elections were held and renewed the House of Representatives and half the Senate. Eduardo Frei Ruiz-Tagle, son and namesake of the representative Democrat, won 58.01 of the votes, the largest vote in free elections republican history.The second, Arturo Alessandri, the candidate of the Union for Progress (RN and UDI), won only 24.3 of the vote. Frei, who took office March 11, 1994, recommended the country’s relations with the outside after a certain isolation that was during the military regime. The economy expanded further and the growth averaged 8 annually during the first three years of government, allowing the initiation of negotiations with Canada, Mexico and the United States for integration into NAFTA and the associate membership of Mercosur. Chile also entered the Rio Group and over the past decade failed to solve the border disputes with Argentina (Laguna del Desierto y Campos de Hielo Sur). In addition, the first steps to initiate a free trade agreement and association with the European Union and in 1994, Chile became a member of APEC, opening its economy to the Asia-Pacific basin, especially Japan and China.Poverty, meanwhile, continued its downward pace, and in 1998 came to 21.7 of the population. Meanwhile, various public works were built throughout the territory and started the bidding system that allowed the construction of the first-class highways in the country. Modern buildings in Santiago. However, midway through his term, the Asian financial crisis begins to affect a large extent to the strong Chilean economy.
According to the most accepted theory, the Guanches were a Berber people who traveled to the islands with their herds and crops, barley being the most important. Gofio, flour obtained from the roasted barley was their main food. This product has been maintained in the Canarian cuisine as a key element of it, preparing in many ways, and made from different types of grains, like wheat or millet (maize). Traditionally, gofio is carried in a bag and mixed with water until a dough kneading known as gofio kneading. Aborigines were canaries in meat products therefore important part of their diet, primarily from the herds of goats and sheep and pigs. Also consume milk and butter. Their diet was supplemented with harvested products, such as dates and certain types of figs, and shellfish collected along the coasts of the islands.It is known that the Romans came to the coasts of Canary maintain sporadic contact with the indigenous population, allowing the arrival of products from other areas such as figs and olives. After the Castilian conquest of the fifteenth century, the islands became a compulsory stop for travel to America, provoking a massive influx of traders from both sides of the Atlantic that brought their culinary customs. These include contributions from the cuisines of the Iberian Peninsula and the importance of the islands claimed recipes made from products brought from America, such as potato or corn (called Canary million, influenced by the Portuguese) . The history of the Canaries in modern and contemporary era has been marked by the succession of different crops for export, which has been basing the economy of the islands. All these productions have left their mark on the culinary island.Is the case of cultivation of sugar cane (which is made with rum or recipes as bienmesabe and rapaduras) cultivation of the vine or banana.
The State’s contribution to the economic support of the Catholic Church has different explanations according to the history and culture of each country and each case has a different scope. In Germany, church-state relationship is greater by the predominance of the Christian Democratic Union for many years. For Catholics who declare them as such tax levied in the form of donations (the Evangelical Church as well.) To avoid this, many Germans have expressly left the Church, because those who profess no religion does not contribute.In Argentina, the bishops ordained before 1994 have received a salary and then retirement, assigned and paid directly by the Argentine government, equivalent to a trial judge (about 1300 euros per month). Citation needed In Chile, besides alms and collections in every local or national church, the faithful and anyone in general are able to voluntarily donate to the Catholic Church 1 of your monthly income by joining the parish concerned. In Spain, the State contributions to the Catholic Church, established by law, are intended for purposes such as preservation of historical and artistic heritage, a concerted education and social projects promoted by the Catholic Church, and their costs purely religious. In addition to direct donations of the faithful, the contribution to the Catholic Church is done through a voluntary placement on the tax return of 0.7 .This represents a turnover of 170 million euros annually. This allocation is not strictly an additional tax because the believer is not supposed to pay more taxes but only the right to decide whether the money should go to church or social purposes. Finally, the financing of the Church is completed by a direct state contribution reports that approximately 25 of their income. In Mexico, the Catholic Church is totally separate from the state and receives no input whatsoever on the part of it. Previously, the church received substantial income during the colonial era, due to their large estates and the money they gave the faithful tithe was paid compulsorily, in addition to making loans and charging interest. This continued after independence until the late nineteenth century President Benito Juarez declared the Reform Laws.With this, the government paid off the church property and legally separated the Catholic Church of the State, introduced a civil registry and liturgies and sacraments of the church came to have no legal value. Today the church holds only with the voluntary alms of the faithful. Buildings and places like temples, churches, cathedrals, monasteries, convents and basilicas, notably the expropriated by Benito Ju rez and Calles are the patrimony of the nation and are charged on a loan to religious associations. Most of these buildings date from the colonial era and are of great historical and artistic value. Because they are owned by the state, the church does not have permission to make changes to these buildings, and any change is subject to consideration by the National Institute of Anthropology and History. For its part, the bishops have no retirement by the State and the priests, although they are recognized as Mexican citizens, they have no say in the decisions of the state.
History of nutrition since the emergence of man on earth, the type of food that he has had to eat for sustenance, has varied over time, because he was forced to adapt to those closest to him had was easier to get with the few tools we had. As an example, please cite the studies on the remains of the oldest human found to date (we refer to the man of Atapuerca, Burgos). It has come to the conclusion that it was a scavenger and practiced cannibalism, and will play their “treats” with other animals with the same nutritional characteristics. In his walk in search of food, he would find new guys who are forced to adapt. The availability of large game was declining and had to feed on small game, shellfish (in some areas) and especially edible plants. This adaptive phase began about 100,000 years ago.The report cites, the last to suffer these restrictions, about 30,000 years ago, were the inhabitants of some very specific areas (two areas of the Middle East). However, in the Iberian peninsula less than 20,000 years ago (Freeman, 1981) meat still accounted for over 50 of the diet. 12,000 years ago (Cavalli-Sforza, 1981 Trowell, 1981) starts the first agricultural revolution. This meant a steady source of protein. We must take into account the great variability in the figures in the crops, which leads to irregular eating and famines. The end result of the collections it was very affected by the weather, against which was very difficult to fight. The storage of surplus in good years of production, it was not the most effective. Which caused an irregular supply. Slowly the type of support was varied until today, where the knowledge of the subject is greater. But the issue is not closed yet.Continue studies for better understanding and to provide appropriate solutions. Humans have evolved as omnivorous hunter – gatherers over the past 250,000 years. The early modern human diet varied significantly depending on location and climate. The diet in the tropics tend to be based mainly on plant foods, while the diet at higher latitudes tended more towards animal products. The analysis of cranial and post cranial remains of humans and animals in the Neolithic, with detailed studies have shown that modified bone cannibalism was also present among prehistoric humans . Agriculture developed about 10,000 years ago in multiple locations throughout the world, providing grains such as wheat, corn rice and staple foods such as bread and pasta. Farming also provided milk and milk products, and increased markedly the availability of meat and plant diversity.The importance of the purity of food was recognized when bulk storage led to demonstrations and pollution risks. Cooking is often developed as a ritualistic activity, due to the concern for efficiency and reliability, requiring adherence to strict recipes and procedures, and in response to the demand for purity and consistency in the food . From ancient times until 1900 The first experiment is a registered nutritional found in the Bible in the book of Daniel. Daniel and his friends were captured by the king of Babylon during the invasion of Israel. Selected as court servants, they would participate in the fine food and wine of the king. However, they objected preferring vegetables (pulses) and water in accordance with Jewish dietary restrictions. The administrator of the king reluctantly agreed to a study. Daniel and his friends received their diet for 10 days and were then compared with the King’s Men. Looking healthier were allowed to continue with your diet. 475 BCBC: Anaxagoras states that food is absorbed by the human body and therefore contains “homeomerics” (generative components), thereby deducing the existence of nutrients. 400 a. BC: Hippocrates said, “Let food be your medicine and medicine be your food.” 1500: the scientist and artist Leonardo da Vinci compared metabolism to a burning candle. 1747: Dr. James Lind, a British naval doctor conducted the first scientific nutrition experiment, discovering that lime juice saved from scurvy (a deadly and painful bleeding disorder) to the sailors who were at sea for years. The discovery was ignored for 40 years, after which British sailors became known as “lime trees.”
Cast The actresses Zoe Saldana (above) and Michelle Rodriguez (below), who play the Na’vi Neytiri and human pilot Trudy Chacon, respectively. Sam Worthington plays the film’s protagonist, Jake Sully, a paraplegic Marine becomes part of the Avatar project occupying the position as a scientist, exerted his recently deceased twin brother. After watching numerous candidates for the role in the United States, Margery Simkin, casting director of the film, James Cameron suggested that expanded the search to other English speaking countries like the United Kingdom, Ireland and Australia, was then Simkin when contacted with Christine King, a casting director in Australia with whom he had worked in the past, and asked him to select several candidates for the role.Among them was Sam Worthington, who despite being skeptical at first because of the secrecy surrounding the project and few details about the character of Jake, made a couple of tests before the cameras and eventually was chosen by some actors that the study had advocated for the role. Actor Stephen Lang, Colonel Quaritch interpreter in the International Convention San Diego Comics 2009. Zoe Saldana plays Neytiri, a native inhabitant of Pandora is forced to educate as Jake Sully Na’vi and who eventually ends up in love. Like all Na’vi was created using the method of motion capture and computer generated. Sigourney Weaver plays Dr. Grace Augustine, a botanist who in turn is a mentor to Jake Sully in the project Avatar. At first it was called Shipley, referring to Ellen Ripley, Weaver played the character in a film of James Cameron: Aliens (1986).The actress, who dyed red hair for the role, stated that Dr. Grace Augustine reminded James Cameron himself, being “very stubborn and idealistic.” Stephen Lang plays the Colonel Quaritch, military commander project and responsible for security of the base.Lang had auditioned for the role of Cameron in Aliens who did not get it, but reminded the actor and director chose him to Avatar. Michelle Rodriguez appears as Trudy Chacon, a helicopter pilot who has two years part of the military corps based in Pandora and ends up becoming a renegade Na’vi to help in the fight to preserve their lands. Cameron wanted to work with the actress after she saw it in the movie Girlfight ( 2000). Also included in the main cast actors Giovanni Ribisi, who plays Selfridge, a character from the passive-aggressive type who is in charge of the mission and make decisions under pressure from the military, Joel Moore in Norm role Spellman, an anthropologist who studies project Avatar plants, nature and life of Pandora, Matt Gerald as Corporal Lyle Wainfleet, and Laz Alonso as Tsu’tey, successor to the chief of the tribe.
1. What standards should be taken into account to make the construction of cameras We should note that only licensed and certified personnel must have access to the construction and maintenance of vaults and chambers to ensure complete safety. Proper handling and training by using appropriate tools and protective clothing to prevent accidents. It is important for the construction of chambers having an excellent infrastructure and good materials as a set of poles, cables, ducts, transformers, substations and equipment comprising the power distribution system to attack, must be certified by the corresponding entities self-control standard and quality. |
United Kingdom Information - Page 2
At the end of the last Ice Age Britain was still part of the Continent of Europe but as the sea level rose (around 5000 BC) it became separated by the English Channel and the North Sea. The first inhabitants, hunters and gatherers, crossed before the seas rose. They were followed by farming people who built camps such as Windmill Hill in Wiltshire as tribal centres and then by metalworking peoples.
The Romans invaded Britain in 43 AD and conquered all of England and Wales, but did not subdue Scotland. In 122 AD the Emperor Hadrian built the wall that carries his name to separate settled England from the wild Scots and Picts.
By the fifth century Rome could no longer provide an army to garrison Britain and the country was left to defend itself.
Invading Angles and Jutes from Denmark and Saxons from
Germany took over most of the south and east of the country - despite the efforts of British warrior chiefs.
In time the Anglo-Saxons converted to Christianity and became the dominant force in England. Wales and Scotland remained separate. King Offa built Offa's Dyke in 779 to stop Welsh raids into England. In 843 Kenneth MacAlpine united the Scots (immigrants from Ireland) and the Picts and was crowned the first King of Scotland.
The next invaders, the Danes, were successfully resisted for a time by King Alfred and confined to the North and East of England (the region was called the Danelaw). But wars and raids continued until in 1016 the Danish King Canute, was accepted as King of England (he was also King of Norway). Later in the eleventh century, control of England passed to the Normans - descendants of Vikings who had settled in France.
The links between England and France were strong. Henry II, the first of the Plantagenets, married Eleanor of Acquitaine and also ruled much of France. Their son, Richard I (Coeur de Lion), joined the third Crusade. Richard's brother John ruled in his absence eventually becoming King. In his reign most of the French possessions were lost. His quarrels with the powerful barons led to their compelling him to sign the Great Charter (Magna Carta) in 1215 - the first attempt at limiting the power of the monarchy.
Henry II had invaded Ireland in the twelfth century; between 1277-88 the English conquered Wales (in 1284 the Statute of Rhuddlan declared a union between the two countries). In Scotland William Wallace fought against Edward I but was eventually defeated. Robert the Bruce was crowned King of Scotland in 1306 but it was not until 1328 that England recognized Scotland's independence.
In 1337 the Hundred Years war began between England and France.
In 1348 the bubonic plague, known as the Black Death reached Britain as well as the rest of Europe reducing the population dramatically. The economic disruption it caused was one factor in the unrest which followed. 1381 saw the Peasant's Revolt.
From 1455 the great families of York and Lancaster fought for the throne - the Wars of the Roses. This period ended with the accession of Henry.
Henry VII (1485-1558), the first of the Tudor rulers, reestablished England's economic stability. His son, Henry VIII is remembered for his six wives, but his most significant act was to break with the Pope and Rome and make himself head of the Church of England.
Henry's daughter, Mary, tried in her reign to reintroduce Catholicism. She was succeeded in 1538 by her sister Elizabeth who was to reign for forty-five years.
During the Elizabethan Age Sir Francis Drake circumnavigated the world; an invading Spanish Armada was defeated and England's power and prestige increased enormously. The first major flowering of English Literature, with the poems and plays of Marlowe, Shakespeare and others took place in Elizabeth's reign.
During Elizabeth's reign a number of expeditions were sent to put down rebellion in Ireland. In Scotland religious disputes between the Catholic Queen Mary and her Protestant people led to Mary's exile to England, where she was eventually executed in 1603 and Mary Stuart's son, reigning as James VI of Scotland became James I of England. In 1605 there was a plot to blow up the King and his government: the Gunpowder Plot as it was called was discovered and the participants, including Guy Fawkes, were executed for treason.
Religious unrest continued, with the more extreme Protestants, also known as Puritans, subject to mistrust and persecution. In 1620 a group of them, along with others hoping for a new life, sailed on the Mayflower to America. Called the Pilgrim Fathers they established the first successful British colony in North America.
Following an Irish rebellion based in Ulster, James I divided up the land and gave it to over 1,500 Scottish and English Protestant settler families.
Disputes between the King and Parliament began with James I and grew worse during the reign of his son Charles I, until Civil War broke out (1642-1649) between the Royalists (the King's army) and the Roundheads led by Oliver Cromwell. Cromwell's army were the victors and Charles I was beheaded. Charles' son tried to continue the fight but Cromwell defeated him in Scotland and put down an Irish rebellion with great cruelty.
After Cromwell's death the monarchy was restored and Charles II was crowned king. During his reign The Great Plague of London broke out in 1665; this was followed in 1666 by the Great Fire of London.
James II, Charles' successor, was an unpopular king as he had converted to Catholicism and appeared to favour the Catholics. In 1689 William of Orange was invited to become king and defeated James' army at the Battle of the Boyne in Ireland. In 1707 the Act of Union - Scotland and England (and Wales) - formed Great Britain.
George I of Hanover in Germany became King of Britain in 1714 on the death of Queen Anne. Supporters of the Stuarts raised a rebellion in 1715 and again in 1745 but both failed. In the second Prince Charles Edward (Bonnie Prince Charlie) was defeated at the Battle of Culloden.
Meanwhile conflict between France and England spread to India and Canada where the British under Clive and Wolfe were victorious. Wolfe's victory removed the threat of France to Britain's American colonies and was one of the factors that led to the American War of Independence.
Between 1793 and 1815, ending with the Battle of Waterloo, Britain was more or less continuously at war with France which was under the leadership of Napoleon Bonaparte.
In the eighteenth century a succession of inventions (the steam engine, cast iron smelting, developments in the textile industry) laid the foundations of the Industrial Revolution. By the middle of the nineteenth century more than one-third of the world's total industrial output was produced by Britain.
The expansion of the canal system and then the introduction of the railways made the bulk transport of goods and materials fast and reliable, thus accelerating development.
The new mills and factories needed workers to man their machines; the industrial towns of the North grew rapidly.
In 1837 Victoria was crowned Queen, reigning until 1901. During her reign the wealth and power of Britain and her overseas Empire reached their greatest extent. Nevertheless, Britain was not invincible, as her difficulties in the Crimean War and war in South Africa against the Boers (descendants of Dutch settlers) showed.
In 1914 the assassination in Sarajevo of the heir to the Austro-Hungarian throne led to the First World War in which the UK lost around 750,000 men. Victory came in 1918 and the war proved a great accelerator to social change. In 1918 women over thirty were given the vote; in 1928 this was extended to those over 21. Ireland won her independence, though Protestant Ulster remained part of the UK.
The Great Depression of the 1930s and the harsh terms imposed on Germany at the end of the war were among the reasons for the Second World War, which began in 1939.
Shortly before the war, in 1936 Edward VIII who had been king for less than a year, abdicated so that he could marry Wallis Simpson, an American divorcee.
The Second World War ended in 1945. Again it was followed by substantial changes, for example, the Labour Government of 1945. In 1947 India was granted independence and in time the Empire changed to the Commonwealth - a grouping of independent nations rather than colonies.
In 1953 Queen Elizabeth II was crowned. During the 1950s and 60s the retreat from Empire continued, summarized in Prime Minister Macmillan's famous "Winds of Change" speech in South Africa. The sixties were marked by creativity in the theatre, music and the arts and by great social change. The industrial unrest which followed in the 70s paved the way for Mrs Thatcher's years in power and a marked shift to the right in public policy. Eventually a New Labour government was elected led by Tony Blair.
Britain's wealth was founded not only on its own natural resources such as coal and iron which made the Industrial Revolution possible but more recently on commerce and trade around the world. Merchant venturers and then the trading companies such as Hudson's Bay and the East India Company laid down the routes and trading posts that eventually grew into the British Empire.
Manufacturing industries were world leaders: for example the shipbuilding industry which built such ships as the Cutty Sark, the Great Eastern and the Queen Elizabeth.
The banking system (Bank of England 1694, the Bank of Scotland 1696), the Stock Exchange (officially founded in 1801 with beginnings in 1698) and new company structures were important developments in commerce that helped make possible the rise of the British economy to the point at which, in Victorian times, it was called the Workshop of the World.
During the twentieth century, particularly in the postwar years, the British economy changed dramatically.
Nowadays less than a fifth of the labour force is employed in industry: oil, natural gas, coal, metals, electric power equipment, automation equipment, railroad equipment, shipbuilding, aircraft, motor vehicles, machine tools, electronics, communications equipment, chemicals, paper, textiles and food processing. The highly mechanized agriculture industry only provides a very small percentage of employment.
The service industries such as finance, media, leisure, transport and healthcare employ the highest percentage of the work force.
Tourism has become an important contributor to the national economy. Overseas visitors are particularly attracted to London and by the heritage and legends of historic Britain. Canterbury, a cathedral town, is a good example of what Britain has to offer the tourist and the beaches and countryside of Cornwall are well worth a visit.
Fashion and pop music are also important export earners for the UK.
Since 1973 the main influence on the UK economy has been membership of the European Union.
The UK government greatly reduced public ownership from the 1990s but on 13 October 2008 the Prime Minister, Gordon Brown, promised to inject £37 billion into major banks in order to recapitalize the banking system hit by the global financial crisis. In January 2009, in an attempt to alleviate consequences of the recession, the Bank of England cut interest rates to the lowest level in its history.
The UK's main strengths in the arts has been in literature, the theatre and music.
Painting styles have run from the Lindisfarne Gospels, with their Celtic decorations to the classic painters such as Constable, Gainsborough and Reynolds and then Blake and Turner and through the Victorians such as Millais, Burne-Jones, and Morris to the moderns such as David Hockney and Bridget Riley. In sculpture, Henry Moore is undoubtedly the UK's most significant artist.
English has become the world's most successful international language, a fact that has given writers in the language a world audience: Jane Austen, Charles Dickens, and the Bronte sisters are probably the best known classical novelists. In Scotland, Sir Walter Scott, Robert Burns and Robert Louis Stevenson and in Wales Dylan Thomas are the major names.
In the theatre it is, of course, Shakespeare who outshines all his contemporaries such as Christopher Marlowe to the more recent playwrights such as Osborne and Pinter.
Shakespeare is as respected for his poetry as for his plays. Other leading poets include Spenser, from Shakespeare's time, Alexander Pope, and Dryden and then Byron, Shelley, Coleridge and Wordsworth. Kipling is the best known Victorian poet. In this century, the "war poets" Owen and Sassoon were followed by the poets of the thirties such as Auden and Spender. Ted Hughes and Philip Larkin have been among the leading poets in recent years.
The UK's musical heritage, at the beginning of the 1960s, was best known for classical composers such as Elgar and for the light opera of Gilbert and Sullivan. Then came the explosion of British pop music, the Beatles and the Rolling Stones.
Finally, in cinema and television - art forms of the twentieth century, the UK has played a major role with Alfred Hitchcock the UK's most celebrated film director.
Sport has long been important in the UK. The public school system placed particular emphasis on sporting endeavour.
Golf was invented in Scotland, cricket and tennis in England. Fives and squash were started at public schools, as was Rugby Football (at Rugby School).
Many sports had their first official rules laid down in the UK. For example, the rules of modern boxing were drawn up by the Marquess of Queensbury.
The UK's most popular sport is football. England won the World Cup in 1966. The second major winter game is rugby (in two forms: league and union). England won the Rugby World Cup in Sydney in 2003.
Cricket is the major summer sport and, like football, has been adopted around the world. In particular it has been popular in the countries of the former British Empire, for example, Australia, India, South Africa and the West Indies.
Horse racing and show jumping are major spectator sports. Racing is a favourite pastime with the Queen and members of the royal family while Princess Anne, the Princess Royal, has represented the UK in show jumping at the Olympics.
Athletics, because of indoor facilities, is now an all-year-round sport. The UK staged the Olympics in 1908 and 1948; the London marathon is among the world's most important marathons. Some UK events in other sports are also of world importance: for example Wimbledon in tennis and Henley Regatta in rowing.
Motor sports which include rallying, speedway and Formula One are very popular spectator sports.
The United Kingdom celebrates the major Christian festivals (Christmas and Easter) and New Year. Ethnic minorities observe their religious obligations, festivals and New Year celebrations. On 5 November the traditional Guy Fawkes celebrations with bonfires and fireworks remember the Gunpowder Plot of 1605. The Edinburgh Festival, held every summer, is the UK's most important arts festival. The main cultural festival of Wales is the Eisteddfod.
The UK has an unusually large number of national daily newspapers. News from the UK can be found in Newslink.
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|HOLLYWOOD HINDI MOVIES 🎥||Join Here|
|Hollywood & Bollywood All Movies✔||Join Here|
|Hollywood Netflix Movies HD||Join Here|
|Hollywood & Bollywood Hindi Cinema||Join Here|
|Hollywood HD Moviez||Join Here|
|Hollywood Movies new HD English Videos||Join Here|
|Hindi English New HD Movies||Join Here|
|Best Hollywood and Bollywood Movies Files||Join Here|
|Hollywood English Netflix Movies||Join Here|
|Telegram Movies||Join Here|
|Movies ARRAY||Join Here|
|Marvel Web Series DC Movies||Join Here|
|Latest Movies||Join Here|
|Horror Movie Zone: Don’t Enter||Join Here|
|Cinema Company Official||Join Here|
|Movies on Gdrive||Join Here|
|Hollywood Movies English||Join Here|
|YIFY Movies||Join Here|
|Science Fiction Hollywood Movies||Join Here|
|Latest Hollywood English Movies||Join Here|
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|English Movies & TV Series||Join Here|
So, go ahead and check these awesome channels to get the best movie experience at your home.
What Do you Get?
Well, listening to advantages does make our ears tickle, doesn’t it? These English movie Telegram Channels make your job as a movie lover easy.
Free Movies For Lifetime! – Does This statement sound good? Well, not only that but these English Movie Channels have a lot more to offer in the bag!
So, let’s see what are the major advantages you get once you join these Telegram English Movie Channels –
- The first and the most abundant advantage that you are getting is the huge pile of movies across various genres that you will find helpful if you are a movie-maniac.
- Next comes the availability of various languages. Yes, the content in these channels is not only limited to English, but you also find movies in your local language as well. If you are a Hindi speaker, you’ll find movies in Hindi audio as well.
- If you own a channel, then you get to address a huge audience at one go. Once you upload the movie, you can reach up to 200,000 individuals.
- Downloading the movies is extremely easy and there is not even a minor issue with the matter. Hassle-free download and storage.
- Last but not least and certainly the biggest advantage is that all of this is FREE! FREE! FREE! Yes, all these movies, all this content is absolutely free for you to download.
How To Download Movies On Telegram?
Well, lots of guys out there come across this issue. Most of the time, they have suffered when downloading anything on Telegram, so here is your guide that will help you out in downloading movies on Telegram.
- Open Telegram and Go to the channel.
- Find the movie you want to download.
- Telegram movie download link is given beside the movie name in the channel. You’ll see a “white arrow” in a blue circle on the left side of the movie, like the one in the following image
- Tap on the arrow.
- Your download has started.
- You will see the progress made while downloading live on the circle itself.
- You can pause or resume your download anytime you wish.
In the End,
I would suggest that if you are truly the kind of movie-buff you say you are, then go ahead and check out these awesome Telegram English Movie Channels.
To make things all easier for you, the telegram channel joining link is also given along with the channels so that you can get what you want instantly.
For now, enjoy these channels and avail of these features that are provided to you free of cost!
See you later buddy..! |
THE COMMODORE CINEMA
Social Media Management.
Website Design & Build.
The Commodore Cinema is an Aberystwyth institution. There aren’t many people in the town who haven’t visited to watch their favourite film at this family run, independent cinema. The Commodore came to us to for a fresh new website and a plan for engaging with their customers via social media.
The old website wasn’t mobile friendly, lacked a clear brand identity and often links weren’t inaccurate for the online ticket booking system. This doesn’t help when more and more people are wondering what to do or watch on a Friday or Saturday night.
So what did we advise…a new mobile friendly website that clearly tells viewers what’s on, what’s coming soon and an easy way to book tickets online. To aid bookings, we also advised an engaging social media plan using Facebook and Twitter to promote what films are coming up and to promote the personality behind this Aberystwyth institution.
The first week of social media activity resulted in 100+ more Facebook likes, over 9,000 people reached in Aberystwyth, 185 comments and over 20 shares not to mention the extra bums on seats at the premier of the Beauty and the Beast.
Here’s what The Commodore Cinema had to say
“Red Squirrel Marketing have done a great job. We love the new website – it looks fresh, modern and works a treat! The process was a lot smoother than we anticipated also. A couple of weeks and it was ready to go. We’ve had some great feedback on the social media too; it takes the headache away for us as a team to focus on running the cinema.”
Are you interested to learn more?
Simply fill in our form below and we will call you to discuss your requirements. We can give you the factual information you need for your Digital Marketing strategy whether you are in Cardiff, Aberystwyth or anywhere in Wales.
If you are interested in working with us in the world of Digital Marketing, don't hesitate to contact us on |
Over at the Cinema Saturday blog this week, we are presenting a fan favorite movie of the 80's - Ferris Bueller's Day Off! This is in honor of the end of school approaching - we are so excited to do this movie for our Cinema Saturday this week!!!! If you haven't seen this movie - get ready for a rollercoaster ride into 80's nostalgia! We both have memories of watching Ferris when we were younger and it was so much fun to tell each other our favorite Ferris Bueller lines!!! LOL! We were just cracking up! And then we thought (lightbulb moment!) why not make that the challenge requirement!!! So this week YOU have a choice for the challenge requirement: you can either use a sentiment from one of the songs in the movie OR to use a line from the movie as your sentiment (or create your own sentiment from something you think Ferris would say)!!!
Okay so all I have to say is that I LOVE THIS MOVIE!! I can't believe its taken us so long to do it! I used to memorize parts of it - and must have seen this over and over again! I absolutely have WAY too many favorite parts of this movie to pick one favorite scene - but definitely the chase scene at the end, the part where they go to pick up Sloane, the Save Ferris sign, when Mr. Rooney says "I weep for the future" and then the very last scene when he gets on the bus (lol!!) - but I guess one of my all time favorite parts of the movie is when Ferris disappears and then reappears on the float during the parade and starts singing!!! I LOVEEEE that! And isn't Matthew Broderick SO cute? I had such a crush on him (but I am forever loyal to Johnny Depp!)
So for my card -
- my inspiration was Ferris on the float with a microphone singing
- and the sentiment: You're my Hero - comes from Cameron when he tells Ferris: "You're my Hero"
I wanted to create a bright card - inspired by the 80's sense of color and pattern and used this image of a girl holding a mic from the awesome and righteous stamp set: You're My Hero from Taylored Expressions and the papers are from different Key Ingredient's and Project Pantry Kits from TE. I love this image and it was perfect for this challenge because it is so simillar to Ferris holding a mic. I can't wait to give this to one of my girlfriends - who is truly my hero - seriously - she simplyyyyy amazes me!
So we hope you will play along with us this week!!! Its TOOO much fun going on not to! Just stop by the Cinema Saturday blog for more details!!!
Sending you all big rocking hugs! |
- Help video is included!!!
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History Timeline Slideshow Premiere Pro Template by Balalaika
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Nova Multipurpose PowerPoint template by pptmore
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Maria Minimal Portfolio PSD Template Our template is very good. You will get all kinds of benefits on our PSD. Especially you can use all the images in our PSD. And we have PSD file with image in our package. . There are two home versions here. Many have been made clean. You will like it when you see it. There are 4 home pages that are very good. 2 dark and 2 light versions. Which you will like to see. And our work is standard. I can give security. Our template is much better.Featured Template04+ Home PagesLight Version And Dark Version Minimal Design Clean Design Clean CodEasy To Customization Well Done Documentation HTML Version Available WordPress Version Available Photoshop Graphic Design
Boost your Business with Incredible Functionality and Efficient UIHave you always wanted to run your own business and have a website? Then the WordPress construction company theme is exactly what you’re looking for! A bunch of attractive templates all gathered in one place! The theme includes eleven unique skins for various construction topics. Each topic, whether it’s an architect template or an eco-house construction, is designed stylishly, which helps you create a multifunctional and solid construction basis for your business.Talking about the demo content, all the default icons and images, that come with the WordPress construction company theme, are available for any purpose. You are able to use them for branding and don’t worry about the loading speed of your website. The BuildWall theme with a bunch of ready-to-use content will allow you to run a fully-fledged website. As for the images, they come compressed so the site works fast on all devices.Unique Content Accompanied by the Multiple Customization PossibilitiesAdditionally, with the WordPress construction company theme comes the unique possibility to promote your construction services with the pack of SEO-optimized
Resume Template | Resume template with cover letter | Professional resume template for job seekers and collages. Designed by using Microsoft Word. Fully editable and convertible. Oddly suitable for job seekers. Few defined font families only used, Links has given on READ ME file.easily download the files print and use within minuets or send it your local print shop and have do all for you---- WHAT IS INCLUDED ----1. pdf that describe about fonts and technology2. archive document withResume Template Page 1Resume Template Page 2Cover LetterOptional Reference PageExtra icons**** All the documents created A4 size ********** PLEASE NOTE ******This product is a digital download. No physical products will be shipped. If you did not download required fonts it shows in different font types.This purchase is for PERSONAL USE ONLY
PathShala - Education PSD Template by bitspeck
PathShala – Education PSD TemplatePathShala- is a clean and modern education PSD template for education-related websites. This template is highly suitable for the online course, school, college, academy, university etc. It is nice, clean and user-friendly design. The PSD is designed on 1170px grid system and can be easily converted into HTML Templates. Total 10 PSD files have been included.PathShala comes with modern ui and unique design made By Photoshop CCThe Template is based on 1170 Bootstrap based design so this Template will be 100% fluid responsive on any deviceIn addition, you are getting 10 Creative PSD layered files. Everything is in Documentation file so that you can change anything easily..Template Features
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Merimag - Elementor Blog Magazine and News Wordpress Theme by WebteStudio
Hello and welcome to merimag official features theme page, bellow we will try to list all the features that comes out with our theme.Theme installationYou can install theme easily by uploading the provided zip file, after that you have to install and activate provided plugins, and you can also install demo that you want easily.Demo importThe exclusive demo installation tool is super fast and let you start quickly and easily with 18 demos provided in first release.The demo import tool let import the part of the demo that you like, you can import just content, or just settings and style or just home page or all together.Theme settingsMerimag comes with a powerful theme settings page, let customize everything easily.THEME SETTINGSSkinsWe can change completly the look of your site by changing just one option in the live customizer.This mean you may not touch to any option if you like a skin of 18 skins provided and we will add more skins inchaalah.StylingStyling theme is super easy and advanced with wordpress live customizer, you can style every section in you site, you
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Title Sequences designed by: Douy Swofford
Title Opticals by: Cinema Research Corporation
Title Motion Control Photography: Boyington Film Production
"Just the Facts" performed by Patti LaBelle
Written by Jimmy Jam and Terry Lewis
Produced by Jimmy Jam and Terry Lewis for Flyte Tyme Productions, Inc.
"City of Crime" performed by Dan Aykroyd and Tom Hanks
Featuring Glenn Hughes and Pat Thrall
Written by Peter Aykroyd, Dan Aykroyd, and Pat Thrall
Produced by J. B. Moore and Robert Ford
Associate Producers: Peter Aykroyd and Pat Thrall
"Dragnet" (Danger Ahead / Dragnet March) performed and produced by Art of Noise
Danger Ahead written by Walter Schumann and Miklos Rozsa
Dragnet March written by Walter Schumann
SUPPORT ART OF THE TITLE
HELP ART OF THE TITLE KEEP GOING. BECOME A PATRON THROUGH PATREON. |
TOKYO (AP) — Designer Hanae Mori, known for her elegant signature butterfly motifs, numerous cinema fashions and the wedding gown of Japan’s empress, has died, her office said Thursday. She was 96.
Mori symbolized the rise of Japan as a modern, fashionable nation and the rise of the working woman. She died at her Tokyo home Aug. 11, a few days after developing a mild fever, according to the Hanae Mori Office. She had been examined by a doctor at her home, but no specific cause of death was given.
Empress Masako wore a Hanae Mori wedding gown adorned with rose-petal patterns when she married Emperor Naruhito, then the crown prince, in 1993. Mori also designed uniforms for Japan Airlines flight attendants, bank clerks, high school students and the Japanese team at the Barcelona Olympics. The uniforms were not flamboyant like her runway designs, but tastefully professional, appropriate for their roles.
With her motto, “You feel decent, no matter where in the world you wear them,” Mori wanted to give confidence and dignity to those wearing her designs. Her umbrellas and scarves, often decked with colorful butterflies, were a status symbol with working women.
She opened her studio in 1951 and was a pioneer of a generation of Japanese designers who became globally prominent. Her first New York show, held in 1965, was acclaimed as “East meets West.”
She opened her Paris studio in 1977 and built an international business that extended to perfumes, handbags and publishing as well as fashion.
Reputed for infusing Japanese elements inspired by the kimono, Mori designed costumes for hundreds of Japanese films, in the 1950s and 1960s, dressing star actresses like Mie Kitahara, Sayuri Yoshinaga and Shima Iwashita, in some of the most renowned cinematic pieces the era produced.
The elaborate costumes she designed for singer Hibari Misora are also well-known among fashion buffs. She also designed for the opera, including “Madame Butterfly” in Milan in 1985, and the Noh theater. In 2002, she was awarded the Legion of Honor from the French government.
She is survived by two sons, who have their own business, a daughter, seven grandchildren, and several great-grandchildren, the Hanae Mori office said. Her husband Ken Mori died in 1996. Her grandchildren Izumi Mori and Hikari Mori are fashion models. A funeral service was held among family. A public memorial service may be held, but details are undecided.
Yuri Kageyama is on Twitter https://twitter.com/yurikageyama |
Wireless 1080P Miracast WIFI Display Dongle Receiver
Supports Screen Share: Airplay, Miracast, DLNA ( DLNA: Standard ).
WiFi: 2.4 GHz Wireless WiFi ( WiFi Module: 8188ETV ).
RF / Antenna: Internal WiFi Antenna for stable WiFi signal
Remote Control: Support Controlling via Smartphone / Tablet PC.
Video Output: Up to 1080p HD Output. ( Max Resolution: 1920 * 1080 @ 30P ).
Supports Office Software: PDF / MS Word / MS Excel / MS PowerPoint.
Support Video Format: AVI / DIVX / MKV / TS / DAT / MPG / MPRG / MOV / MP4 / RM / RMVB / WMV / MPEG2 / MPEG4 / MVC.
Support Audio Format: MP1 / MP2 / MP3 / WMA / OGG / ADPCM-WAV / PCM-WAV / AAC / FLAC / 3GP.
Voice Record: MP3, WAV.
Support Photo: JPG / BMP / PNG…
1. Wireless Display:
Cast your data ( Video, Game, Audio, Photo, App and File ) into your Smartphones / Tablet PC to a large screen devices with HD interface ( such as HDTV, Monitor & Projector, etc) using Miracast, DLNA and AirPlay via WiFi Connection. Perfectly enjoy the ultimate big screen: movies and playing games, your own exclusive cinema. You can enjoy different audio-visual party!
2. No APP and No Driver Required:
NO APP NO DRIVER NEEDS – Only 3 steps to enjoy the big screen media: Plug-> Close-> Mirroring.
3. High-performance Wireless Transmission:
Built-in WiFi Module Supports 2.4 GHz WiFi, Supporting Online & Local Content Wireless Display: Video / Audio / Photo / Office File / Website. Also, an Auto WiFi Display and a Large Travel Partner can connect M2 Plus (powered by 5V / 1A) to Auto HD port, transmitting multimedia content of Smartphones to monitor the car. Traffic jam time is no longer boring.
4. High Definition Output:
HD port support 1080p video output and high quality sound effect output.
5. Wide use & compact portable design:
Supports E-learning, business meeting: Wireless Display, from the chains of cable, became intelligent and efficient. Perfect for Business and Education Presentation (PowerPoint, Excel, Word, PDF and Photo of your Smartphone, Tablet PC HDTV, Monitor and Projector with HD input),Compact portable for carrying.
1. For iOS: Support for iOS 8.0 and above
2. For Android: Android 4.2 and above support
3. For Mac OS: Support Mac OS 10 and above
4. For windows: windows 8 10
1. The WiFi Wireless Display Receiver uses Miracast Standard Protocol. Due to Netflix and YouTube videos that encrypted, the product will not achieve the function of projecting your Smartphones / Tablet PC to a large screen devices.
2. The WiFi Wireless Display Receiver is not compatible with Windows OS.
3. The WiFi Wireless Display is only compatible with Smartphone and Tablet PC.
4. The WiFi Wireless Display Receiver is not compatible with Youtobe, Netflix, Amazon Video Client. It only supports web version.
1 x Anycast G2 Wireless WiFi Display Receiver
1 x HDMI Cable
1 x USB Cable |
Download Detective Conan Episode 591, Watch Detective Conan Episode 591, don't forget to click on the like and share button. Anime Detective Conan always updated at Anime Cinema. Don't forget to watch other anime updates.
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Detective ConanDetective Conan, Case Closed, Meitantei Conan, 名探偵コナン
Status: Ongoing Studio: TMS Entertainment Released: Jan 8, 1996 to ? Duration: 25 min. Type: TV Episodes: 997
Plot Summary: Detective Conan is famous anime about Shinichi - a seventeen year-old high school detective, one day. One day, he wakes up and finds out that he has become a 7 years old child. In order to find the reason for this transformation and the one who is responsible for it, Shinichi hides his identity and lives with Ran - his childhood sweetheart, whose father happens to be a hopeless detective, and with that begins an adventurous series of murders and mysteries that he must solve in search for the ones who put him in his awkward situation. |
Thursday 1 July 2021 7:30 AM UTC
By A Staff Reporter
THIRUVANANTHAPURAM July 1: Kerala Chief Minister Pinarayi Vijayan has announced a change in the funeral protocol for Covid victims, with relatives now being permitted to see the body and perform limited religious rites, all within an hour.
“Family members and relatives are unable to pay their last respects to those who died of COVID-19. This is adding to emotional distress. To address it, the bodies of those who died of COVID-19 will be allowed to be taken home. The body can be kept for up to one hour,” he said.
He also informed that the banks have been directed to halt the revenue recovery proceedings of Covid victims who have defaulted on bank loans.
Meanwhile, Kerala has extended the lockdown restrictions in the state for one more week. The new restrictions would come into effect from Thursday, July 1, Mr Vijayan said.
Anil Kant appointed as new DGP of Kerala
Anil Kant, a 1988 batch IPS officer, has been appointed as the new Director-General of Police (DGP) of Kerala. He will replace outgoing Kerala police chief Lokanath Behera.
Vigilance Director Sudesh Kumar and Fire and Rescue Services Director B Sandhya were also in the race for the prime post. However, the cabinet chose Anil Kant, who has seven more months of service.
A 1988 batch officer, Kant is presently serving as the Road Safety Commissioner in the state.
Kant had begun his police career in the Kerala cadre as an assistant superintendent in northern Wayanad district. He later served in Thiruvananthapuram rural and Railway in the same position.
Before being appointed as the Road Safety Commissioner, he also served as Assistant Director of the Intelligence Bureau in Delhi and Shillong.
Kerala to float OTT platform for Malayalam films
New Kerala Minister for Cinema and Culture, Saji Cherian said that he plans to make large scale changes in the way the Malayalam film industry.
“The state will float a new OTT platform for release of our Malayalam films. While the mega star acted films might not require this facility in the beginning, the ordinary films made by our people will need this and we will come out with such an OTT platform,” said Cherian.
He also pointed out that the state-run Chithranjali studio in the heart of the city will be revamped to make it as a destination for shooting of South Indian films.
With regard to the Malayalam TV serials being aired on the TV channels here, he said it would be in the interest of all if the standard of serials is raised and for that he will speak to the various channel heads.
According to industry sources close to 100 films are ready for release, but are unable to be released and around Rs 800 crore is currently blocked because of this.
CLICK TO FOLLOW UKMALAYALEE.COM |
|Release Date||5 November|
|OTT release date||Expect in December|
Bollywood Khiladi Akshay Kumar has become the most favorite superstar of Indian cinema today. And in today’s times, everyone wants to take him in his films. This means all directors and makers of the Indian film industry want to work with Akshay Kumar. Because the popularity level of Akshay Kumar is very high in India. His much-awaited film Sooryavanshi is one of the biggest films of his carrier so far. And you are going to see amazing action scenes in this film. Sooryavanshi’s new release date update is this film read below down.
Another big update has come out regarding the release date of the film. Tell you that Rohit Shetty who is directing the film and in this film superstar Akshay Kumar, Ajay Devgan is bringing together Katrina Kaif and Ranveer Singh for the first time. This film was to be released 1.5 years ago at the Indian box office but due to covid19. The release date of the film was pushed forward and after pushing it two it three times.
Now the rumors are coming out about the Sooryavanshi new release date. According to the rumors, this film is going to release at the Indian Box office on the occasion of Diwali this year. Yes, these are the rumors about the release date of the film and it can be 85 % sure. This film will release in the long holidays as it is called Diwali Time.
Sooryavanshi will release minimum 5000 screens
Let me tell you that the makers of the film, Sivasis Sarkar have planned to release this film on the big screen itself. Because this film is the biggest film of Akshay Kumar carrier and Rohit Shetty carriers too. This film is going to make a difference and a big release. This is the reason what the makers of this film want to release this film on all big screens in India. And makers don’t want to release this big film on OTT platforms that why they always postponed the release date of the film.
This is the reason why this film can now release at the Indian box office on Diwali 2021. And now this film is planned to be released on 5000 big screens all over India. If this film will release in Diwali times it will become the first film released on 5000 screens after covid19. And this film is a very big film of Bollywood industry too because it’s well is also the first time where three superstars work as police.
Sooryavasnhi Movie Minimum Budget
Let us tell you that the budget for this film was earlier 150 crores. But as the release date of this film being postponed many times. So the budget for the film is also increasing with every date postponed. This film has been now completed with a budget of about 180 crores. Which can also take an opening of about 40 to 45 crores on the first day. So we can say that this film is a big-budget film and also a very big film for makers and actors.
How to watch
Read more updates about Bollywood and south movies on www.facefof.com |
Photo: ‘Suspiria’/Produzioni Atlas Consorziate
Dario Argento’s Suspiria was released in January 1977. Since then, it has become iconic in the world of cinema for its manipulation of lighting and color. Critics and audiences alike agree that Suspiria pushes the boundaries of non-diegetic lighting in film, subsequently opening up new possibilities for how color can be used in the medium. The jarringly bright colors combined with slow-paced editing merge together to create a film with an atmosphere of surrealist horror like no other.
Argento sticks to a relatively basic color palette, focusing on red, green, and blue intently throughout the film. Each of these colors has different meanings that represent important motifs in the narrative. What is maybe more jarring than the color palette is the lack of neutral tones in the set design, costumes, and lighting. There are only a few scenes in which the dominant color is not red, green, or blue. These scenes all take place outside of the dance academy, indicating that the world outside the witches’ control is bland and beige. However, inside of the academy, the witches’ influence is strong, and therefore, the colors are much brighter.
Related article: Did you see the hidden messages in Luca Guadagnino’s ‘Call Me By Your Name’? Find out behind the scenes facts in the full commentary and In-depth analysis of the cinematic masterpiece
Red, to put it simply, represents evil in the film. Red lights often foreshadow the witches’ presence before the subject understands the danger. Each step that Suzy, the main character, takes in identifying the evilness of the dance teachers is lit with intensely red floodlights that reflect the witches’ true nature. Red is also used heavily in the production design to reveal the secret intentions of the characters. For example, the head of the dance academy is always shown wearing bright red lipstick, representing the hidden evil within her. At a later point in the first scene, there’s a brief shot that features a red handkerchief being used to clean the academy windows. The red of the handkerchief is eye-catching, and intentionally so, as it contrasts with the blue walls of the dance studio.
Once again, the color represents the hidden evil that exists within the dance academy. Red feels as if it’s constantly lingering over the dance academy in a cloud of darkness. Frequently throughout the film, there are scenes that begin in a neutral tone room, but eventually, pan to show a bright red doorway leading to another part of the academy. Red lurks throughout the halls of the academy, tinting everything that the students experience in an evil glow. Even the academy itself is painted a vibrant red on the outside, representing the danger that lies behind the doors. Garishly bright blood is used frequently in violent scenes, hinting at the surrealist horror that Argento strived for.
Oftentimes blue is used in combination with red to construct a juxtaposition of color and theme. Blue represents the opposite of red, which, in the case of Suspiria, is goodness. For example, the first scene shows the interior of the dance academy, which is a grandiose room detailed with blue wallpaper. The blue represents a facade of goodness in the dance academy, which is proven to be false with the pops of red that were previously discussed. Blue is also the color that Suzy wears most frequently in the film.
In the first scene, she enters the academy in a baby blue dress, symbolizing her innocence and goodness in comparison to the rest of the academy. Most of the climactic moments in the film, such as Pat Hingle’s murder, feature contrasting blue and red lighting, highlighting the battle between good and evil. Ultimately, blue and red are used most frequently in the film’s color palette as they represent the main conflict of the narrative: good versus evil, respectively.
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However, another color that appears frequently in the visuals of the film is green, which represents knowledge and enlightenment, as well as serving as a stylistic complement to the red tones of the scenery. Red and green are complementary colors, which, contrary to popular belief, simply means that they accentuate each other due to their opposite places on the color wheel, not because they look pleasing together. Potted plants set against red wallpaper often pop out at the viewer, underscoring the red of the scenery and providing some much-needed visual contrast. But, more important than the aesthetic of green, is its meaning in other parts of the film.
Though used more sparingly than red and blue, green highlights scenes of realization for Suzy, thus representing knowledge and enlightenment. For example, the bedroom that Suzy and Sara are in when Sara during a moment of realization later in the film is bathed entirely in vivid green light. Green also makes appearances in the film via small spotlights of color, particularly when strange occurrences are happening around the academy. Often, these lights shine on walls or flicker through windows, reflecting Suzy’s growing suspicions about the academy.
Surrealism in ‘Suspiria’
Fundamentally speaking, the non-diegetic lighting and the unnaturally bright color palette combine to create a surrealist atmosphere. Argento purposely made this film to be visually jarring in every scene as to reflect the tension and uncertainty of Suzy in such a strange, off-putting environment. The visual aesthetic is nothing if not whimsical, but works in tandem with the editing and soundtrack to echo the dark magic of the academy.
The editing is slow, it lingers in the same way that red does throughout the film. Events of the film are showcased in long cuts that display the action for what feels to be much longer than necessary. Gratuitous violence is depicted through varying camera angles and shots that all seem to stay on screen for just a little bit too long. The slow editing purposefully emphasizes the details of the production design, allowing the audience to fully register the color and scenery of the academy.
To sum up, Argento’s Suspiria is a visually stunning masterpiece that pushed the boundaries of color and proved that lighting does not need to be diegetic in order to be effective. Now, Suspiria can even be viewed as an early influencer of the “neon-noir” aesthetic in films like Good Time and Drive, due to its heavy reliance on nighttime filming accented by non-diegetic, colorful lighting. The visuals of Suspiria, much like the narrative, are a stylistic trip that makes the film worth a watch any time of the year.
Click here to read Hollywood Insider’s CEO Pritan Ambroase’s love letter to Black Lives Matter, in which he tackles more than just police reform, press freedom and more – click here.
An excerpt from the love letter: Hollywood Insider’s CEO/editor-in-chief Pritan Ambroase affirms, “Hollywood Insider fully supports the much-needed Black Lives Matter movement. We are actively, physically and digitally a part of this global movement. We will continue reporting on this major issue of police brutality and legal murders of Black people to hold the system accountable. We will continue reporting on this major issue with kindness and respect to all Black people, as each and every one of them are seen and heard. Just a reminder, that the Black Lives Matter movement is about more than just police brutality and extends into banking, housing, education, medical, infrastructure, etc. We have the space and time for all your stories. We believe in peaceful/non-violent protests and I would like to request the rest of media to focus on 95% of the protests that are peaceful and working effectively with positive changes happening daily. Media has a responsibility to better the world and Hollywood Insider will continue to do so.”
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Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria, Suspiria
Caroline is currently a writer and contributor for Hollywood Insider. She believes in constant critical thinking and applied analysis when it comes to media consumption. Her goal aligns with Hollywood Insider’s mission statement, and she strives to educate readers on the nuances of the entertainment industry and to hopefully encourage them to form their own opinions on the media they consume daily. |
With sterner social distancing measures being reintroduced in Hong Kong, life indoors can certainly feel boring and mundane, and that’s all without mentioning that the added uncertainty of the near future can incite a lot of negative thoughts. However, there is just one thing that can brighten up anyone’s day and that is watching some quirky, witty, and humorous Cantonese comedy films.
Names such as Jackie Chan, Stephen Chow, and the Hui brothers are synonymous with Hong Kong and its film industry and Cantonese comedies have always played an influential role in the history and development of Hong Kong cinema, nurturing a slew of prominent actors and directors for international fame. On that note, here are 10 Cantonese comedies available on Netflix Hong Kong right now that can brighten anyone’s day (not to mention inspire a well-deserved trip down memory lane for some others!).
From the comedic mastermind behind the incomparable Shaolin Soccer (2001), Kung Fu Hustle is Stephen Chow’s award-winning action-comedy flick and one of his most popular films to date. Set in 1940s Shanghai, the plot centres around a wannabe gangster named Sing, whose greatest aspiration is to join the notorious Axe Gang. In order to prove himself worthy, he tries to extort the inhabitants of a rundown settlement, and a series of misadventures ensues as the residents and their landlady exhibit extraordinary powers and kung fu talent in defending their turf.
Highly praised as one of Stephen Chow’s best films, Kung Fu Hustle didn’t just smash box office records in Hong Kong and around Asia; it was also one of the highest-grossing foreign-language films in the United States. It also features a number of retired actors famous for their involvement in 1970s Hong Kong action cinema and built upon the success of contemporary and influential wuxia films such as Crouching Tiger, Hidden Dragon and Hero.
Confused about how a game of mahjong works? Hopefully, one viewing of Fat Choi Spirit will help enlighten you to the rules of this common, tile-based game. Yet another Hong Kong classic, this 2002 film is composed of great actors and facetious characters. Household names such as Andy Lau, Sean Lau Ching-wan, Gigi Leung, and Louis Koo bring nothing but laughter, smiles, and all the elements necessary for a light-hearted film.
Fat Choi Spirit follows the misfortunes of a mahjong master (Andy Lau) and his dealings with his girlfriend, estranged family, and a local gang. Disowned by his family for his impulsive mahjong habit, Andy meets a woman named Gigi while on the run from debt collectors. Her arrival heralds the start of a string of immense luck for Andy’s mahjong games, but just as he regains his legendary skills, everything else in his life seems to go wrong.
This offbeat local comedy from the late 1980s actually helped launch the careers of many iconic Hong Kong actors, including Chow Yun-fat, Eric Tsang, and Maggie Cheung. Chow Yun-fat plays Fred, a coarse mechanic recovering from a recent heartbreak. While on holiday, he falls in love with a beautiful girl named Tung (Maggie Cheung). Upon their return to Hong Kong, a wealthy bachelor takes an interest in Tung and Fred must fight to retain her affection. Due to an overwhelmingly positive response from the audience, The Romancing Star was followed by two sequels.
You may think that this film completely gives itself away as a goofy comedy centred around law enforcement, but this one comes with a crafty twist. Starring Stephen Chow and Bill Tung, Look Out, Officer! follows the adventures of a rookie cop named Hsing, who receives a visit from the ghost of Chang Piao, a slain police officer whose mysterious death had been written off as suicide. To solve his murder and seek justice, the unlikely duo team up, with the promise of finding Hsing a girlfriend and securing a job promotion in return for his help.
It goes without saying that the 1990s were truly phenomenal for Stephen Chow, who comes out with yet another classic, thigh-slapping film to add to his belt. Love on Delivery is a romantic comedy that features Stephen Chow and his frequent collaborator Ng Man-tat, as well as then-newcomer Christy Chung. In the film, Ang Ho-kam is a disadvantaged but kind dim-sum delivery boy who falls for a beautiful judo student, Lily. Their first date is interrupted by Black Bear, a judo master and bully who also takes an interest in Lily, and it ends disastrously. In order to prove himself worthy to his love interest, the delivery boy learns kung fu from an ageing master so he can challenge his archrival to a fight.
Royal Tramp is a 1992 film based on a novel called The Deer and the Cauldron by Louis Cha. The film is directed by Wong Jing and features many famous acting veterans such as Stephen Chow, Sharla Cheung, Ng Man-tat, and Sandra Ng. The story revolves around Wai Siu-bo, a bard known for his quick wit and tall stories. One day, he saves Chan Kan-nam, the leader of the revolutionary Heaven and Earth Society, and is made an honorary member of the group. After a botched first assignment for the group, Wai Siu-bo is made a servant to the Prince, the very person that the Heaven and Earth Society wants to overthrow. What follows is an abundance of mayhem and laughter.
This late 1980s comedy is filled with action-packed and rip-roaring scenes with one of Hong Kong’s most celebrated actors—Chow Yun-fat. God of Gamblers centres around Ko Chun, a chocolate-loving master gambler who is so renowned and talented that he is referred to as the “God of Gamblers.” One night, he accidentally stumbles into a trap laid by mediocre gambler Little Knife (Andy Lau) that was intended for someone else, losing his memory in the process. Not knowing the true identity of Ko Chun, Knife and his gang of amateur street hustlers discover his supernatural gambling abilities and take advantage of them. God of Gamblers found so much success that a slew of sequels followed, starring the likes of Stephen Chow and a returning cast padded out by Andy Lau, Ng Man-tat, Sharla Cheung.
For all Japanese manga and anime lovers out there, this film is just the right fit for you. Based on the Japanese manga of the same name, Jackie Chan plays Ryu Saeba, part detective, part mercenary, and a full-time womaniser. With his bumbling assistant Kaori, Ryu is asked by newspaper tycoon Imamura to return his beautiful runaway daughter, Shizuko. Ryu and Kaori somehow make their way onto a cruise ship, whose guests include Shizuko and a motley band of hijackers. In a bumbling yet impressive way that only Jackie Chan can portray, Ryu manages to spoil the cruise for the thieves with the help of more beautiful women than even he can handle.
We dove deep into the 1980s for this one: Project A is one of Jackie Chan’s earlier films that paved the way for his enduring career. Set in nineteenth-century Hong Kong when the city was still a British colony, the story centres around Dragon Ma, a lieutenant in the Hong Kong Marines. Pirates have been terrorising local waters with assistance from corrupt authorities and Dragon Ma hopes to defeat the evil pirate clan led by San-po. His initial plan is waylaid but Ma then joins forces with a navy admiral, a police captain, and a wily thief in a new round of high-seas battles with San-po and his gang.
Last but not least, this R-rated comedy may not be everybody’s cup of tea, but it sure hits the spot if you are looking for some dark and obscure humour. SDU: Sex Duties Unit is about four Hong Kong police officers that embark on an illegal trip to Macau to satisfy their fantasies for a night, but things don’t quite go as they expected, and the group finds themselves embroiled in a weekend of unadulterated debauchery. Led by local comic heavyweight Chapman To, the strong synergy of the main cast creates a fun and exciting film, featuring four likeable leads and a sincere attempt to shine a spotlight on each of their unique and compelling stories. |
Glass wool applications include structural insulation, pipe insulation, filtration, and sound insulation. They are used in insulation products and are applied in several areas of buildings. In addition, glass wool is the most common insulation material for residential roofs and has the following applications.
These have been developed for insulation within steel-framed structures, timber-framed buildings, and drywall systems. It is manufactured from high-quality glass wool with glass wool fabric on one side for easy handling and increased rigidity.
Applications in drywall.
Steel frame construction
Timber frame construction
Designed for use in hollow walls but can be used effectively at the top of ceilings, at roof lines, or in masonry wall cavities
Glass Wool Pipe
HVAC and air conditioning system insulation: duct wrapping is an insulation blanket specifically designed to wrap air conditioning ducts
Exterior wrapping around metal air conditioning ducts: rectangular and circular heating, ventilation, and air conditioning systems.
Pipe insulation for hot and cold pipes. This insulation is a 1 m long pre-formed rigid resin-bonded glass wool section. A single longitudinal slit allows the part to be opened to enclose the pipe and to close it after placement. Standard finish options are canvas, plain, and reinforced foil.
Ceiling tiles are made of non-combustible inorganic glass wool and are bonded with an inert thermosetting resin adhesive. The decorative vinyl finish comes in a coral color and is durable.
Suspended ceilings: domestic, commercial, industrial
suspended ceilings in commercial buildings such as cinemas, home cinemas, recording studios, etc.
This is made of a high-quality non-combustible flexible material. The glass wool insulation with an inert binder makes the product light, safe and flexible. It faces to one side with a reinforcing foil or white metal foil. It can be applied to both sides on request.
Foil-Clad Glass Wool
It is made of non-combustible glass wool, which is bonded with an inert thermosetting resin to form a hard and flexible product. It is odorless, inert, and fully compatible with all standard building materials.
Glass wool as thermal and acoustic control.
A range of glass wool wools and blankets for thermal and acoustic control in commercial buildings.
Industrial insulation for applications up to 450°C.
Heat conservation and control in boilers, storage tanks, ductwork, ovens, etc.
Soundproofing of the compressor and plant rooms.
Ceiling tiles are made of non-combustible inorganic glass wool and bonded with an inert thermosetting resin adhesive. The floor is covered with black non-woven cellophane, which has a good sound absorption effect. It is used not only in commercial buildings such as cinemas where excellent sound insulation is required but also in other areas where optimum sound absorption is needed. Used as glass wool panels, which in turn translates into home cinema insulation.
All in all, glass wool is an insulating material with a variety of applications in the home, as part of roofing, false ceilings, plasterboard, home cinemas, and much more. It is widely used for its known advantages in terms of insulation, fire safety, and ease of installation.
If you want to know more information about the best glass wool wholesale, welcome to contact us today or request a quote. |
Donated by: Seattle International Film Festival
Retail Value: $100
Five sets of 2 tickets each (total of 10 tickets) for the SIFF Cinema screenings of your choice. Excludes 2013 Festival and special event screenings.
SIFF Cinema films can be screened at SIFF Cinema Uptown, 511 Queen Anne Ave N, or SIFF Film Center in Seattle Center. |
by Tony Coppard
The Community Centre at Blockhouse Bay has been strengthened under the talented and energetic leadership of Sara Watson, who has now stepped down from both the committee and chairing role. She has served on the committee for a decade, first as Secretary, then for six years as Chair. Her replacement is yet to be appointed.
Sara has been a driving force behind many improvements, including the beautification of the outdoor seating area and a new mural. The smaller conference rooms have been upgraded, making them more attractive venues to hire at reasonable rates. The Centre’s online presence has also been boosted.
The community centre is a community-led organisation that has a contract/ license to manage with Auckland Council the day-to-day hire, events and groups that use it. They also manage the historic Armanasco house in the middle of the village. Sara was instrumental in updating a very outdated constitution. She has also been encouraging more people to join the committee.
Sara tells me that she has been involved with various tree disputes. She is passionate about our environment and is willing to front up and do the hard work to save trees. She is also concerned about the overuse of weed sprays dangerous in our parks.
Describing herself as an advocate rather than an activist Sara is hoping to succeed in the next local board election. She sees that as an opportunity to contribute using her governance skills and creative thinking to guide better decisions for our local Whau area. We wish her every success.
Mother's Day Feature
Have you ever woken up on the second Sunday in May in a panic because you’ve just remembered it’s Mother’s Day? Then what did you do? I’d bet dollars to donuts it involved a dash to the supermarket for chocolates and flowers.
But if you understood your mum’s love language, it would be so much easier to find a meaningful way to express your love and appreciation of her, even when you’re short of time.
Wait … her what? Ok, so if you haven’t heard of the 5 Love Languages it’s your lucky day, because this is totally a thing and can be a game changer in any relationship. The concept was developed by Dr Gary Chapman who’s written books on it – and not just for adults either. You can dive in and take quizzes at 5lovelanguages.com, but in the meantime, here’s the idea:
The 5 love languages are: words of affirmation, acts of service, quality time, physical touch, and receiving gifts. These are ranked 1-5 in order of preference with 1 and 2 being our primary and secondary love languages. The best way to guess your mum's love language is to observe how she shows you love.
Here are some suggestions to help you show your mum you love her in the way that speaks most to her. Use them as a catalyst for your own creativity and come up with your own short list. Note that I haven’t mentioned ‘buying’ anything. Yet.
Words of Affirmation: Does your mum keep notes that others have written to her in a special place? Does she seem to melt when you tell her you appreciate her? For the ‘words of affirmation’ mum you could write her a nice note, compile a small album of your favourite memories together with notes about why they are special to you, or record a video of you telling her specific things you have learned from her or that you love about her. It will cost you nothing but time, but is a solid investment the relationship bank account.
Acts of Service: These mums get their love tanks filled by having tasks done for them. Especially ones they struggle with. Try to think of something she might not be able to do herself because of time, ability, or resources, especially if you know it’s bugging her. Fixing something or getting it fixed, moving something heavy for her, making her a nice meal … the list of possibilities is endless. In fact, she might even have a list! Whatever you decide on, the point is in the doing.
Quality time: This mum loves spending time with you. Have you noticed what a good listener she is? That she remembers the little things you’ve told her or you’ve experienced together? A Mother’s Day date is a great way to show her you love her. A picnic, a bike ride, walk in the park, as long as she has your attention. Ask her about her life and really listen. Pretty easy, huh?
Physical touch: Does your mum touch you when she’s talking to you? Is she a hugger, a rubber, a cuddler? Then she’s super easy to please because all she wants is affection. Anything involving close physical contact is what she loves. Watch a movie snuggled together on the couch, brush her hair, give her a shoulder massage. And how about vouchers for free hugs! Always a winner!
Receiving gifts: Ok so this mum loves to be ‘surprised’ by gifts. It’s easy to read this wrong and think it’s all about the gift and the value. Well, it is, but the value is not necessarily in cost, but thought. The more thought that has gone into the gift, the higher the value. The gift represents how well you know her and that you have thought about her.
So, there you have it. You now have the tools to think about what lights your mum up like a Christmas tree and think of something that says “I Love You” in her language. These suggestions can be adapted for all ages and stages with a little creativity. So go out there and show your mum how much you love her.
On a beautiful Sunday in late March the second volunteer day of the year for the Friends of Wairaki Stream (FOWS) finally got underway at Lynfield Cove after a delay caused by lock down. Seaweek sponsored the event (thank you!) and we celebrated with pizzas for our hard-working troops.
Wow. What a great day we had with over 65 people. Heaps of rubbish was picked up from the beach, bush and stream. After the event clotheslines were filled with washed gloves – 106 on one line!
One group made it their mission to dig out and rid the stream of a huge old tractor tyre; packed with wet mud, it weighed a ton. They tried and pried and rocked and pulled and finally got some leverage. With lots of laughter along with the mud splatter - the average age was 50 – that’s including one 30-year-old! - finally it was rolled along to the bank edge where the youn’uns pushed it up the bank, while others hauled it out with ropes. A great effort and very satisfying, until some bright spark pipes up, “Here’s another one!”
Later, treading carefully around the slippery rocks we came upon a secret cave! The stories flew about pirates, dinosaurs, and mythical, magical creatures. Fantastic to hear such creativity and imagination is still alive today.
We have the most awesome people attending our working days, just so keen on doing something for the environment. Thank you to CVNZ Migrant Group, local Rotary, Lynfield College International Students, Iona Scouts and lots of families and other locals. After the event clotheslines were filled with washed gloves – 106 on one line!
Our next volunteer days are Saturdays May 8 and May 29. See you there! (Search “Friends of Wairaki Stream” on Facebook for more info).
Upon reaching her 100 year milestone
On the day Topsy Masefield turned 100 she celebrated by doing her usual Friday activity – a workout with her Gold Fit class buddies at Lynfield YMCA. She was unaware however, of plans afoot to celebrate in style.
After her workout she went to join the others for the usual morning tea in the adjacent room, only to be greeted by a surprise birthday party including Gold Fit buddies and YMCA staff. A quiz about the year she was born (1921), gifts, flowers, a beautiful cake and, of course, a birthday message from Her Majesty, Queen Elizabeth II. Topsy was both embarrassed and delighted by all the fuss but managed to speak a few words of appreciation.
Topsy, whose real name is Sarah, was born on 9 April 1921 in Wales, in the village of Llandloes, Powys, and was brought up in a cottage that was situated above the local lead mines. On still nights the miners could sometimes be heard in the shafts below.
Before beginning her nursing career at the Oldchurch Hospital in Romford, Essex, Topsy was thrown in the deep end when her sister went into labour. Consequently, she had the privilege of seeing her niece Margaret enter the world. 82 years later, that same niece had the privilege of celebrating Topsy’s centenary with her, having been ‘stranded’ in New Zealand during a visit due to Covid-19 and unable yet to return to the UK.
Topsy trained first in general nursing, then as a midwife and also at the Ilford Isolation Hospital for infectious diseases. During wartime she was walking across a compound with a handful of other nurses when suddenly they had to run for their lives as the area was strafed with bullets from an aerial attack.
As if that wasn’t enough adventure for a lifetime, in 1948 Topsy sailed for New Zealand and worked for two years at the Alexandra Hospital in Wellington. She married Don in 1950 and they had two daughters, Kerrie and Glynne, and a son, Gareth. Topsy also has four grandchildren and two great-grandchildren, all of whom are a source of immense pride to her. She is regarded by them and their extended families as Matriarch and they love her dearly. No family party is complete without her!
Topsy enjoys dining at local cafes and restaurants and is partial to an occasional G&T or scotch. Her family attribute her long life to her positive attitude and her enjoyment of anything that comes her way but, as Topsy herself says, “Take one day at a time, and just keep breathing”.
Building Developments in the Whau
Hollywood Cinema gets exterior makeover
After several years working to restore the interior, the owner, Matthew Timpson, is now moving onto expensive exterior work to preserve these iconic buildings. This includes a complete re-roofing of both buildings (the cinema and the old town hall). The internal gutters need attention which is always a challenge. While the scaffolding is up, they are taking the opportunity to do an exterior repaint of the walls. The estimated project cost is more that $200K which is a huge commitment for a small business.
It is amazing how Matthew and the team have brought this venue back to life as a vibrant location for live events and film showings. They have created an adaptable space that can accommodate seated or standing audiences, and the old town hall space also adds flexibility.
Already, people in the community have shown appreciation for the care being taken to curate these Category B historic buildings. The complex is actually three different buildings with three different construction dates, complicated by the fact that the old town hall started life where the cinema now stands, then got moved sideways and replaced by the cinema. The third building is the concrete part which includes the steps, façade and front rooms in two levels.
1867 – Original wooden town hall, with a porch, is built on the site of the current cinema. This building was also used as a cinema, dating from the Boer War period.
1915 – Wooden porch is removed, and the brick frontage building is constructed. It includes the steps, a brass dome on the roof and rooms for the Road Board. The dome was removed in the 1950s as an earthquake risk.
1923 – The original town hall building behind the brick frontage gets moved sideways to its present position.
1924 – The new town hall (now the Hollywood) was completed behind the 1915 frontage building.
There is only one blurry image (above) of the original town hall in all its glory with its brick frontage building and the dome on top. It looks really grand. Now having been stripped of the bling and moved sideways to its present location it looks very forlorn and dejected. Hopefully, a new roof and paint job will help lift its image.
New Lynn Corner Café (The Old Woodshop Corner Cafe)
The old shop on the corner of Hutchinson and Margate was recently demolished. The café closed for renovations last winter and so far, the rear has been rebuilt. It looks like the front will be starting again from scratch.
In July 2020, the café announced “WE’RE CLOSING! Time has come for our long-awaited renovation of the premise. Work is deemed extensive, so we expect to re-open after several months. We’re excited to bring you guys something fresh once we’ve reopened, no doubt it’s well deserved”.
The project is currently paused waiting for council consent on some revised plans. After experiencing a few problems along the way, owner Maahir is reluctant to promise a firm date yet for reopening the café.
New Lynn Community Centre Refurbishment
The 20-year-old New Lynn Community Centre building has served the community well but was overdue for refurbishment.
An increased utilization of the building’s forecourt for community activities required that the building be better connected with the outdoor spaces. SGA Architects Ltd have done the design work.
The main stair of the building has been removed from the foyer, opening up the double height space and exposing this space to the forecourt. A new reception desk and administration office is located centrally to the foyer with a new stair and new lift flanking this on either side. An open plan community lounge and an informal seating area have been provided at each end of the main foyer space allowing the whole space to have an almost seamless connection with the building’s forecourt.
Other works in the $900,000 project include the development of Plunket rooms on the ground floor, three large hirable rooms, and kitchen and storage spaces on the upper level. Acoustic separations and services have been upgraded to benefit community groups using the facility providing more flexibility with concurrent activities.
The New Lynn Community Centre is expected to open the public in May 2021.
Changing times at the old BNZ building, New Lynn
There was some consternation recently when a demolition crew moved in and started taking down the former BNZ building on Totara Ave, New Lynn.
“NOOOOOO!!! One of the most distinctive and beautiful buildings in Auckland”, commented one local on Facebook. “Simple, stylish, of its era but so easy to re-purpose.”
“The building opened in 1964, designed by the architectural firm of Hole and Annabell, and boasted the first use of folded slab roof construction in the country. It certainly has been a distinctive local landmark for nearly 57 years”, notes local historian, Lisa Truttman.
There is good news though, because the front part of the original building will remain and be redeveloped inside. The building is being repurposed with retail at ground level at the front. There will be apartments above the retail as well as on both levels in a new structure at the rear.
On behalf of the owners, Victor Young says “We are very excited in redeveloping and revitalising of this iconic building which has been part of New Lynn for a such a long time. Once finished, it will complement the adjacent eateries and bars as an amazing destination “.
There was a real sense of joy at the annual four-day Polyfest event in April as thousands of students and their families and supporters came together at the Manukau Sports Bowl to celebrate culture through performance. The joy was especially apparent given that world's biggest schools' Pacific dance festival had been cancelled twice previously - in 2019 due to the Christchurch terror attacks, and in 2020 because of the Covid-19 pandemic.
Avondale College brought ten groups to the Cultural and Diversity stages of Polyfest this year: Thai, Japanese, African, Korean, Sri Lankan, Indian, Cook Island, Niuean, Tongan and Samoan. The groups had been practising tirelessly in the weeks leading up to the event, and their efforts were rewarded with a number of awards.
"Over the past eight weeks, our ten groups have worked incredibly hard with their teachers, tutors, student leaders and families to prepare for the Polyfest event. We are incredibly proud of all of our groups! They put a huge amount of effort into their performance pieces, and the teamwork, dedication and drive for excellence has been impressive. Avondale College’s HEART values have been on display every day, and not least during the competition itself." - Lyndy Watkinson, Principal
Book Review and Mother's Day prize giveaway
Wendyl Nissen is the founder of Green Goddess. She’s also a quick witted and entertaining author. My Mother and Other Secrets is her latest book.
A funny, moving memoir about uncovering old family secrets and how that leads Wendyl to a better understanding of her mother. When Wendyl Nissen’s mother was suffering with Alzheimer’s, she told some extraordinary stories about her background that Wendyl had never heard before. Determined to get to the bottom of the buried truth, Wendyl’s journalistic love for uncovering secrets took over and she unearthed some wild and intriguing stories of loss, grief and love.
As Wendyl says, ‘my parents were born to a generation that kept secrets. Big secrets for a long time, and usually they took them to their graves.’ She uncovered new relatives, deeply sad adoptions, harsh parenting, complex marriages and a few rogues. These stories often highlighted how tough life was for women and children in an era when women had to fight for every bit of independence they gained.
This compelling, moving book is about mothers and daughters, ageing and the way deep family traumas echo down through the generations. It is also spliced with wisdom and practical advice for anyone caring for a loved one with dementia.
But My mother and other secrets is not a book of grievance nor is it a misery memoir. It's a book of understanding. More so, it's a book propelled by the redeeming power of stories.
Author Bio: Wendyl Nissen is a journalist, broadcaster and magazine editor who is the author of 10 books, mostly about living a chemical-free, old-fashioned life. She left the corporate world 20 years ago and now lives in the Hokianga with her husband, her father, 20 chickens (and counting), two cows, two dogs and three stray cats.
The Beacon has a signed copy of Wendyl’s fantastic new book My mother and other secrets as well as a 1kg Citrus Laundry Powder Concentrate to give away, courtesy of Green Goddess.
If you’d like to go in the draw to win this lovely gift, email [email protected] with your full name, phone number and email, and “Green Goddess Giveaway” in the subject line.
Entries close 10am Monday 10th May.
THE GREEN GODDESS STORY
Green Goddess is a family owned New Zealand business that has been creating pure, natural, high quality products sustainably for over ten years. Triona and Grant bought the business from eco warrior Wendy Nissen in 2016 and are continuing her legacy handcrafting beautiful products that are safe to use around your home and on your body without worrying about the effects on your health or the environment.
The business is going from strength to strength as new products are created, processes are refined and the emphasis is put on looking after the customer, both retail and wholesale. Green Goddess is paving the way in the totally natural eco product market.
"The Green Goddess philosophy is about working with things from the earth that are in tune with our whole selves – mind, body and soul." Triona
WHY CHOOSE GREEN GODDESS?
Our products have been carefully formulated with a focus on quality, sustainability and value for money, from sourcing through to packaging and shipping every step has been considered with you and Mother Nature in mind.
There are no toxins to aggravate allergies or hinder the immune system and no harmful substances to leach into the environment when you use Green Goddess. Even our baking soda is mined, not man made like most in the world today. All paper packaging is home compostable and liquids come in glass.
Free from synthetics, phosphates, preservatives, artificial fragrances and plant derived substances Green Goddess products are scented only with pure essential oils. For babies and those with super sensitive skin there is an unscented range. Green Goddess is also cruelty free, palm oil free, 98% vegan, grey water and septic safe.
By John Subritzky
At a recent Whau Local Board (WLB) meeting, it was standing room only as not one, but two groups of local residents came to protest about their reserves.
The Davern Lane residents made their presentation which visibly moved many of the board members. Then next up was a group of about twenty residents from the Ambrico precinct. Their reserve is proposed to be unusable for up to 18 months while being used as a construction site for the Clinker Place Stormwater Project.
This project involves boring and pipejacking a 530-meter-long stormwater pipe from the Clinker Place Special Housing Area (the former Ceramco brickworks) to the Manawa Wetland Reserve. To facilitate this, an access shaft will be sunk near the side of Ambrico Place, immediately across the road from the historic Ambrico Kiln remains. The reserve is collateral damage.
The residents expressed their concerns about the loss of use of the park as the only safe, close greenspace for those living in the 300 houses surrounding the reserve. Eleven trees are scheduled to be removed, just as they come into maturity 23 years after planting. The noise and vibration that will affect neighbours could also endanger the remains of the Ambrico Kiln, which is already extensively cracked and has had external reinforcing added to try and preserve it.
Kay Thomas noted that it was the previous WLB that had been briefed on the project, although the potential impacts are not always fully explained to local boards. She encouraged the residents to make submissions.
In a later statement, Auckland Council General Manager Healthy Waters Craig Mcilroy says “The team has taken into account recent feedback from the Whau Local Board and the Ambrico Place community and is working with our contractor to change the tunnelling process so that much less of the reserve will be required during construction. Approximately 40% at the northern end of the reserve will now be used (pending resource consent approval) with the remaining 60% including the playground, remaining open to the public.” The time timeline for the reserve has been reduced to 12 months. He further says that “In June 2019 a vibration assessment carried out, indicated that the kiln will not be affected by the works.” Assurance is given that vibration monitoring and management will be undertaken during the project.
The WLB has sponsored several community-building events including movie nights, picnic in the park and neighbour support at the reserve. These have been aimed at bringing people out of the gated housing areas to share a sense of community together. Ironically, what has galvanised the community into action is the proposed loss of the very reserve that they have gathered on for these events.
1920 - 2020
Laughter, rekindled friendships, fond memories, and wonderful performances by current students were at the centre of the celebrations at Blockhouse Bay Primary School over the 9th and 10th of April. The occasion was scheduled to take place in March of last year but was postponed due to the first lockdown.
Despite a damp few hours, past students, staff, and community members gathered together to revisit the school and discover all the changes which have taken place over the years. Guests included many past students and staff, including previous principal John Davies, and others who attended school from the 1930’s through to those who left very recently. Many others sent their greetings and congratulations.
Highlights included a chance to see current students at work in modern classrooms, tour the renovated historic school building ‘Te Manawa’ and peruse photographs and artifacts from across the years, culminating with a relaxed evening chatting at the Mix and Mingle party and enjoying the official ceremony on Saturday.
On Friday a dance festival took place across four stages and all current students took part. Cheers could be heard in Blockhouse Bay Village as the children entertained the crowds, and all enjoyed gathering as a community to have fun and remember those who have contributed to the school previously.
Members of the Blockhouse Bay community worked together with Principal Neil Robinson and other school staff to organise and run the centennial successfully. The Whau Local Board also contributed funds to support the centennial to take place.
An enduring reminder of the centenary is the art installation ‘Ngā manu ki te whau’ which was created by students and staff at the school. Ten tui, one for each decade of the school’s existence, now soar on the side of ‘Te Whau’ the school’s Performing Arts Centre. The tui remind us of the school’s vision ‘We seek, We strive and We soar’. It is the hope that all students, current and future will soar high just as previous generations of Blockhouse Bay students have.
Blockhouse Bay Primary School Principal
You really can’t judge a book by its cover - things are not always what they seem, and our presumptions can lead to missed opportunities and experiences.
Take for instance Colin, Cameron and Mark. They are all regular, easy-going Kiwi blokes; Kev’s a builder, Colin’s a cabinet maker, Cameron’s in finance, and Mark is an electrician. At first glance at these guys you’d never guess they all have a common thread: They’re all really good dancers – modern jive dancers to be precise. Effortlessly leading a lady on the dancefloor, with masculine style and charm.
While many girls at some point learn some form of dance, most Kiwi blokes don’t. But if you watch these guys on the dancefloor, you’d think they’ve been dancing forever.
Colin, Cameron and Mark all dance at Move Blockhouse Bay. Like everyone, they learned the basics in beginner classes, taught with clear instructions around footwork and hand-holds. Mistakes are all part of the fun, and no one actually has two left feet. Confidence grows as everything gradually becomes more familiar.
And Move Blockhouse Bay? You’ll find men and women at different levels of competence and experience who share a common passion - they just love to dance. The great thing about modern jive is that it can be adapted to most music you enjoy.
Colin (yes, Colin the cabinet maker) and Hannah are the owners and lead Instructors at Move. They have created a friendly, relaxed, classy culture where everyone feels accepted. And can they throw a dance party!! So, if you’re a closet John Travolta, or just wanting to enjoy the challenge of something new, come and try a class or two.
Move is in Blockhouse Bay on Wednesday nights, beginners at 7pm.
Your first lesson’s free so what have you got to lose? |
A peak event on the cultural calendar, the 39th Jerusalem Film Festival will take place from July 21 – 31, 2022. Over 200 films from 50 countries will be shown at the festival, including festive premieres for Israeli films and award-winning films from international festivals such as the Berlinale, Venice, and Sundance. The festival will open with the traditional open-air screening at the Sultan’s Pool in Jerusalem, with an expected audience of 5,000. Over the course of ten days, an audience of 70,000 cinephiles and film industry members, both Israeli and international, will attend the Jerusalem Film Festival. In addition to screenings, the program will include outdoor events throughout Jerusalem, music events open to the public, panel discussions and interviews with film industry members, professional receptions and events, and an exclusive film “greenhouse” for filmmakers.
Roni Mahadav-Levin, Jerusalem Cinematheque CEO, and Elad Samorzik, Jerusalem Film Festival Artistic Director released a statement: “Following the challenges of the past two years, we are excited about the upcoming festival, that will take place in person, with hundreds of international film industry guests, as well as Israeli filmmakers. The festival team is working round the clock on an exceptional artistic program that will present the best of local and world filmmaking in a variety of programs and competitions, with prizes of about a million NIS to encourage and support the art of cinema. We look forward to greeting the many viewers who will attend the festival, at the Jerusalem Cinematheque and other centers of festival events throughout Jerusalem.”
Midnight East will be updating over the coming weeks and months with information and recommendations on films and festival events. |
Picture Farm Film Festival 2022: Block 1
Picture Farm Film Festival is a non-profit, volunteer-run event dedicated to providing a platform for independent filmmakers in our community. We return to the Wythe Hotel with 3 amazing new blocks of programming.
Cinema at the Wythe Hotel (View)
80 Wythe Avenue
Brooklyn, NY 11249 |
Bruce Willis Net Worth, Biography, Age, Height, Weight, and many more details can be checked from this page. Bruce Willis’s Net Worth is $255 Million. Bruce Willis has a net worth which is estimated to be $255 million. He was born on a military base. He is known for the role of John McClane in the movie “Die Hard” and its four sequels and he has appeared in over 60 films. Bruce Willis is one of the greatest, finest, and most famous names in Hollywood and other film industries. Whenever action movies are considered very few names pop up, one of this is Bruce Willis. With the finest action comes the finest responsibility, Mr. Willis has maintained all, at the top spot when it comes to acting in Hollywood.
Here, we will discuss the action hero, who is considered the master of the thriller and immense action films and he is none other than the charming Mr. Bruce Willis. With his finest acting and business skills, Bruce Willis has earned massive respect in the film industry, as well as a massive amount of net worth. Net Worth, in simple terms, means Current Assets minus Current Liabilities. Let’s have a predicted look over Mr. Willi’s wealth which can further give as an estimated amount of his net worth.
Bruce Willis Net Worth
Bruce Willis is an American film actor and a producer. The net worth of Mr. Willis is estimated to be $255 million. The Net worth of Bruce Willis has seen a hike of 25% over the past few years. Apart from acting, Bruce Willis is also a great donor when it comes to charity. A large amount of his income is donated to various charity programs. Mr. Willis has earned massive respect in film industry, as well as a massive amount of net worth. Let’s have a predicted look over Mr. Bruce Willis’s wealth which can further give as an estimated amount of his net worth.
|Net Worth (2022)||$255 Million|
|Monthly Income And Salary||$2 Million +|
|Yearly Income||$24 Million +|
Bruce Willis Assets:
HOUSE: Bruce Willis Resides in Los Angeles, California, U.S. Bruce Willis bought this luxury home in the year 2007. The estimated Value of this Real Estate Property is around $17.6 Million. He also owns different real-estate properties across the world.
CarsThe Car collection of Bruce Willis is quite Large. Bruce Willis owns few of the best luxury cars in the world. The Car brands owned by Bruce Willis include Porsche, Mercedes Benz, Alfa Romeo and Bentley.
Average movie remuneration: Approximately, 23 million USD to 25 Million USD.
Investment: Bruce Willis has invested heavily in real estate business and is also a film producer.
|Estimated Net Worth||255 Million USD|
|Annual Income||$24 Million +|
|Personal Investment||101 Million USD|
|Luxury-Cars||02 Million USD|
Dependency of Bruce Willis Net Worth:
In the case of any celebrities, a lot of earnings depend on fan following. Bruce Willis is one of the most popular actors in the world of cinema. Apart from acting, Mr. Willis is also a film producer and holds different businesses across the world. Thus, we can be very positive that the net worth of Bruce Willis sir will keep on growing through the years.
About Bruce Willis:
If you love action movies, then you might already know some interesting facts about Bruce Willis as mentioned below:
Bruce Willis was born on 19 March 1955, in California US. His full name is Walter Bruce Willis.
Before achieving stardom Bruce has done several odd jobs. After high school, Willis took a job as a security guard at the Salem Nuclear Power Plant and also transported work crews at the DuPont Chambers Works factory in Deepwater, New Jersey.
|Net worth||$255 million|
|Date of Birth:||19 March 1955|
|First Name||Walter Bruce|
|Age:||66 years old|
In the end, we wish Bruce Willis a successful year ahead with lots of achievements and good health, and lots of love. May he keep achieving his goals and keep growing his net worth always!
Frequently Asked Questions
What is the net worth of Bruce Willis?
Bruce Willis’s total net worth is around $255 million.
What is the real age of Bruce Willis?
Currently Bruce Willis is 66 years old (19 March 1955)
What is the Salary of Bruce Willis?
Bruce Willis earns an estimated salary of $24 Million Per Year.
What is Bruce Willis Height?
The Height of Bruce Willisg is 1.83 M (6′ 00”).
How much Bruce Willis Charge per Movie?
Bruce Willis Charge Around $20 million Per Movie.
What is the name of Bruce Willis Wife?
Bruce Willis Wife name is Shay Emms Heming Willis ( m. 2009). |
A secluded place all for yourself can mean all the difference in the world. Your haven, detached from the everyday hustle and noise. A spot just for you, where you can unwind, relax and charge your batteries for whatever the world throws. Having a deck or a backyard (or both) is a commodity that is often overlooked and underutilized which is a real shame.
There’s a real treasure of opportunity hidden right in your very backyard, which is just waiting to be used. You are only limited by your imagination and creativity as there is no need to break the bank on remodeling it according to your visions. Simple changes here and there with a couple of adjustments can make it work and provide you with the Zen spot you seek. With all that in mind, let’s get started because there is no time like today.
1. Walling off your piece of haven.
Today more than ever, all of us understand the importance of privacy. Something that we used to take for granted, and didn’t even think about, has become a focal talking point. The same applies here. If you want to detach from the bustling and noisy outside world, you can do so with some walling off. Short of getting bricks and mortars to erect one, frosted glass panels do the job just as well.
Or you can go even more naturally with a bamboo fence. Perhaps you are planning long term, and in that case, you can opt for wall trellises as they are perfect for any climbing and vine-type plants. The focus here should be on making your own space and defining borders while also keeping prying eyes away from your slice of haven. And surrounding yourself with plants is always a good idea. Or, as we will see later, these types of walls can become multi-practical.
2. Don’t be on the fence.
There is no reason not to use fences when redesigning your backyard space. You can think of them as miniature walls or ways to funnel and guide your guests. You can use them to designate some areas or, to better define them. For instance, your nifty little flower garden can have a matching fence. If you have a trail that zig-zags around and would like to decorate besides it, a humble little fence along the way can give it a unique touch. Your imagination is the only limit in this particular field.
Fences come in all shapes, colors, and sizes. Also, materials so that you can better incorporate them into your vision and backyard design. They can be easily installed, with parts that can puncture the ground without any hustle. There is no need to hire someone as these things are made for do-it-yourself projects. Or you can opt for panels that can be decorated or designed with various patterns which can be mounted or installed between two poles. Again, dare to think outside the box as you imagine your perfect place.
3. A Song of Fire and Water.
Incorporating natural elements can be fun as well as a healthy addition to any backyard. Many scientific studies have been made on the positive impact that various natural elements can have on our mental health. A simple fire pit brings that primal and rustic element that can be used as a centerpiece for party gatherings. You can gather around it with your friends and family for a pleasant and relaxing evening. It can simulate a camping experience in the woodlands without the hassle. One quick tip here, by adding citronella oil to the fire, the pesky pests will be kept at bay, as you all enjoy your evening.
And with fire around, it would be a shame not to use it and grill something over it. A fireplace can easily convert to a grill and there is no shortage of options to include here. Since you already have it, there is no reason not to make it multifunctional. On the other side of the fire, there is water. And with that come the option of fountains, for example. They bring with them the touch of class and serenity to the area. A form of art or practical, they attract birds so you can enjoy their songs as you wind down with your favorite book.
Also, let’s say that the BBQ party is over and there’s a mess around the area, leaves have started to clump up the place. Your outdoor sanctuary could now really use a wash. A good and reliable super jet washer can make your backyard spotless in a second and renew its shine. After all, it’s much easier on the eyes if everything is clean and fresh. A clean outdoor is a reflection of your inner self and vice versa.
4. Lights, camera, action.
Remember the part we mentioned before? The one where walls can be made multifunctional? Well, as they provide privacy from the world, they also provide space for your wishes. On them, you can put just about anything, from flowers to TVs. That’s right, a cinema in your very own backyard. Various projectors and options are possible here so that you can slouch back and enjoy the show in your very own private theater. A bit of fiddling with the electricity and cables can bring a real game-changer. You will be surprised how easily you can make it happen. Also, lights can be places to set the tone and mood for your outdoor sanctuary.
They also can double down as pest repellants and decorative set pieces. The color of them can be white, but then again, it can be whatever you desire. You and you alone know your space the best. Dimmed, subtle or luminous, with them you can shape and set the mode in the evening as you relax alone or are having a party. And a party needs some music to get going.
Now we are not saying to throw a rock concert that will make the neighbors go crazy, but there is an option to install subtle speakers on which you can play relaxing melodies. It’s more suitable, non-imposing, and sublime. Natural, Zen, relaxing, and meditative music can be played, as it can echo and enhance the experience you are trying to achieve in your desired space.
5. Blankets of shade.
Toasting and being scorched in the heat is not something you can associate with meditative relaxing. The solution here also comes in many forms. One form is a tree that can provide natural shade and bring the outdoors to your backyard. The best time to plant a tree was twenty years ago. Since we don’t have a time machine if you chose this solution, plant one today. Mother Earth will thank you.
If you are in a mood or prefer a different approach, shade sails enable smoother sailing through the heat. You can string them above anything and on anything. Pick the color you want, and after the season is over, wrap them up and store them easily in your attic or garage until the need for them heats up again. They are very subtle in design, can easily fit above your designated space, and won’t break the roof of your budget. The only roof involved here is the one you will be putting up above you.
And speaking of which, pergolas are the next step in your quest for shade. Don’t think of them as these rigid structures as they can be flexible and adapt to your needs. Yes, they can be made next to your home and extend the living space to the deck beneath. Or they can extend the room they are next to and offer the outside version. But they can also be made anywhere in your backyard garden to provide protection and shade. And you can put plants and vines on them, or above-mentioned sound and video system. Or deck them out with furniture. While we are on that topic, get on your favorite sofa, slouch back, and start with the next item on the list.
6. Furniture-ing the outdoor.
Think towards hammocks stretched out between two poles or trees and you lazily swinging and getting lulled to sleep. Or deck sofas and you laid across with a cocktail, admiring the view you made. Why not use comfy chairs around a table? Or the before mentioned fire pit as you chat with loved ones? Outdoor furniture means to spoil you, and you should fully embrace and indulge away. Gone are the days when indoors was their domain, as now there are no boundaries.
There are versions made with materials resistant to rainfalls or other weather influences, so you don’t have to worry about them. Your only preoccupation is to pick and match models and colors. With that out of the way, dive into the comfort that is now spread out across your backyard. If you have some reserved spots, you can easily fit in a sofa, or a chair with a nifty table beside and sink into your book, isolated from all in your corner. A drink and a plant to keep you company can be just one example that shows you don’t need to break the bank to enjoy yourself.
7. Plants VS Boredom.
We mentioned them a few times here and there but, they deserve their special place and section. The same applies to your backyard. While some first thoughts can be about high maintenance, plant diseases, and high upkeep, that doesn’t have to be the case here. You can ask any florist for low upkeep, robust and enduring plants that can be a supplement and not a burden. Plants generally are very grateful and bring a lot to the scene.
Pleasant colors that can be vibrant or subtle combined with fragrant smells that spread around the whole outdoor. Vines can decorate and complement any boring surface you dislike with just the bare minimum help from your side. Some types like the fountain grass and gold flowers can grow up to half a meter and won’t require you to buzz around them like a bee but enjoying their presence. Plant some of the countless species of climbing roses against any walls, poles, etc. In a short amount of time, they will cover them with greenery and selected color. Pretty soon you will find yourself in a fairy tale, located conveniently in your backyard.
Or, you can bring the countryside if you would prefer to grow your garden. Doing some gardening can be healthy and stress relieving if that’s your thing. And you can have some homegrown vegetables on the table so that’s a bonus. Onions, carrots, beets, sunflowers, the list goes on, and it’s up to you how you want to fill your garden space.
8. Pave the way.
While walking on the grass is all nice and sweet, a subtle pathway can help your quests navigate your garden of wonder. Gravel or wood chips provide that old-school look. Or you can do as the Romans and pave the way with brick-like blocks. Maybe even get creative and make small mosaics along the way? It will be unique and memorable.
Pathways don’t have to be monotone and colorless. You can mix and match to adapt to different areas of your back garden. Stone, marble, and similar are excellent choices for bringing out a more sophisticated and modern look. Sleek, durable, and eye-catching, these can dominate the way as your walk with confidence and stride thru your practical little kingdom, observing the fruits of your labor. Trust us, it’s one of the best feelings in the world.
9. Family time.
A curious mind of a child is truly a wonder to behold. Including them in any family activity can provide unique insight and create those special and unforgettable family moments and experiences. So how exactly can children help you in this area? Simple, just provide them with the means and watch as the magic happens. A plain white wall can become a canvas for their unlimited painting skills. Just grab some paint and let them loose on the plain and now empty wall.
The excitement and joy in their eyes won’t be measurable and you will easily take the title of the best parent ever. And you can bet that your wall will become a unique piece of modern art, far and wide. The best part is, you can let them do this anytime they want, so the look of the wall can always change, and you can view a fresh masterpiece made from your most beloved every time you sit down.
10. Apply themes.
You don’t have to reinvent the wheel as we saved the best for last. If all of the above sounds exhausting and too much work, but you still want work done, don’t worry because we got you covered. With a general idea in mind, you can google broad themes. One example is a Mediterranean garden. Pristine white and blue colors with soothing themes and warm vibes are the pillars of this. Various pillars in Greek or Roman style, coupled with some statues of the same period, make a more artsy look.
Pared with vines that intervene along with the columns with hammocks and woven furniture, this can be an excellent starter pack if you are looking for such a look. Or maybe you are looking for a more island look like a Cuban or Caribbean Garden? Why sail the high seas when you can have the feel and smell of them in your backyard? With wooden elements and rustic vibes, white or colorful sheets for shade strung over various parts, you can set sail straight to your oasis of peace.
An oasis can be associated with a more Arabic or Egyptian style were brown, orange, white, and yellow merge to bring something unique and unexpected. Sandy and stone, maybe even marble elements can combine to provide a wonder for all who discover this and get the privilege of being invited.
Just one more theme to throw in there for you to google which is the oriental garden styles. Buddhism and Zen are the central points of why you are doing this so aiming for a bamboo fence, tranquil ponds, and various other Asian elements will breathe fresh air and energy to your much needed and weary soul. Every time you step into your garden of Zen, you will be able to find inner peace in a fraction of the time.
Knowing and preparation are half the battle. With this knowledge, you can now face back at all the stress, hustle, and noise that the world throws at you with renewed determination. And you won’t have to face those burdens alone as your very own back garden, yard, or simply your outdoor space is working with you. Together it’s much easier to achieve common goals, such as mental health, refiling your batteries, or simply unwinding. This may seem like you are doing nothing to the outside world, but we both know there is something much more happening here. Which is, you who are enjoying your happy place, and that’s all that matters. |
One week down and seven to go.
It was actually (touch wood) a great week. We've gotten a little ahead
of schedule and have kept within the working hours for our young actor
JP McLeod. JP is a revelation - he is a great actor and a real find. We
looked at printed material on the big screen on Friday night - he looks
wonderful; you just want to look at him.
The high point of the week for me is that I've finally gotten my own
director's chair, to have and to hold, with my own name. There for me
to sit on whenever I get a chance. Last two films, I would be wilting
by the end of the shoot and never be able to find a place to sit and
Jonathan Pryce is great to work with and we get along extremely well. I
have invited him into the directing process and in return he brings
this great gift of performance which also inspires the others around
him. He is also coaching JP on technique. We've done a few pretty heavy
emotional scenes - always a real test - and they went brilliantly.
Geraldine James is really giving herself to the role.
Incidentally, we viewed the material at an art house cinema/centre and
I picked up a programme of upcoming events; they're showing 'Boy from
Mercury' there as a Saturday matinee in a few weeks time. I'll sneak in
and see how it's received.
The week began with news that we are not going to the Isle of Man to
shoot and therefore I now will spend weekends scouting locations in
Wales for all the places we had chosen there. The English producers
never had the Isle of Man deal in place and are really at rock bottom
in anyone's credibility.
I'm enjoying myself more directing this time around; thinking more on
my feet, testing people more, being a bit more bolshy on set to get
what I want. I have obviously already put the fear of God in the
producers who rarely show up on set and don't breathe a word to me
about what I'm doing - no more
looking over my shoulder.
Basically I'm working fourteen hours a day five days a week then ten or
so on Saturdays. It's tiring but great. I'm eating like a horse - big
breakfast, huge lunch, then pasta/readymade food or out for a quick
meal at the end of the day.
The only bad thing is that I've started smoking a few small cigars
I'm living in an apartment which would be great if not for the fact
that it has horrific interior design; frills and china dolls and floral
Let's hope I can have such a bright report at the end of each week.
... or why this is the last time I work as a director for hire.
This week, on screen, we achieved some of the most magical moments of
the film. On Monday, in one 360 degree camera move, we go from bleak
present to an idyllic Christmas past. On Tuesday, we go in one
steadicam move from the boy at the window, to him rushing out the door
in different costume/different time, to him at the piano in another
room. We got out of the farm slightly ahead of schedule and went to our
most gruelling location and biggest build; walking a 400 yard tunnel
(mostly about five feet high) to a huge cavern beside a lake where the
art department had created a magical cave of stalagmites etc. We were
there for two days to shoot five scenes with about twenty shots
planned. We called lunch on the first day at 1.15 with one shot in the
At the end of Thursday, muddy, weary, and two scenes behind, we
surfaced to the news that some cheques were bouncing and the producers
called a meeting at unit base to announce there was a money problem
which was being sorted out. But that we might be shutting down for two
So back in we go on Friday, one scene dropped and I'm cutting back my
'vision' of the other scenes to what was barely achievable. We surface
at lunchtime to the news that all cheques had bounced. But the
producers saying that the distributor was trying to expedite paper work
so a halt in shooting wouldn't be neccesary. We went back in on Friday
afternoon (I could describe the mood - and what it's like to be a
director in these circumstances trying to get crew and cast moving and
energised, but let me just say it was impossible).
We surfaced with the bare minimum of material in the can to get the
scenes. And the union rep waiting to discuss the situation with the
I got back to the apartment and unplugged the phones. I drank modestly
- I don't mix drink with depression. I checked my mobile around ten in
the evening and had one message saying we are filming at least next
week, another telling me my pick-up time for Monday morning. Oh yes -
and on Thursday evening among my post was an airline ticket organised
by the English producers for me to travel to Dublin on June 4th. No one
can find out what bright spark initiated that.
Today (Saturday) I stayed in bed until noon. I'm waiting for the rain
to stop so I can go into town. I'm drained.
This film will be made. And then I take a year writing and focusing on
getting 'Mothership' made. I'll be a writer for hire from now on, but
not a director for hire. Paul Brady was right - 'someone else's dreams
will get you nowhere'.
This will be a great film and the cast and crew are great (though I had
a major, unexpected row at the end of the day on Friday with the
make-up woman who apparently resents my two attempts to date at asking
her to let us shoot). At the open meeting on Thursday evening I
launched a tirade of abuse against the producers and on Friday many of
the crew, one by one, came up to me and thanked me for speaking their
All a learning experience, I suppose. And boy am I getting any soft
edges knocked off my personality.
On to week three.....
The only way was up and that's the way we went.
Spirits were very low at the start of the week, but at least we set out
in more controlled conditions - the bedroom set of the central
character Tal, then an office scene, a classroom scene, and two days
covering (with two cameras) two scenes set in a school auditorium.
The 'visiting star' this week was Griff Rhys Jones ('Alas Smith and
Jones', 'Not the Nine o'clock news' etc) and he was great to work with;
extremely low maintenance. He told me this was a week off for him; his
company (co-owned with Mel Smith) is very busy and he also has two
writing gigs to complete so being here he spent much of his time
reading and resting. It was just what I needed; a technically excellent
actor doing his thing and leaving me in peace.
The days went well after the extremes of the first two weeks, and I
suppose the most harrowing task was dealing with 120 schoolchildren on
Thursday. Something kind of funny happened on Thursday. We would roll
cameras on the crowd of kids for reaction shots and they'd sit there
like "Children of the Damned". Then they had a cue to leave and they
stood up in absolute silence and filed out of the hall like zombies.
So. I set up the cameras to roll without their knowing. I stood in the
correct eyeline for their listening to the speaker. I chatted and joked
and they were relaxed - I talked to them about what was wrong with what
they'd done and they laughed. Then I said we'd take a break and they
could leave the hall for a while; I got all the reactions I needed and
the natural animated banter as they left the hall.
What we all needed was an uneventful and pleasant week. That's just
what we had. On schedule, on budget, fine performances, and a breather.
The delay in payment proved to be a way of saving for some, and we
wrapped early on Friday as people left with cheques and in some cases
cash talking about what they might buy over the weekend.
Next week we take on some more difficult tasks; my first crane shot, a
scene with 200 schoolkids, steadicam - and all weather dependent in
Wales which at the moment is experiencing a spate of thunder storms.
Oh yes; and I've been moved to a really great apartment with tall glass
doors that open out onto a man made lake/wharf about the size of
Central Park reservoir. I could sit and watch the water forever.
Last year in NY I met two guys about to make their first film and one
of them described the process of directing a film as 'one of the last
great adventures'. That's true, I think, and this week was one of those
easy slopes on the way to the peak. The 13 year old boy playing my
central character, JP McLeod, is absolutely wonderful and always
focused and casting him was the luckiest and best decision I made in
Bye for now,
This week I want to write in praise of Tony Imi. As director of
photography, and a man who has filmed everything from the lush ('The
Slipper and the Rose") to the Hollywood barf ('"Seawolf" with Roger
Moore and David Niven etc) to the down and dirty ("Shopping") he knows
it all. Tony is English, but in
his blood is the visual heritage of Italy all the way back to the
Romans. Indeed, Tony looks like a Caesar.
So by now, I have the confidence on my third film to break out of my
cutting room mentality and try to make a frame work on its own rather
than breaking shots down so that it's the editing that tells the story
or carries impact. The result? For instance, at the start of the week,
we were doing a two minute scene in which three boys chat and then the
girl comes along and says her lines and end of scene. In my storyboard
book it was nine shots. What is it now? One shot. On steadicam, we walk
with the boys (my idea, I admit) and then Julie comes along (Tony's
idea) and it all happens in a lively frame (Toni's idea worked out with
AD Jon Williams) with other kids rushing around in the background. It's
all beautiful but not showy. I listen to Tony more now and look at ways
of making the frame come alive. The routine is that we discuss my
storyboarded ideas and Tony shows me how that can all happen in a frame
which as a result becomes more dynamic and riveting. I look at the
rushes and see images richer than I could have imagined. Tony and
production designer Hayden Pearse are forever lifting the film higher
than I could. My job is to have the confidence to accept their gifts.
In other words, this week we were shooting a film. Not looking over our
shoulders at political or financial intrigues. Not battling with
impossible schedule demands. Just being creative.
The first three days of this week were exteriors around the schoolyard.
Then a day back at the farm doing steadicam and crane work. We were
blessed with the weather. On Friday we were back on a set. Today
(Saturday) we travelled around the locations for the upcoming weeks.
Tomorrow I look forward to being alone. After a certain length of time
being questioned by everyone and being in constant conversation, this
other side of me starts wailing for privacy. Which reminds me - we had
a 'midshoot party' last night (mainly a confidence booster after all
the uncertainty) and showed some of the edited footage. It all went
well though I bailed out early to come home and look at the water and
drink a beer.
This was another tough week - mostly physically tough. Two days in a
workshop/studio which was dark, airless and stuffy, then a day on a bus
in brilliant sunlight that had us all sweltering, then a day at the
mouth of a cave - lumping up and down in the heat and mud. Then back
into the blacked-out and even clammier workshop/set. A charming aside
is that one night I'd closed the bedroom window because of noise
outside and woke up gasping in the middle of the night from the stench
of my sweaty dirty washing.
Oh yes - and let's hear it for the director; The crew are brilliant and
on our day at the cave entrance a group had teamed to carry a very
heavy piece of equipment (the 'dolly' used for camera moves) down to
the bottom of the hollow. In admiration, I grabbed my camera and dashed
up to the top of the hill overlooking the entrance to photograph the
event. I was up there when Toni Imi called me to check out something.
So I raced around and grabbed the safety rope to hold as I rushed down
the steep incline to him. Meanwhile on the other path the guys are
calling out and I don't know what it's about until I realise when I
reach the base; I had added to the weight they were struggling with
because the rope I was using was their safety feed being released as
they lowered the dolly.
We did a lot of magical stuff this week, which was great. On Friday,
for instance, we did one shot where the boy's bed changes to a boat and
he sails out of his room into a dark harbour. Started work at 7.30 in
the morning. The take was in the can at half three in the afternoon.
But it's great.
Most of the week I was working just with young JP who gets better and
better and is a real trooper. On Friday, for instance, he lay patiently
in the bed on the set for hours amidst dry ice and crew and mayhem as
we tried and tried to get the shot right. There's a really strong bond
growing between he and I - and he's a marvellous young actor.
This morning (Saturday) I looked at all the edited material to date
with the editor and we are running WAY over-length. We have been
averaging twenty minutes of screen time a week - though at least this
week is mostly complex shots with less screen time. I have to go over
what's left to be shot of the script to try cutting back some more.
This afternoon 'The Boy from Mercury' was being shown at an art house
cinema here so I went along. I sure can draw an audience; there were
about ten people there. But there was a family - parents and two kids -
in front of me and they really enjoyed the film and that's always
Next week we do mostly outdoor. Will the weather remain sunny? Hmmm.
Another week another world. One of the many interesting challenges
about this film is that the boy engages in many different worlds; so we
did two weeks in the farm with Jonathan Pryce and heavy family drama,
then a week or so in the school world and the energy of the schoolkids.
Then some days in Tal's bedroom - the home of his imagination. This
week we shot the events in his Mam's world; a seaside town. All is
light and bright and airy. The camera moves a lot. Mam and her new
partner are close and happy. Tony Imi shot this material on a different
stock to highlight colours and I suggested that in fact the character
'Toni' is a sometime painter so Hayden did paintings that colour the
room. The material looks great.
But then there was the fascinating experience of 'Black Tuesday'. First
off, I went to bed feeling fine on Monday night but woke up about 4am
feeling awful. By the time I went to work I had terrible stomach pains
and felt dreadful. We blocked the scene in the hair salon run by the
Toni character. Boyd Clack plays Toni, and while Boyd wears rather
thick glasses we had given him contacts. While the hair salon was being
lit we got word that Boyd had dropped one of the contacts and to clean
it had used some high strength formula and then put it in his eye;
which bulged up red. It took an hour and a half to sort out the
problem, and Boyd, being a trooper, wound up playing the scene not able
to see a blessed thing around him. We barely managed to get out
of the location before it opened for business. Next we were set to do a
car scene. The plan was that it would be rigged while we rattled off a
wide shot for a beach scene we'd done the previous day. So. First we
find there's been a mistake and the car is in the showroom sixty miles
away. Then it finally arrives and the news is broken to me that the
beach shot (the extras are now gone) was shot with an incorrect filter
and might need to be reshot.
In the end we got all the material (and the beach shot was fine) but
the first assistant director, Jon Williams, noted "I'm glad we're not
doing any stunts today".
Finished the week on Friday back in the workshop/studio to complete the
fantasy sequence of Tal's bed going out to sea, then picking up some
shots we needed.
Next week, Ian Bannen.
Where to begin...
Monday we were doing no-brainer stuff; establishers and link shots
outside the home of the character Billy (Ian Bannen). But a carry-over
from Friday was the fact that people hadn't been paid for last week and
would only continue working until Wednesday lunchtime. On Tuesday, with
more emotional stuff to do on camera, the day began with the generator
breaking down and the union rep coming out because the word he had
received was that the crew was about to walk. Work recommenced, but a
few of the crew were chatting in the corner in one take while I was
directing JP in one of his more emotional scenes. Later, Tony and I had
an argument - but everyone was just dispirited. I also had an argument
(again) with the sound recordist who I'd love to fire - but how can you
fire someone who isn't being paid? By the end of the day something
happened to me; I lost heart. Next day we arrived at the fantastic set
designed by Hayden and I was chatting with him and Tony. Hayden
commented that I kept pouring energy into the film and the producers
kept pulling the plug. I told him the plug had won.
That day was strange because I was quite aloof from the crew. By
lunchtime the producers arrived signing cheques (as indeed they had
promised they would) but I was sitting back working with the actors and
keeping to myself. I've never done that before; and I discovered a
director can have nothing to do with the crew. I wonder how it would be
if I only dealt with the department heads? The crew are great, but
their allegiance is to each other (they'll be working with each other
again in weeks or months - they're unlikely to see me again).
Ian and JP are fine and the material looks great. We're running two
cameras so we can get all the material we need within JP's working day
and not have Ian work without JP. The film, I am certain, is a very
strong piece of work. But I can't wait to be done with the shoot.
This evening (Friday) as I was dropped off at my apartment Tony Imi
said "see you Monday refreshed and optimistic." I answered in truth
"Refreshed I can do."
Next week is the last week and I count the days hoping for no more
bricks hitting me in the back of the head. I take a break for two weeks
after that before launching into the edit and naively feel the edit
won't be this kind of roller-coaster. Who knows.
Tomorrow I go to London for the day to work with the editor and view
all material cut to date.
The last day. This morning I sat gazing out the car window; past
Pontyprydd where we had out first day filming (the train station) and
Bedlinog (where we filmed on the farm for almost two weeks) and out
over open moorland to a tiny village overlooking the valley town of
Fochriw. On Thursday we'd worked a long day to get a sunset shot. So
Friday we finished and wrapped at lunchtime. Monday and Tuesday we'd
finished with Ian Bannen. Wednesday was some really visually
interesting stuff at a Welsh church. I was marking time to some extent,
knowing that the heaviest drama was in the can and we were joining dots
in the story.
On Friday I gave people turns at directing shots; Hayden set up the
first one, Tony the next, JP the next.
But I end with the following absolutely true story;
Way back, we were casting this cameo role of a character who crops in
two scenes that bookend the film. I was shown various people and saw a
still of Robert Pugh. I knew him from various things in films and on
TV. The casting director tried for him and came back delighted to say
he'd do the film even though it was way smaller than what he would
usually do. He was busy at the time so I couldn't meet him. He was away
when we were doing the read-through and wasn't available for
rehearsals. He arrived in Cardiff too late the night before shooting
for me to meet him so I met him for the first time the morning of doing
his scenes. And.... he's not the guy I thought he was. He's an actor
I've never seen before in my life. I kept looking at him wondering if
maybe he was the actor I thought I was casting but had lost/gained
weight. But no. I confessed this to the Toni Imi (who nearly gagged
with laughter on his breakfast) and to the first AD (in case this
was a wind-up). So we have Robert Pugh. A fine Welsh actor well known
in Britain. But I didn't know I was casting him.
And now the film is in the can. |
The German (rather, West German) director Rainer Werner Fassbinder’s first feature, “Love Is Colder Than Death,” from 1969, is one of the great first features. The genre came into being with “Citizen Kane”; before Orson Welles, filmmakers tended to made lots of films quickly before emerging with their first enduring classics. Welles established the notion of the epochal first feature that didn’t just launch a career but knocked the history of cinema into a new orbit. Next came Jean-Luc Godard, who did so in early 1960 with “Breathless,” a Parisian version of an American film noir that nonetheless plays like an intimately personal story.
Fassbinder, too, made a gangster film, setting it in his home town of Munich and turning it personal in his own way—not least, through his performance in the lead role of Franz, a small-time pimp who refuses to accept a mobster’s offer that he can’t refuse. As a result, he’s pursued by a killer, all the while also being hunted by another pimp.
The story, rooted not in Fassbinder’s experience but in his cinematic mythology—both his viewing of American movies and of French New Wave films that borrowed from them—nonetheless suggests his own sense of himself as an outsider in the crosshairs for not playing the game. He made the film as an independent filmmaker, putting some of his own money (earned by acting) into the film, and got some money from a private backer, but working utterly outside the system of German filmmaking. He was twenty-three at the time.
A couple of weeks ago, at the Berlin Festival, I brought up the subject of Fassbinder and his leap into filmmaking. The topic under discussion was the current state of German filmmaking, and what became clear is that it’s inseparable from the current German state: government subsidy has become, for the most part, the sine qua non for most German filmmakers, beginners as well as veterans, and discussions, public and private, revealed that the bureaucrats whose decisions matter exert a disproportionate influence on the substance of films as well as on the determination of methods of production. The very process of entering the financing pipeline slows filmmakers’ plans and projects to a crawl and creates undue delays in the making even of relatively low-budget movies. It’s the antithesis of youth and its ardor, its urgency, its irrepressible outpouring of creative energy—which is exactly what’s on view in Fassbinder’s first film. |
See also: Where to Stay in Atlanta
The birthplace of Martin Luther King, Jr. and the center ground for the civil rights movement as well as the basis for the book ‘gone with the wind’ and a melting pot of diverse cultures such as the largest Hindu temple outside of India is situated here. Basically, the only word used to describe Atlanta is ‘historic.’ Here, you can bike around or simply stroll as you like as its trails span 61.5 miles. Here are 30 things you can do while you’re in Atlanta:
Hike Around the Stone Mountain Park
The Stone Mountain Park is the most scenic location of Atlanta due to its lush green environs and natural rocky structures. It is an instant crowd pleaser with its buildings from the 18th and 19th centuries as well as a swift sky ride that takes you to the top of the mountain. There are also adventure rides such as the sky hike which is an adventure course in the tree tops sure to keep your adrenaline pumping. The 3,200 acres of nature will breathe new life inside of you and you can end the day by watching a light laser show.
Cruise Around the Chattahoochee River
The Chattahoochee river national recreational area contains 50 miles of breathtaking trails and opportunities for adventure activities such as paddle boarding on the mighty waves of the river at Morgan falls. A picturesque trail known as Sope creek will leave you marveling at the tall trees and warm sunlight streaming through the leaves. Another one called the East Palisades trail has a wooden bridge stretched across another creek and provides stunning views of the River. Simply put, this location has to be on everyone’s list.
Bike Around the Beltline
The former 33 mile rail line had been lying disused until an urban renewal project began which is still a work-in-progress but has successfully transformed the area into a recreational area containing restaurants, shops and pathways. The Krog street market, rathbun’s, parish, king of pops and Woody’s famous Philadelphia cheese steaks are among a few of the eateries situated alongside the pathway. You can visit the Ponce city market and Ponce on Paris in order to have a wholesome shopping experience. You can catch on some exercise by renting a bike on the Eastside trail.
Visit the CNN Studios
CNN rose to prominence when it live telecasted the Gulf war in 1991 and since then has cemented its place in popular culture. At the CNN center, you will be taken on a guided tour of the legendary headquarters where you will learn about the history of the media organization and visit their studios. The 50 minute walking tour will take you through all the behind-the-scenes action as well as educate you about the production techniques required for live broadcasting. When you get hungry, you can visit their enormous food court.
Become Quirky at Little Five Points Neighborhood
The little five points is an iconic neighborhood of the city with its charming old-school vibe mixed with the rawness of a hipster sensibility. The area is full of fascinating murals, shops, restaurants and art galleries. Criminal record has a unique blend of lesser-known vinyl records along with mainstream musical hits and is a tourist magnet. The Vortex is the most recognizable building of the neighborhood because of its skull-shaped entrance and serves the juiciest burgers. Finally, a homegrown fast food restaurant called Zesto is famous for its ice creams.
Take Off at the Delta Flight Museum
The Delta flight museum is a paradise for aviation nerds as it provides a state-of-art facility spanning over 68,000 square feet of area. The museum has many exhilarating displays such as the spirit of Delta airplane, Boeing 767, Ship 41 and DC-3. Though, the most exciting interactive display of the museum is the full-motion simulator of the Boeing 737-200. The museum showcases the vast history of Delta airlines through eight decades and the start of commercial aviation.
Dive Deep at the Georgia Aquarium
The Georgia aquarium is considered by many locals as the ultimate tourist destination of Atlanta and it’s not difficult to see why. The aquarium houses aquatic life from 500 different species within a facility which contains 10 million gallons of water, a rare amount for any aquarium around the world. The aquarium is home to four beluga Whales and hosts Dolphin entertainment shows. Within its vicinity, it also houses other exhibits such as Ocean Voyager, the cold water quest, Aquanaut adventure, River scout and Tropical Diver. The interactive sessions with aquatic animals will leave you mesmerized.
Stop and Smell the Roses at the Atlanta Botanical Garden
The botanical garden of Atlanta is spread over an area of 30 acres and is an oasis of greenery and plants. It is situated in the Midtown area of the city and has the Fuqua orchid center which houses rare varieties of Orchids from around the world. You can visit the observation hive in order to learn about honeybees and visit the children’s garden to frolic around the sunflower fountain. The Kendeda canopy walk offers blissful scenery and a peaceful trail for you to stroll around and the Sheffield botanical library is a storehouse of knowledge and a place for research.
Laugh Out Loud at Dad’s Garage Theatre Company
The dad’s garage is a local not-for-profit theatre company situated in the old fourth ward neighborhood of the city. If you want to have a hearty laugh or do something fun with your partner on a date night this theatre company is going to enthrall your senses. They put on a variety of shows every week such as ‘murder: she improvised, death at the scary house’ and ‘theatre sports’ which puts on a show every Saturday night. If you want to acquire some new skills or meet locals then, you can sign up for their improv classes.
Meet Dinosaurs at Fernbank Museum
Fernbank museum is a state-of-the-art facility that showcases fascinating pre-historic cultures, natural history and ancient fossils through its displays. The museum has wild woods and the Fernbank forest where you can explore 75 acres of lush plant life as well as go on a canopy walk. There is also a 3D giant theatre inside the facility which premiers movies such as the great bear rainforest, Apollo 11 and volcanoes 3D. As you walk around the museum, you will be left astonished by the many Dinosaur fossils and skeletons displayed inside.
Become a Movie Star at Fox Theatre
The Fox theatre will transport you back to the golden era of Hollywood with its red cushion seats, white marble staircases, gold engravings on the walls and an overall feeling of regality and old-school Hollywood charm. The theatre’s main purpose is to showcase classic Hollywood films but it also hosts music concerts, the Atlanta Ballet, Broadway shows and live performances. The theatre is one of the most visited sites of Atlanta, according to Trip Advisor and will not leave you disappointed.
Admire Modernism at the High Museum of Art
The high museum of art is one of the most phenomenal contemporary art museums of South East America and this is because of its remarkable permanent and rotating art exhibitions. The museum contains 11,000 works of permanent art including folk, decorative, European, African and American art as well as photographic works and a room full of giant peaches. The art collection is richly comprised by Tiepolo, Ernst, Tournier and Monet, you can buy prints of your favorite art pieces and other memorabilia from the museum gift shop. The museum has jazz evenings every Friday and also hosts family and youth programs.
Democratize Art at the Krog Street Tunnel
The Krog street tunnel is a passage that connects the area of Cabbagetown and Inman Park neighborhood and is known for its colorful and vibrant walls. Every inch of the walls are covered either in graffiti, murals, festival flyers and you may even spot an occasional marriage proposal. The Krog street tunnel is frequented by locals and cyclists who use it for their daily commute but the tunnel is a magnet for photographers and artists who want to create art for the public.
Support Local Farmers at the Municipal Market
The municipal market is an open-air facility selling fresh and local produce since the year 1918. It is also known as the curb market and houses around 30 local businesses that specialize in meat products, fresh fruits, vegetables, bakery, pharmacy and a cooking school. You can also choose among an array of diverse eateries such as Venezuelan, British pies, Caribbean cuisine, soul food, barbeque, Polish, American and French crepes, among many others. The aroma of baking goods combined with butchers cutting fresh meats of pig, the market promises an unusual sensory experience.
Visit the National Center for Civil and Human Rights
Established in the year 2014, the national center for civil and human rights is a museum and gallery preserving the history and artifacts relating to the American civil rights movement of the 1960s as well as other humanitarian efforts around the world. One of the exhibitions displays personal writings and letters of Martin Luther King, Jr. such as the letter from the Birmingham jail and another one which talks about the American civil rights movement more comprehensively. There is a gallery which juxtaposes images of dictators with modern day activists and LGBTQ advocates.
Fly High at the Skyview Atlanta
The skyview is a technologically advanced Ferris wheel that has 20 storeys’s and is 200 feet tall which provides for breathtaking views of the city. The enormous wheel is situated inside the Centennial Olympic Park and has temperature controlled gondolas that take you around in a circle while you admire every nook and corner of this city. The night time laser light show happens here and is considered to be a popular tourist attraction of Atlanta and is a once in a lifetime experience.
Get a Sugar Rush at the World of Coca Cola
The world of Coca-Cola has been open to the public since 2007 and as the name suggests, it is a museum that tells the story of the beverage company. Here, you will be taken on a guided tour where you will be shown how the coke is made, the humble beginnings by John Pemberton, the bottling machinery and coca-cola’s presence in popular culture. The most popular part of the visit is the soda tasting room where you can try drinks of innumerous varieties and countries such as Peru, Uganda and Russia. This is the ultimate place for sugary drinks enthusiast and overexcited children.
Watch a Game at the Mercedes Benz Stadium
The Mercedes-Benz stadium is massive in size with 71,000 seats for viewers but this is not its only perk as the seats are designed with cutting-edge technology which means there is no bad seat in the stadium as any seat provides for clear viewing of the game or performance. The stadium is home to NFL’s Atlanta Falcons and Major League soccer’s Atlanta United as well as hosting musical concerts and live performances. The environmentally sustainable stadium will be hosting this year’s super bowl.
Be a Diva at the Scad Fash Museum of Fashion + Film
The SCAD FASH museum of fashion and film is a standalone and one of its kind museum dedicated to high street and couture fashion. The museum has temporary and rotating exhibitions by couture fashion designers such as Oscar de la Renta, Pierre Cardin, Carolina Herrera, Daniel Lismore and Guo Pei. In 2018, the museum hosted an exhibition of costumes from the TV show ‘the handmaid’s tale’ and has also housed photographic exhibitions by artists such as street photographer Bill Cunningham, Jonathan Becker and Omar Victor Diop. The audience it attracts is generally fashion enthusiasts and art curators.
Go on a Drive at Porsche Experience Center
The Porsche experience centre offers a world class facility for people who want to learn about the famed company and have a desire to test drive one of the 75 models present within the facility. Visitors can either choose to drive a Porsche vehicle or can visit their simulator lab which will give them the feel of driving a race car on some of the most famous tracks in the world. Here, you will get a better understanding of the engineering process and the work that goes in making these vehicles. You can eat and drink at their Carrera Café or Restaurant 356.
No One’s Too Old for the Legoland Discovery Center
Legoland discovery center is a paradise for children and adults who want to have a day off from typical tourist activities and enjoy a few carefree hours with lego’s. The center has a 4D cinema hall which showcases the famous LEGO movies and there are also interactive rides such as the pirate adventure land where you can build your own treasure map, pirate ship and sandcastles. At the master builder academy, you can learn to build lego’s with the help of experts and learn the tricks of working with lego’s. Even if you’re an adult, you shouldn’t feel ashamed in frolicking around and playing with lego’s.
Pay Your Respects at the Martin Luther King, Jr. National Historic Park
The national historic Park is dedicated to the life and legacy of Civil Rights movement activist Martin Luther King, Jr. and within its vicinity, it contains many buildings. One of the buildings is King’s childhood home which was built in the year 1895 and where Martin Luther was born in 1929. The home includes a parlor, dining room, bedroom, front porch and a study and nearby is the King center where you can visit the memorial tomb of Martin Luther King, Jr. and his wife, Coretta who founded this center after his assassination. The statue of Mahatma Gandhi is part of the Park as a memorial for the Indian freedom struggle.
Feel Regal at the Jimmy Carter Presidential Museum
The Jimmy Carter Presidential museum and library was formed as a way to honor the legacy of the former Governor of Georgia and the 39th president of the United States. Jimmy Carter is the oldest and longest living president of America as he is the first American president to reach the age of 95. The museum and library are surrounded by lush green gardens and inside the building; you can look at interactive displays and spend a day in the life of a president by entering into the Oval office and taking a virtual trip with Mr. Carter. Through, you should be alert because the former President does make occasional visits to his museum.
Shop Till You Drop at the Atlantic Station
The Atlantic station isn’t a station at all instead it is a bustling area of Atlanta perfect for enjoying a day out because of its numerous shops, restaurants, cafes, bars and boutique hotels. Some of the best restaurants to try here are the pig and the pearl as well as the yard house. The area also offers affordable and trendy retail places for shopping such as H & M, GAP and Dillard’s or you can catch a movie with your friends at Regal Cinemas. Numerous festivals also take place here such as the Jewish film festival in February and the beer, bourbon and BBQ festival in the month of May.
Visit the Dead at Oakland Cemetery
The Oakland cemetery is not only the resting place for many Atlanta natives and significant personalities but also, a historic landmark as it was built in the year 1850. The cemetery is situated in downtown Atlanta and is known for its serene architecture and tropical gardens where dense Magnolia trees provide shade in abundance. There are many festivals that take place here such as ‘Sunday in the Park’ which is a Victorian themed festival and the Oakland Halloween tours. The famous graves worth visiting here include Bobby Jones and writer Margaret Mitchell.
Watch a Performance at Alliance Theatre
The Alliance theatre is an award winning national theatre founded in the year 1968 which aims to put up radical, innovative and diverse shows for a worldwide audience. Some of the most legendary productions of the theatre include the color purple, bring it on: the musical, aida, come fly away, sister act: the musical, the prom and ghost brothers of darkland county. The theatre puts up rotating productions that change all through the year and gives the viewers a chance to experience scintillating and mind blowing performances.
Get Serenaded at the Atlanta Symphony Orchestra
The Atlanta symphony orchestra was founded in the year 1945 and is situated inside the Woodruff arts center. The famous orchestra has played during the 1996 Summer Olympics in Atlanta, both for the opening and closing ceremonies. Its capable and outstanding musicians are worth everyone’s time and money. As a first time visitor, you can book yourself a ticket for one of their concerts which occur on a daily basis. Jane Little, the world’s longest serving musician was a part of this orchestra for 71 years till the last day of her life.
Eat Your Heart Out at Buford Highway
Buford highway is a rustic and banal looking mall but is one of the best places in Atlanta to try a variety of cuisines belonging to different nationalities including Vietnamese, Chinese, Bangladeshi, Mexican and Korean, among many others. Panahar is a Bangladeshi restaurant situated here that serves a generous and affordable lunch buffet. The Havana sandwich shop is known for its authentic and original Cuban sandwich and Lee’s Bakery serves Vietnamese specialties such as pork banh mi and shrimp pho. These are only a few of the many scrumptious restaurants located inside the mall.
Strip Your Vices at Clermont Lounge
The Clermont hotel was founded in the year 1939 and is a trendy boutique hotel inside which is situated a one-of-a-kind strip club called Clermont lounge. This lounge was started in the year 1965 and experienced the psychedelic nature of the 60s and 70s in full swing while maintaining its uniqueness. Unlike other strip clubs, this lounge employs servers and dancers ranging from the ages of 22 to 65 and has ensured the integrity of the people who work here. This club is famous and infamous, all at the same time.
Quality Over Quantity at the Staplehouse
In 2016, the renowned food magazine Bon Appetite named staplehouse as the best restaurant in the entire country and many have applauded its food and hospitality. Unlike other restaurants of its stature, staplehouse is situated inside a former factory and the architecture has exposed ceilings and brick walls which give it a relaxed and unpretentious vibe. The 10 course tasting menu is worth the price and will leave a lasting impression on your taste buds. Some of the most coveted dishes include the chicken-liver tart, fennel soup and potato bread. Consider the hype or the supposed quality of food, staplehouse is the perfect way to end your trip.
Atlanta is such an iconic city that rapper and actor Donald Glover decided to make a television show on this place and you can’t blame him because it is hard to be cynical about Atlanta once you visit it. This city is known for its place in the history of America, its love for Barbeque sauce and giving the world musical gems such as John Mayer and Usher. |
Informations and abstract
Keywords: Television, Film Opera, Live Broadcasting, Places, Italian Creativity
With this essay, regarding the theme of representation and interpretation of reality and fiction in audiovisual production in Italy in recent years, we want to reflect on the issue of the productions of live television films, and in particular the film opera broadcast live on television, a series of particular spectacular fictional events that have mixed several visual arts typical of Italy. The analysis will span from 1992 to 2012, when these particular forms of hybrid television productions were introduced between opera, cinema, theater and television by the producer Andrea Andermann. We want to compare two lyrical works broadcast live on television: Tosca in the setting and at the times of Tosca in 1992 and La Traviata à Paris in 2000. |
Apartment for sale New Golden Mile with 3 bedrooms, 2 bathrooms (one ensuite) and resort-style amenities. The open plan design includes a bright living space with oversized patio doors providing stunning views and seamless access to the outdoor area. The kitchen is fully fitted with white gloss cabinets and adds a touch of luxury to the open living and dining area. The apartment boasts a large terrace for outdoor living and enjoying the views and lifestyle on the Costa del Sol. Garage parking and storage is included along with access to the indoor pool, cafeteria and full leisure services of the Santa Vista Club.
This new development in Estepona is in a popular golf area on the sought-after New Golden Mile. It is within walking distance of the local town of Cancelada which has a full range of amenities. Estepona with its historic Old Town is about 15 minutes by car and offers cobbled streets, shops and a good choice of restaurants and bars.
Golf is on the doorstep of these luxury apartments with Los Flamingos Golf Course, La Quinta and El Higueral all within a few minutes’ drive. Families are close to Mundo Mania amusement centre and 15 minutes from Selwo Aventura Zoo. The nearest sandy beach is just 5 minutes away by car.
A day in Puerto Banus offers private beach clubs, casino, waterfront dining and designer shopping around the luxury marina. Centro Plaza Shopping Mall has plenty to tempt shoppers, along with El Corte Ingles department store. Further away, La Canada Shopping Centre in Marbella has a wider choice of restaurants, a cinema and international stores including Marks&Spencer.
Malaga Airport can be reached in 45 minutes via the AP-7 toll road.
This contemporary new apartment has a modern layout. The entrance leads into the open kitchen area and living room with patio doors to the outdoor terrace. A hallway provides access to the master bedrooms with dressing room and ensuite bathroom, a second family bathroom and two further bedrooms, all with fitted wardrobes.
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This new development in Costa del Sol includes high quality fitments throughout and complies with the latest stringent standards of energy efficiency with LED lighting and technology. It has hot and cold air-conditioning with a heat pump and solar panels for hot water.
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Bedrooms have fitted wardrobes and ensuite bathrooms. The master includes a dressing room, ensuite bathroom with twin sinks and spacious glass shower.
Newbuild apartment for sale New Golden Mile that has above-average resort amenities for owners. This 3 bedroom, 2 bathroom home is bright and spacious with plenty of natural light. Oversize patio doors lead to a large terrace with far-reaching views. More than a home in the sun – it’s a lifestyle! |
First week of March 2020. I see that I was still out and about but I also see that I avoided a few entertainments before the cancellations started in earnest and the first lockdown kicked in. I remember feeling a little nervous but obviously no precautions taken apart from the space my bulk and air of misanthropy usually commands.
Four Minutes, Twelve Seconds – Oldham Coliseum. 4th March 2020. ****. A visit with the SO to Manchester for theatre and family. In retrospect, like our wonderful trip to Andalusia a couple of weeks earlier, not the smartest of moves as the virus dug in, but we weren’t to know. The Tourist is very keen on the Oldham Coliseum and here the OC AD Chris Lawson, together with Natasha Harrison, alighted on James Fritz’s 2014 play, Four Minutes, Twelve Seconds, as a worthy and cautionary tale to bring to the good people of Greater Manchester. I was very taken with JF’s Parliament Square and The Fall and this didn’t disappoint (the original Hampstead Downstairs production secured a West End transfer). At its centre is teenager Jack, groomed for success, but who never actually appears. Instead the reaction of his parents, Di (Jo Mousley) and David (Lee Toomes), his feisty ex girlfriend Cara (Alyce Liburd) and his conflicted best mate Nick (Noah Olaoye), is what drives the action and debate. For Jack has posted a “revenge” sex tape on line without Cara’s knowledge and its repercussions allows JF to explore issues of class, power, privilege, consent and shaming without sacrificing the believable human concerns of the protagonists. Anna Reid’s set was a bit tricksy with a mirrored frame (allowing rather too many blackout jump cuts) surrounding the immaculate family home and Andrew Glassford’s score occasionally intruded. JF’s disclosures occasionally stretched credulity, Jack’s parents are very protective/forgiving, but his sharp dialogue, snappy pacing and characterisation is still spot on. The central performances of, especially, Jo Mousley and Lee Toomes more than did justice to the script. Hope to see more of JF’s work and very interested to know what he is working on right now.
Wuthering Heights – Royal Exchange Manchester. 4th March 2020. ***. I sensed from the off that the SO was dubious about this adaptation. But I reminded her how brilliantly Sally Cookson brought Lottie’s Jane Eyre to the stage and crossed my fingers. Unfortunately she, the SO, was right. I can see what co-MRE AD Bryony Shanahan was aiming for in her production of Em’s only opus, let’s call it “elemental”, but there’s many a slip ‘twixt the cup and lip. WH is a great book, or so the SO who is an expert in these things tells me, for it is a long time since I have read it so can’t properly vouch for the skill of Andrew Sheridan’s adaptation, but it did seem a little haphazard, promoting detail and odd linguistic effect over plot and narrative arc and little concerned with the ending. When compounded with the rock n roll, live score of Alexandra Faye Braithwaite, Zoe Spurr’s nerve jangling lighting design, an earthy, obstacle course, set from Cécile Trémolières, a Heathcliff from Alex Austin that tipped into full teddy-boy werewolf (yep that’s what I meant) and a Cathy from Rakhee Sharma tinged with Gen Z petulance, it was all a bit rich for my blood. And yet. I quite liked it. After all at its core this is a Gothic tale of unhinged love. jealousy (bags of that in Gurjeet Singh’s Hindley) and revenge and in tone, if not timbre, this production got it right.
Our Man in Havana – Spies Like Us – Vault Festival. 5th March 2020. ****. OK so descending into the packed, dank tunnels underneath Waterloo which host the Vault Festival didn’t seem, even at the time, to be that smart a move and I canned a couple of later visits, but in this case my recklessness was rewarded with the kind of hour’s entertainment that only “fringe/festival” theatre can provide. Spies Like Us are a seven strong physical theatre ensemble formed in 2017, based at the Pleasance Theatre in London, with four productions under their belt, an adaptation of Buchner’s tragedy Woyzeck, comedy Murder on the Dancefloor, latest work whodunit Speed Dial and this, their first production, Our Man in Havana, based on Graham Greene’s black comedy about the intelligence service. Impecunious vacuum salesman Wormold (Alex Holley) is an unlikely recruit, via Hawthorne (Hamish Lloyd Barnes), to MI6 in Batista’s Cuba who fabricates reports, and agents, to keep the bosses happy. The stakes rise when London sends him an assistant Beatrice (Phoebe Campbell), who helps him save the “agents”, and the Russians try to take him out. He exacts revenge and tries to outsmart a local general (Tullio Campanale) with designs on his daughter Milly (Rosa Collier). All is revealed but finally hushed up with Wormold getting a desk job, a gong, the girl and cash for his daughter’s education. I confess there were times when I wasn’t absolutely sure what was going on or who was who but, under Ollie Norton-Smith’s direction, Spies Like Us play it fast and very funny. No set, minimal props (the actors themselves provide where required), doubling and tripling of roles. It is all about the sardonic script, accents, movement (choreographed by Zac Nemorinand}, sound, light and, especially, timing, and this caper was honed to perfection.
Love, Love, Love – Lyric Hammersmith. 6th March 2020. ****. My regular reader will know i have a soft spot for the ambitious and fearless writing of Mike Bartlett. Love, Love, Love may not be his best work for theatre (I’d go with Earthquakes in London, Bull and King Charles III) and the issue it explores, generational conflict, may not be original, but, as always, there is heaps of acutely observed dialogue to lap up and a punchy plot to carry you along. In the first act set in 1967, free spirited Sandra (the criminally underrated Rachael Stirling) dumps dull, conservative boyfriend Henry (Patrick Knowles) for his rakish brother Kenneth (Nicholas Burns), a fellow Oxford undergrad. Fast forward to 1990 and the now married, and tanked up, couple are bickering in front of kids Rose (Isabella Laughland) and Jamie (Mike Noble). Finally in 2011 the consequences of their baby boomer generation’s selfish privilege are laid bare at Henry’s funeral, via the undiluted fury of Rose, now well into her 30s and with no assets, career or family of her own. As she says her parents “didn’t change the world, they bought it”. As usual with Mr Bartlett there are a few moments when you think, “nah he can’t get away with that”, and a few of the comic lines are jemmied in, but the way he combines the personal and the political, like a modern day Chekhov, is never less than entertaining and the satire more effective for its relative gentility. Joanna Scotcher’s sets are brim-full of period details, marking the couple’s increasing wealth, and Rachel O’Riordan’s direction was faultless. This was a smart choice by Ms O’Riordan, the play may be over a decade old but the generational stresses it explores are perhaps even more pressing, and, with A Doll’s House and the revival of Martin McDonagh’s, The Beauty Queen of Leenane (generational conflict of a different hue) completes a trilogy of hits from her since taking the helm at the Lyric. And the 2022 season she has just announced matches anything else served up in London houses as we return, hopefully, to “normality”. She will be directing the prolific Mr Bartlett’s new play, Scandaltown, which sounds like his take on a contemporary Restoration comedy, and there is also a revival of Patrick Marber’s Closer, a welcome update of Racine’s tragedy Britannicus, Roy Williams’s take on Hedda Gabler, and a new play Running With Lions. And the directorial talent on show is top drawer: Michael Buffong (Talawa Theatre), Atri Banerjee (Hobson’s Choice), Claire Lizzimore (another Bartlett specialist) and Ola Ince (Is God Is, Poet in Da Corner, Appropriate). Buy tickets for 3 of then and pay for 2. Which comes out at barely a tenner a seat. In a lovely, friendly theatre with acres of space and perfect sight-lines. Surely a bargain.
Red Peter – Grid Theatre – Vault Festival. 7th March 2000. ****. Back to the Vaults for the penultimate visit to the theatre before I chickened out and the curtains starting coming down. As it happens I was able, in fairly short order, to contrast this take on Franz Kafka’s short story, A Report to an Academy, adapted and directed by Grid Theatre’s founder, Chris Yun-Ward, and performed by Denzil Barnes, with a later version, Kafka’s Monkey, from 2009, with the human chameleon Kathryn Hunter as the eponymous ape, directed by Walter Meierjohann and written by Colin Teevan. This latter was on a screen, deadening the impact of what is a tour de force of individual physical theatre, but then again I could watch Ms Hunter open a letter. However, and putting aside the benefit of being in the, very, atmospheric room, (this was one of the Vault spaces with full on train rumbling overhead), Denzil Barnes was mesmerising. In order to escape captivity Red Peter has to learn to behave like a human telling his story via a lecture to an imagined scientific audience. Not difficult to see where Kafka’s absurdist metaphor was targeted, the cruelty of the humans in the story is contrasted with the nobility, patience and eloquence of our hero, but just to be sure there is plenty of philosophical musing on the nature of freedom, assimilation and acculturation to ram home the post-colonial point. Which means Mr Barnes had a lot to say, as well as do, at which he was very adept. But it is the doing, when being chased, when incarcerated in a cage in the hold of a ship, when being paraded like a circus freak, where he excelled. The play is sometimes unsettling, often funny, and always thought-provoking. Not difficult to see why it has been showered with fringe-y awards.
The Revenger’s Tragedy – Cheek By Jowl, Piccolo Theatre Milan – Barbican Theatre. 7th March. *****. So Thomas Middleton was a big, and prolific, noise in Jacobean drama. Equally adept in tragedy, history and city comedy. As well as masques and pageants which paid the bills. He may even have helped big Will S out in Timon of Athens and revised versions of Macbeth and Measure for Measure. The Changeling, Women Beware Women and A Chaste Maid in Cheapside all get run outs today though the Tourist hasn’t yet had the pleasure of any of these (though not for want of trying). He has however seen A Mad World My Masters in Sean Foley and Phil Porter’s 2013 version for the RSC. A devilishly clever plot, dealing with greed, avarice, hypocrisy, seduction, virtue and the like, the usual concerns of city comedies, which the creative team didn’t quite pull off (ha ha seem what I have done there) by relocating the action to 1950s Soho. In the Revenger’s Tragedy, Cheek by Jowl, together with their new Italian collaborator partners Piccolo Theatre, were altogether more successful. Vindice (Fausto Cabra) and his brother Hippolito (Raffaele Esposito) hatch a scheme to get revenge against the Duke (Massimiliano Speziani) for murdering Vindice’s fiancee. This involves disguises, deceits, bribes, conspiracy, treachery, infidelity, imprisonment, voyeurism, murder, execution, beheading, rape, suicide, assassination and, implied, necrophilia. All in the guise of a comedy. Or maybe better termed a black parody since Middleton took the guts, literally, of a revenge tragedy from a couple of decades earlier (itself derived from Seneca) and bolted on the satire and cynicism of a city comedy, all in the service of taking a sideswipe at the increasingly corrupt court of James I. If this all sounds a bit OTT remember sex and violence in the name of entertainment is still a streaming staple but Middleton, his peers, and contemporary audiences, at least used it for a purpose beyond vacuous titillation. Maybe more like a Medieval morality play then, albeit with a knowing wink, plainly acknowledged in this production, than the straight line tragedy of Shakespeare. Performing in Italian courtesy of Stefano Massini’s translation, (which means surtitles, as well as a clever introduction, can help with plot and character in the Act 1 set up and cuts through the dense text of the original), an ingenious “box” set from Nick Ormerod which opens with the word Vendetta scrawled across its width, seasoned with a kinetic energy which mirrors the action thanks to Declan Donnellan’s brilliantly detailed direction and Alessio Maria Romano’s choreography and movement across the 14 strong cast, this is how to lend contemporary resonance to C17 drama. Which CBJ incidentally has a long history of doing. The satirical target may be modern-day Italy but the hypocrisy and venality of the ruling class is sadly generic. It is a great regret of the Tourist’s theatre viewing career that he has come so late to the CBJ party but he is resolved not to miss anything from here. As theatre though this was on a par with their French Pericles from 2018.
Also in March, my last trip to the cinema to see Parasite, (no I haven’t seen the latest Bond yet, at this rate Dune will probably come first), a slightly odd programme (Mozart, Penderecki and Mendelssohn) from the English Camber Orchestra and oboeist Francois Leleux at the QEH, and my first go at lockdown theatre on a screen, Peter Brook’s take on Beckett from Bouffes de Nord. And, as it turned out, one of the best. |
Legoland vs the Louvre: how do museums
The Mall of America receives around 40 million visitors a year © Will Flavel / Flickr.
Helen Stoilas, Legoland vs the Louvre: how do museums stack up against other popular visitor attractions and public events?, The Art Newspaper, 31 March 2020
They might not always draw the crowds that flock to malls and amusement parks, but museums are seen as valuable additions to communities—even by people who have never stepped foot in one.
With 9.6 million annual visitors, the Musée du Louvre is the world’s most popular art museum. But going to a museum is just one of many things people do in their free time. So how does this attendance compare with other activities, such as sporting events, shopping, theme parks or visits to other kinds of cultural and historical sites?
Anyone who becomes anxious among the hordes at the Louvre—jockeying for a selfie in front of the Mona Lisa or trying to catch a glimpse of the Venus de Milo—might want to avoid Disney World. The Orlando, Florida resort welcomed around 20.8 million visitors to its Magic Kingdom, the most popular of its seven theme parks, in 2018. Even those numbers, however, are eclipsed by the number of visitors to the largest shopping centre in the US: an estimated 40 million people went to the Mall of America in Bloomington, Minnesota last year (based on parking, transit and nearby hotel stays, according to a spokeswoman).
More in line with museum going, although not as easy to calculate, is attendance at historic sites, such as the Great Wall of China, which had around ten million visitors in 2018, according to the district office for the Badaling site. Major sporting events, however, are limited by the number of seats a stadium can hold. Fifa reported that the Women’s World Cup in France last year sold around 1.1 million tickets for all its live football matches, although more than 260 million people viewed the games as they were broadcast on television.
“Even people who do not go to museums value them in their community”.
According to the US museum consultant Susie Wilkening, who conducts regular surveys, around 25% of the American population are museum-goers. This is low when compared with the UK, where around 50% visited a museum or gallery within the past year, based on a recent government poll; and Europe, where around 42% did the same, according to a 2019 Eurostat report.
The reality of how many people attend museums may be somewhere in between, Wilkening says. “When I ask somebody, ‘Have you been to a museum in the past year?’ I get a lot of false positives. Because maybe they went to a museum three years ago, or maybe they drive by a museum every day on their way to work. Or there is this museum that they really keep meaning to go to but have just [not quite made it] there. And those people will all say, yes, they have been to a museum in the past year. So I don’t ask that question.”
More generally, about a third of the world’s population is regularly engaged in social, cultural or educational activities, Wilkening adds, whether this involves attending the symphony, going to the cinema, or reading a book for pleasure. “And then there is a third that are just not that engaged with things we think of as educational. This could be because they have all these constraints in their lives; it could be money, time, energy or systemic racism,” she says.
As museums become more open and diverse in their displays—for example, by presenting the work of previously underrepresented artists and making their programming more accessible—some of these barriers may lessen. “That inclusive practice is something museums are thinking a lot about and trying to turn around,” Wilkening says.
“What’s amazing is that more than 90% of Americans not only value museums for the impact they have in their communities, primarily educationally, they also want their legislators to take positive action on behalf of museums,” adds Wilkening, who shared her data with the US Congress in February as part of the national Museum Advocacy Day. “There is a really positive view of museums in the public space and among people, whether they are museum-goers or not. Even people who do not go to museums value them in their community.”
• For The Art Newspaper’s full Art’s Most Popular visitor figures survey, see our April issue. To read a selection online, see Art’s Most Popular 2020
Appeared in Art’s Most Popular, 2020 |
Starring Emmy® winner Merritt Wever (Godless, Nurse Jackie)and Domhnall Gleeson (Star Wars: The Rise of Skywalker, Ex Machina), Run is a romantic comedic thriller about a woman, Ruby Richardson (Wever) who walks away from her ordinary life in the suburbs to revisit her past with her college boyfriend, Billy Johnson (Gleeson), with whom she made a pact 17 years prior that if either one of them texted the word “run” and the other replied with the same, they would drop everything and meet in Grand Central Station and travel across America together.
Coming soon to Sky Comedy and streaming service NOW TV, Run is executive produced by Vicky Jones, Phoebe Waller-Bridge, Jenny Robins, Kate Dennis, Emily Leo and Oliver Roskill of Wigwam Films, Run is produced by eOne, the studio behind acclaimed HBO series Sharp Objects.
In 2013, Jones directed Waller-Bridge’s stage production “Fleabag,” which was later adapted into an Emmy®, BAFTA and Golden Globe-winning television series. Jones also served as a writer on Killing Eve, the Emmy® nominated drama series, which was created by Waller-Bridge.
Sky Comedy is the new home of the very best of U.S. Comedy from HBO, NBC and Showtime. Boasting a host of brand-new and acclaimed series, it is a one-stop shop for all the greatest comedy from the other side of the Atlantic, offering more top-quality, binge-worthy laughs than you can shake a remote control at.
Additional images can be found on SEAC here: https://seac.bskyb.com/
For further information, please contact:
With 24 million customers across seven countries, Sky is Europe’s leading media and entertainment company and is proud to be part of the Comcast group. Our 32,000 employees help connect our customers to the very best entertainment, sports, news, arts and to our own local, original content.
Following the success of Sky originals like Chernobyl, we plan to double our investment in original content by 2024. We’re also developing a new TV and movie studio, Sky Studios Elstree, which is expected to lead to the creation of over 2,000 new jobs and generate an additional £3 billion of production investment in UK creative sector in the first five years alone.
Our technology allows customers to watch what they want, when they want, how they want, and as we connect millions of families to content they love, we believe it is our responsibility to do it safely. That’s why we offer services like Sky Broadband Buddy and the Sky Kids app. And our online streaming service, NOW TV, brings viewers all the enjoyment of Sky with the flexibility of a contract-free service.
We also believe that a company of our scale has a responsibility that goes beyond our business, and into the community. We’re committed to being Europe’s first net zero carbon entertainment company by 2030 – two decades before we have to – and we’re an inclusive employer recognised by The Times and Stonewall for our commitment to diversity.
About NOW TV
NOW TV is a leading UK streaming service, giving you the best TV, box sets, movies, sports and kids entertainment, when, where and how you want to watch it. Pick from the range of content passes including Entertainment, Sky Cinema, Sky Sports, Kids and reality TV with hayu. You can stream content to watch through the NOW TV app, available on over 60 devices including the NOW TV Smart Stick and Smart Box with 4K. And even download your favourite shows and movies to watch on the go.
NOW TV is the home of the best new and original British comedies, Oscar, BAFTA, and Emmy award winning dramas, Sky originals and movies. As well as new premieres every day, NOW TV customers can enjoy over 40 new movies every month and Sky Atlantic shows, without a contract. Sports fans can enjoy live action across all 11 Sky Sports channels through day, week or month passes. NOW TV also offers customers great value reliable broadband as a standalone contract-free service with NOW Broadband.
For more information, visit nowtv.com
Follow us at facebook.com/NOWTV
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Join the conversation on twitter @NOWTV
Visit us at Youtube.com/nowtvofficial |
Horror is one of the most popular genres in all of cinema, and for good reason. It can be both thrilling and horrifying, and it often leaves audiences on the edge of their seats. While horror can be enjoyed by people of all ages, it is typically geared towards adults, as it often contains mature content.
There are a number of different horror subgenres, including slasher films, zombie movies, and psychological thrillers. However, the most popular type of horror movie is the monster movie. These movies typically feature creatures like vampires, werewolves, and zombies, which are often used to scare audiences.
One of the most famous horror movies of all time is the original “Jaws”, which was released in 1975. The movie tells the story of a giant shark that terrorizes a small town. It was a huge success, and it spawned a number of sequels.
In recent years, the horror genre has seen a resurgence, with a number of popular movies being released. Some of the most successful horror movies of all time include “The Conjuring”, “A Quiet Place”, and “Get Out”.
While horror can be a lot of fun, it can also be quite disturbing. This is why it is not recommended for young children, as it can be quite graphic and scary. Horror movies are often criticized for being violent and gory, but this is what makes them so popular.
Ultimately, horror is a genre that is designed to scare and disturb audiences. It can be a lot of fun to watch, but it is not for everyone. If you are looking for a thrill, then horror is definitely the genre for you. |
Sometimes movie titles just need a slight nudge toward perfection, which is how Tomb Raider became Mummy Raider, and how Transformers: Revenge of the Fallen became Transmorphers: Fall of Man. Rather than letting Seduction Cinema and The Asylum hog all the name-changing fun, the SA Forum Goons performed their own rechristenings, using video games as their muse and skipping the wasteful step of actually creating a new film.
Eternity without Big L would be nothing but emptiness.
Friend busts your crank and leaves skid marks on your soul.
You want some advice, John Ra? Take your fancy clothes and your black silk underwear and go back to Disneyland.
Unrated extra: DrKyoushu's graphic interpretation of the World of Goo song "Regurgitation Pumping Station."
Something Awful is in the process of changing hands to a new owner. In the meantime we're pausing all updates and halting production on our propaganda comic partnership with Northrop Grumman.
Dear god this was an embarrassment to not only this site, but to all mankind
Yes, there are finally enough games for a new round of One Sentence Reviews
Photoshop Phriday showcases the tremendous image manipulation talents of the Something Awful Forum Goons. Each week they tackle a new theme, parodying movies, video games, comics, history, and anything else you can think of. If you want in on the action, join us on the Something Awful Forums! |
While no images or text can be used without permission, everyone is free to share link to the various content on the website.
Please note that the website is a constant work in progress and information or data on films, people and songs may be incomplete in many cases. Kindly stay patient and look out for updates from time to time.
The content curated and posted by our team is based on diligent research. While due care is taken in making fact check and ascertaining accuracy of the content, there is likelihood of errors creeping in due to absence of credible sources available in our resources to verify with certainty. Indian Cinema Heritage Foundation does not make any specific promises about their accuracy. We will not be responsible for any loss or prejudice caused to anyone on account of inaccuracy of information. Any discrepancy in information may please be brought to the notice of Indian Cinema Heritage Foundation by writing on [email protected] with evidence in support.
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11 results found
Professors Julie Allen, George Handley, and Heather Belnap discuss the impact of visual aesthetics within Latter-day Saint culture.
Perhaps, but not in the way you think.
Explore new directors, cultures, and themes this semester with International Cinema.
For the last five centuries, book publishing played a remarkable role in preserving Welsh identity and language in the face of external cultural and linguistic challenges.
How do we encounter God during moments of crisis?
Associate Professor Greg Stallings (Spanish & Portuguese) may have thought that picking The Exterminating Angel to be shown at the International Cinema seemed random, but the theme of quarantine that runs throughout the movie has become especially poignant in today’s environment.
BYU’s Research and Writing Center Celebrates Douglass Day, Joins Multi-University Transcription Event
At a recent event in the Research and Writing Center, students transcribed Anna Julia Cooper’s works and correspondences in celebration of Black History Month and Douglass Day.
Florida State University's Dr. Juan Carlos Galeano addressed BYU students, faculty members, and others in a pair of lectures on January 30, 2020.
Emory University’s Dr. Lauren Klein presented on Elizabeth Palmer Peabody’s feminist digital visualization work in a recent colloquium.
Carl Sederholm, associate professor in the Department of Humanities, Classics, and Comparative Literature, spoke at an International Cinema lecture on horror as a genre and its traditions.
At a Humanities Center colloquium, Spanish professor Dale Pratt shares his research on time-travel fiction and its paradoxes. |
American Hikikomori is an independent short film about a socially awkward Japanese teenager named Isamu Fujihara, who moves from Japan to America.
From the writer/director: Oxford Dictionaries.com defines a Hikikomori as, “a person who avoids social contact.” Its origins are Japanese and it literally translates to 'staying indoors, (social) withdrawal'. Hikikomori is a unique and social taboo that only exists in Japan. However, I feel that it can be universally understood. This film is based on real experiences my wife and her friends have endured when they first came to the US for college. And other experiences I’ve had growing up.
I wanted to tell a story about someone who felt so lonely they decided to isolate themselves from everyone. And I felt like the best way to express this was through Hikikomori, a real phenomenon that’s happening in Japan.
As a filmmaker, I want to tell stories that entertain us but also challenge us to talk about issues in our global community. As an American, I want to tell stories that reflect realities of our melting pot culture. I also want American audiences to see this film in order to start conversations about how we Americans really treat and perceive foreigners and their culture. As the spouse of a first generation Japanese woman, I want to show everyone diverse aspects of her culture and share anecdotes of her experiences in assimilating to American culture. As a “person of color,” I know we, as an audience; as the ever-diversifying public, cannot rely on major television networks and movie studios to always tell culturally diverse stories with a culturally diverse cast.
Behind the scenes and promotional material.
Although the script for American Hikikomori was finished in late 2012, two more years would pass before we could begin principle photography. An additional year would pass in order to complete post-production in early 2015. Independently financed and produced by working industry professionals, this film is a labor of love.
We'd like to share our story with you.
June 20, 2015
From the Indie Night Film Festival website: INDIE NIGHT aims to elevate the craft of artists while giving them an avenue where they can be recognized on a bigger platform, network and exchange info with new & established Hollywood creatives.
September 26, 2015
From the JFFLA website: Cinema is the bridge that connects us all! We are convinced that through this festival we can inspire open communication and the exchange of ideas between Japan and the U.S.
December 5, 2015
From the Culver City Film Festival website: The Culver City Film Festival is designed to promote independent film and to recognize local talent in a city celebrated for its cinematic history and cultural depth.
March 11, 2016
From the Asians on Film website: Asians on Film is devoted to arts & entertainment with a primary focus in providing recognition to the talent of Asian/Pacific Islanders who are minorities in the film industry either as talents, filmmakers and/or those who work in other aspects of filmmaking.
April 26, 2017
From the Silicon Beach Film Festival website: Silicon Beach is the convergence of media and technology. Home to a flurry of digital filmmakers and studios. Silicon Beach encompasses and spans Playa Vista, Marina del Rey, Venice Beach, Santa Monica, Culver City, and other surrounding areas of LosAngeles.
Official Selection | April 18, 2015
Official Selection | April 22, 2015
WINNER 2015 Winter Quarter - Best Supporting Actress | April 2015
WINNER Golden World Award - International Film | June 17, 2015
Official Selection | June 20, 2015
WINNER Award of Merit | July 2015
WINNER JFFLA 2015 Submission Award | September 26, 2015
Official Selection | October 7, 2015
Official Selection | November 13, 2015
Official Selection | December 5, 2015
WINNER 2016 Best Supporting Actress | March 11, 2016
Official Selection | April 26, 2017
Official Selection | June 7, 2019 |
Instagram Stats & Analytics for Blowfish Malibu (@blowfishmalibu)
- United States#185,038
Here’re Instagram account statistics for blowfishmalibu. The audience size of blowfishmalibu is 80K followers. The account gained 191 new followers in the four last weeks. The Engagement Rate is 0.12%. The average number of likes and comments per Instagram post created by Blowfish Malibu is 93 and 1 respectively. blowfishmalibu publishes content mostly about Modeling, Lifestyle, Family, Clothing & Outfits.
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The average amount of likes is around 93 per post. However, to better understand how a particular account performs or, in this case, @blowfishmalibu instagram works, it’s vital to be focusing on the level of engagement, not just Blowfish Malibu most liked Instagram post. Since that metric will show just how much percentage of the audience is actively involved with the content creator content. That fact alone may completely change your social influencer strategy.
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The moderate comments are 1 per post. There is no doubt that the number of comments is one of the most blatant indicators to understand how active the audience of an Instagram account is, similar to the Blowfish Malibu Instagram. However, besides the number of comments, it’s even more critical to track the overall engagement level and the authenticity of the comments. There are a lot of accounts that may claim that they have a large number of followers. But what you may not understand is that some of these followers may turn to be bots. |
History puts all totalitarian regimes face to face with the voice of one, and one single person, who stands and dares to say “ENOUGH”. It can be a group but because it panics, the system reacts by focusing on one individual. It is as if every tyranny needs a mirror to see how far it can take its absurdity and irrationality. The arrogance of a machine of oppression is confronted with a peaceful and weak individual. The stronger a dictatorship is, the more fragile it is. At the same time the weaker a rebel is, the more dangerous he/she is. We have known this since Gandhi stood up to the colonial British Empire. The world also witnessed this with the fight of Aung San Suu Kyi, the Burmese activist who defied the Junta of her country and who is now on her way to putting an end to a reign of decades of terror. That is how political heroes are born.
´The arrogance of a machine of oppression is confronted with a peaceful and weak individual. The stronger a dictatorship is, the more fragile it is. At the same time the weaker a rebel is, the more dangerous he/she is.´
As I write this, there are still people who engage in a fight for freedom. Two figures of resistance for culture and politics headline the news almost every day. One is the Chinese artist Ai Weiwei and the other is the Iranian filmmaker Jafar Panahi. Both of them are internationally recognised artists and symbols of their respective national glory. Ai Weiwei as a matter of fact, contributed to the construction of the Beijing stadium which hosted the Olympic Games of 2008. As for Jafar Panahi he is one of the symbols of contemporary Iranian cinema and probably one of the most successful Iranian filmmakers. At the same time both of them have always openly criticised the totalitarian regimes in their countries, thinking that their reputation offers them some form of protection and gives them a sense of responsibility towards their nationals.
They remind us of a very essential idea: the right of self-expression which is one of the basic rights for any human being. When an artist is prevented from exercising this right, it means that his influence reaches beyond the art world. It also means that he has pointed out something so central that it could threaten an order and rattle the strongest machinery of oppression. The absolute belief in freedom without any compromise is a permanent threat to any status-quo of conservatism and a permanent promise of change. This is what the famous saying generally attributed to Hermann Göring, founder of the Gestapo, means: “When I hear talk of culture I reach for my gun”. In such a situation, the system needs to defend itself, using what is supposed to be the most efficient tool: condemn the artist to silence and/or limit his movements. This can take shape in the Inquisition, the Bastille, the Gulag or any other kind of camp.
Take Galileo’s case. It shows how the more true, strong and just an idea is, the more dangerous it is to a well organised conservative and oppressive system, built on fixed and dogmatic ideas. Galileo’s theory on our the workings of our world was a serious threat to the Church’s cosmogony, and hence to its monopoly on political power. The reaction by the institution was so severe and ruthless that the Inquisition accused him of being “vehemently suspect of heresy”. At the end he was forced to abjure, deny his scientific conviction and spend the rest of his life under house arrest. Did this prevent his ideas from having any influence on science and thought?
The Bastille, the Gulag and Labour Camps come in different forms. In the eighteenth century, French writers like Diderot, Voltaire, the Marquis de Sade and other activists and enlightened personalities were put in the famous prison because they were considered too subversive. Antonio Gramsci spent many years in jail and died because of this imprisonment under the Italian fascist regime in the nineteen thirties. In all these cases we see how strong the link is between subversive ideas and the violence of repression.
We can say a lot about these kinds of measures to silence subversive voices such as the Soviet and Chinese Labour Camps for anti-regime intellectuals. They all have a common aspect: to silence the voice of a man he must be put away and his movements physically restricted. But this is against basic ethics, according to Umberto Eco who thinks that: “first and foremost we must respect the rights of the corporeality of others, which also include the right to talk and think. If our fellows (talking about Europeans) had respected these “rights of the body”, we would not have had the Massacre of the innocents, the Christians in the circus, Saint Bartholomew’s Night, the burning of heretics, the death camps, censorship, child labour in mines, or the rape in Bosnia ”. Nowadays indeed a lot of artists are facing a new kind of Bastilles and Gulags. Not only are they denied their right to express themselves but also to freely dispose of their movement and their corporeality.
´When an entire system attacks an individual it is a sign that it is scared, that it is aware of its weakness. But at the same time it is the sign that it realises that the rebel is right and that whether he remains silent or not, the change is not going to stop.´
Ai Weiwei and Jafar Panahi are living in this new kind of Bastille or Gulag. The arrest of the Chinese artist was part of Beijing’s crackdown after the call for a “Jasmine revolution” in China in the aftermath of the Arab Spring. Many human rights activists, lawyers and bloggers were arrested. Ai Weiwei constantly spoke out about the human right’s situation in China. In the mid nineties, in a letter to the European parliament, he stated that the strategic partnership with the regime of Beijing should not be limited to trade and business but should also include negotiations about human rights and freedom. He never stopped being the voice of freedom in his country and openly attacked the regime’s repression of freedom. When he was arrested, the police declared that he was under financial investigation and that this had nothing to do with freedom of expression. Logically, this means that he should have been freed once he had paid his taxes. The fact is that he was never really freed but placed under house arrest and not allowed to travel out of China.
A similar scenario befell the Iranian filmmaker. He was arrested in a demonstration and his passport was revoked in the summer of 2009. In February 2010, he was not allowed to attend the International Film Festival in Berlin to take a seat on a panel on Iranian Cinema: Present and Future: Expectations inside and outside of Iran. Later he was arrested again on the accusation of making films against the Iranian regime and “propaganda against the Islamic Republic”. He was sentenced to 6 years imprisonment and a twenty year ban on making films and giving any interviews or talking to the press. In other words, he was put in a kind of Bastille or Gulag by denying him any kind of expression. For an artist this is simply a sentence of symbolic death.
But art, like ideas, flies and goes beyond borders, according to Averroes. This idea is more apparent in such a globalised world. In spite of the ban on travel, the International Film Festival in Rotterdam organised (at the end of January) a retrospective to celebrate the work of the Chinese artist. A room was dedicated to him and called Café Ai Weiwei where many exhibitions and talk shows took place during the 41st edition of the festival. At the same time four of his video installations were screened: Beijing 2003, Beijing: the second ring, Beijing: the third ring and Chang’an Boulevard. A few days later the Berlin International Film Festival screened a documentary on the Chinese icon of the fight for freedom, made by the American filmmaker Alison Klaiman.
Since the arrest of Jafar Panahi, the world of cinema has started to move with the hope to put pressure on the Iranian regime. Petitions and letters have been sent all across the world. The Berlinale of 2011 invited the filmmaker to join the Grand Jury but the Iranian regime remained imperturbable and the seat with the name of Panahi on it remained empty until the end of the festival. The same year another seat remained empty at the Cannes Film Festival when the Directors’ Fortnight decided to keep one of the theatre’s seats among the audience empty with the name of Jafar Panahi written on it. The same festival screened This is not a film which the filmmaker made clandestinely and sent to the festival in a non formal way together with Goodbye a film by another banned filmmaker, Mohammad Rasoulof. Later the same year, the French Cinematheque organised an integral retrospective of Panahi’s films.
Are these signs that the voice of freedom can never be completely silenced? Is it true that when the repression of a regime reaches its summit, it is a sign of weakness? We witnessed it in the Arab Spring; when the Tunisian and Egyptian regimes started killing people, this was the sign that they reached the point of no-return, the beginning of their end. When an entire system attacks an individual it is a sign that it is scared, that it is aware of its weakness. But at the same time it is the sign that it realises that the rebel is right and that whether he remains silent or not, the change is not going to stop.
And this is what happened with Galileo. After accepting the sentence of the Inquisition it seems that Galileo, while he was leaving the court, mumbled: “Nevertheless, it moves” talking about the fact that the earth is a sphere and that it moves around itself and around the Sun. Whatever men may say or do, the truth cannot be hidden forever. He was banned at the time. But in the nineteen nineties, Pope John Paul II apologised for the treatment of the scientist and admitted the errors committed by the Church at the time. Before the uprisings of the Arab Spring many activists and artists were saying that the time for change had come. They where repressed, jailed, silenced and attacked in their corporeality by way of exile and/or house arrest. Four decades earlier, the 1970 winner of the Nobel Prize for literature, the Russian Aleksander Solzhenitsyn, brought the Siberian Gulags to the world’s attention; the Soviet system of Labour Camps. His writings caused him to be exiled from his country to which he could not return until 1994, right after the Glasnost and the collapse of the Soviet Union.
Jafar Panahi and Ai Weiwei face another kind of exile. Instead of being sent out of their countries, they are banned from leaving them. In fact, in his defence the Iranian filmmaker said: “I am Iranian and I will stay in Iran”. Both of them are facing what Umberto Eco would call Ur-fascism as an allergic attitude towards any intellectual troublemaker trying to ring a different sounding bell. They are accused of treason because they disagree. Will they see a change one day like in Russia or the Arab countries? Might Iran and China collapse? According to the laws of history the change will inevitably come and it will definitely be unique and never the way we expected.
(1) Five moral pieces, Umberto Eco, (translated from the Italian by Alastair McEwen), Secker and Warburg, 2001. P. 22.
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