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tvsmovies · 2 years

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Watch Free Full 101 Dalmatians

Release Date : 12/13/1996 (GB) Category : Family, Comedy Production : Country : GB Rate : Cast : Glenn Close,Jeff Daniels,Joely Richardson,Joan Plowright,Hugh Laurie,Mark Williams,John Shrapnel,Tim McInnerny,Hugh Fraser, An evil, high-fashion designer plots to steal Dalmatian puppies in order to make an extravagant fur coat, but instead creates an extravagant mess. An evil, high-fashion designer plots to steal Dalmatian puppies in order to make an extravagant fur coat, but instead creates an extravagant mess. Published by The Massie Twins Release Date: November 27th, 1996 MPAA Rating: G Director: Stephen Herek Actors: Glenn Close, Jeff Daniels, Joely Richardson, Joan Plowright, Hugh Laurie, Mark Williams, John Shrapnel oger (Jeff Daniels) is a video game creator in London who struggles with creating an engaging villain for his child-oriented animal project (with animation blatantly resembling that of a certain Disney cartoon). Anita (Joely Richardson) is a talented fashion designer for the House of De Vil, a cold, black-and-white mansion of a building, riddled with harsh corners and sharp sculptures. They bump into each other when their perfectly matched pet Dalmatians, Pongo and Perdita, respectively, cause them both to topple into a pond. When Roger and Anita dry off at Roger’s flat, they notice their dogs cuddling by the fire – and do the only thing they can think of to prevent the separation of the Dalmatians. After a proposal that very night, and a swift marriage to follow, all four of them can live happily ever after. But Anita’s boss, Cruella De Vil (Glenn Close), an insultingly brusque, obnoxiously loud woman garbed in pitch black, blazing white, and piercing crimson (magnificently grand costumes by Rosemary Burrows and Anthony Powell, which change from scene to scene while maintaining the animal-print color scheme, and wild, Two-Face-like hair to match), comes to visit the family when they learn of the upcoming arrival of both a baby and puppies. Caring nothing for human children, Cruella is instead overjoyed at the thought of a litter of young Dalmatians, with their soft, spotted skin – which could make a sensational coat for the fur-obsessed woman. When Roger and Anita refuse to sell the newborns (even for the outrageous sum of 7500 pounds), Cruella hires scruffy thugs Jasper (Hugh Laurie) and Horace (Mark Williams) to steal them when the nanny (Joan Plowright) is alone with the lot. Now that the Dalmatians are live action, they’re unrealistically intelligent – which is a daring stretch considering the creatures from the original 1961 animated film could speak English. Pongo can work a computer, turn on a coffee pot, start up a shower, and open the door to grab a bottle of milk. The fa

imal faces round out the adventure in this mildly entertaining twist on a classic Disney animated masterpiece. – Mike Massie Watch free movies and tvshows on VidooTv

Watch Free Full 101 Dalmatians

mous “Twilight Bark” scene is still effective, but the story is adapted differently to accommodate the lack of direct communication between the various animal actors. Extensive barking and visual cooperation take the place of dialogue; despite the momentary bits of awkwardness (which will seem very farfetched to viewers unfamiliar with the source material), it’s amusing to see real animals working together, sans language (and equally as hilarious when plainly visible puppets or shoddy CG are employed for particularly challenging dog undertakings). But it’s Glenn Close who is easily the most notable element of the production, looking the part about as ideally as imaginable. Unfortunately, her acting is so exaggerated that it’s difficult to admire the character – one whose deviousness and mercilessness can’t come across as anything but comically insincere when Close cackles maniacally with a wide grin and a brightly painted face. It’s still a great part for the actress, even though she screams most of her lines – as well as for sidekicks Laurie and Williams, who closely resemble the roles of Harry and Marv from “Home Alone,” bumbling ineptly as they give chase to fleeing puppies while combating borderline lethal booby-traps. Slapstick, stunts, and plenty of cute an

#movies #streaming #tv-Shows #Watch Free Full 101 Dalmatians

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pastedpast · 4 years

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Article by Claudia Massie in The Spectator, 4 July 2019.

“Cutting edge”

Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue, as this fascinating new exhibition shows.

The art-history books will tell you that sometime around 1912, Picasso invented collage, or, actually, perhaps it was Braque. What they mean is that sometime around 1912 a man of sufficient standing took up a technique that had been quietly practised in largely domestic spheres by a largely female army of amateurs, and applied it in his own work. Cue the universal astonishment of observers who pretended they had never seen such a thing before.

This narrative has been recycled ever since, assuring us that the collage techniques that shaped the language of dada, surrealism and all the other isms that made up modernism, as well as pop art and even today’s Photoshop-driven design, all emanated from that one original spark of paper-sticking cubist genius.

So thank heavens that the National Galleries of Scotland’s new exhibition, Cut and Paste: 400 Years of Collage, is here to set the record straight. A sprawling festival of collage, papier collé, découpage, photomontage, photocollage, cut and paste, scrap work, mosaic work — call it what you will — fills both floors of the gallery and effectively resets the chronology.

The rediscovery of all these unheralded practitioners of premodernist collage is exciting. The range of collage-esque techniques that were practised over the centuries before Picasso unfolds like a museum of curiosities. Complicated 16th-century anatomical flap books vie with similar constructions that advertise how Humphry Repton might improve your Georgian parkland. Elsewhere a creepy, outsize die-cut baby hovers alarmingly over a stuck-down arrangement of posies and disembodied hands.

Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue

Even better are Mary Delaney’s (sic) still quite astonishing botanical collages, which pop off the walls with a vibrancy that belies the fact they were created 250 years ago from tiny shards of hand-tinted paper by an ‘amateur’ artist in her seventies. Nearby, elaborate silhouettes and stage-set portraits, decorated home furnishings — including a screen covered with pictures reputed to have been pasted there by Charles Dickens — and ‘paper transformation’ constructions that become nocturnal scenes when backlit by a candle all indicate the rampant variety of creative ways with cut paper that emerged from people’s homes as soon as the materials became readily available.

By Victorian times, paper was everywhere. Scrapbook kits, Valentine card kits, photographic cartes-de-visite and all manner of decorative papers became fixtures in wealthy homes, and cutting it up became an obsession. Presages of modernism abound. Photomontage is used extensively to create space-defying group portraits or deceptive illusions. A scrapbook of sliced-up words and portraits by Mary Watson, from 1821, reads like the chance poetry practised 100 years later, and looks like some punky contructivist graphic.

George Smart uses cut-out newspaper in his vignettes of early 19th-century Sussex life, just like a cubist. Take that, Picasso. Meanwhile, Kate Gough’s peculiar photo-and-ink montages of shrunken children and monkeys with human heads [see photograph above left] are pure 1870s proto-surrealism: Max Ernst, born before himself.

There is plenty here like this — inventive, imaginative and often made by women. Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue. That the work could be startling in its skill and originality meant nothing, though. It was dismissed as an artform and explicitly barred from the Royal Academy.

By the time the cubists took up scissors to toy with abstract cut-outs and trompe-l’oeil commercial patterns, the potential of collage had been well established by its domestic progenitors. The 20th century just brought the methods to mainstream art, embraced by a new generation of artists who had grown up in cities so plastered with advertising they were ever-evolving, real-life collages.

The fast-paced methods and instant effects of collage soon became the preferred vehicle for expressions of rebellion, lending a cheap, readymade aesthetic to visual protest from the first world war onwards. The dadaists began their satirical collages in Germany during that war, inventing the term ‘photomontage’, if not the technique, and kept at it for the next two decades. Seven of John Heartfield’s photomontage assaults on Nazism, created for mass circulation rather than the art gallery, are displayed here. The ferocious rebuke of his distorted realism is still as savage today.

But collage was also well suited to the consumerism-fixated art of Eduardo Paolozzi, Peter Blake and Andy Warhol. Robert Rauschenberg’s approach was entirely dependent on the cut-and-paste effect, as was Robert Motherwell’s. Cheap, fast, easy to construct and endlessly recyclable, collage became a dominant aesthetic in the 20th century, shaping everything from Picasso’s flat, fragmented paintings, through Warhol’s multiples and the graphics of 1970s protest art, to our modern, mouse-clicked designs.

Interestingly, though, when seen in the context of a fuller history, the cut-out shtick feels a little tired by the time the pop artists appear. Blake’s Sgt. Pepper artwork is grand, but it’s nothing George Washington Wilson wasn’t doing in Aberdeen back in 1857. There are a number of forgettable post-war collage works in this exhibition that feel like yet another variation on a rehashed trope. The late-career flat-colour cut-outs of Matisse, on the other hand, diverge from the general obsession with the found image. Untrammeled by contemporary photography, his ‘drawing with scissors’ technique remains fresh today.

Also standing out from the soup of post-war photomontage is Gwyther Irwin’s large scale ‘Collage No. VIII’. More a piece of anti-collage, it is made from peeled-back layers of poster and resembles the obscure remains of a medieval vellum manuscript or a decaying shroud. Substantial and meditative, it also recalls the paintings of Antoni Tapies, which, often heavily collaged with paper, fabric, dirt or hair, are a regrettable omission.

There is good stuff among the contemporary exhibits, with some lightly sculptural, rhythmic and elegant works by Fred Tomaselli and Lucy Williams that expand the definition of collage. Jean-François Rauzier’s montage of pictures from the National Gallery demonstrates the power of digital technology. This is the visual language of our time, and Rauzier’s immensely detailed, digitally stitched photographic print feels like some kind of metaphor for the vast potential of the image in the age of Google.

The Chapman brothers’ more traditional but shamelessly bizarre collaged perversions of original Goya prints, titled ‘The Disasters of Everyday Life’, are also absorbing. The juxtaposition of unexplained modern pictures and Goya’s glowering backdrop embodies Paolozzi’s definition of collage as an exercise in ‘introducing strange fellows to each other in hostile landscapes’.

Of course, by gluing pictures on to original artworks, the Chapmans are merely following the women who, during Goya’s lifetime, were doing exactly the same thing to paintings by Watteau and Boucher in the court of Marie Antoinette. Let them cut and paste.

See also the ‘Collage before Cubism’ video by National Galleries Scotland as posted on my blog today.

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celtic-cd-releases · 2 years

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https://www.meganhendersonmusic.com/

https://www.facebook.com/Meganhendersonmusic

https://open.spotify.com/artist/5PEfSJDQQkbtEqmsOei5Ly

https://meganhendersonmusic.bandcamp.com/

#folk music #celtic folk #scottish folk music #fiddle

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3thurs · 3 years

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Third Thursday events and exhibitions for September 16

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, September 16, from 6 to 9 p.m. All exhibitions are free and open to the public. This schedule and location and hours of operation information for each venue is available at 3thurs.org.

Georgia Museum of Art, University of Georgia

Yoga in the Galleries, 6 p.m. — Join us via Zoom for a free yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. This program is available both in-person and via Zoom. Email [email protected] to reserve an in-person spot or join us on Zoom.

Film Series: The Crime of Art: “Stolen,” 7 p.m. — It was the most expensive art heist in American history. In March 1990, two thieves disguised as Boston police officers gained entrance to the Isabella Stewart Gardner Museum and successfully plundered $500 million worth of art. Among the 13 priceless works stolen were Rembrandt’s “The Sea of Galilee” and Vermeer’s “The Concert,” one of only 35 of the master’s surviving works. Filmed 16 years after the heist, the film raises a new magnifying glass to this crime, following the renowned art detective Harold Smith as he pursues the mystery of the stolen works. With Smith as a guide, it journeys into the mysterious and surreal world of stolen art and examines the many possibilities as to where the art might be today. 2005, NR, 85 min. This film series is presented in conjunction with the exhibition “Kota Ezawa: The Crime of Art” and is sponsored by the UGA Parents Leadership Council.

On view:

“Inside Look: Selected Acquisitions from the Georgia Museum of Art” — With more than 21,000 objects in its collection, the museum cannot show everything all the time. This exhibition features new gifts and purchases across our curatorial departments that have filled critical gaps in the permanent collections.

“Kota Ezawa: The Crime of Art” — This exhibition brings together new and recent works related to Ezawa’s “The Crime of Art” series, a group of light boxes and video animations that chronicle some of the most infamous and high-profile museum heists in history.

“Neo-Abstraction: Celebrating a Gift of Contemporary Art from John and Sara Shlesinger” — “Neo-Abstraction” highlights the resurgence of abstract art among contemporary artists, drawing from a recent major gift

“In Dialogue: Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr.” — This exhibition focuses on one work by each artist, both gifts from Ron Shelp, comparing their approach to their work and examining the shared relationship that sustained their creativity.

“Whitman, Alabama” — This ongoing documentary project by filmmaker Jennifer Crandall brings Walt Whitman’s words to life through the voices of modern-day Alabama residents.

“Contemporary Japanese Ceramics from the Horvitz Collection” — This exhibition presents Japanese pottery and porcelain created by three generations of master ceramic artists. Made with both ancient and modern materials and methods, their works are exceptionally diverse. They share the exceptional craftsmanship and sophisticated design characteristic of Japanese contemporary ceramics.

“Power and Piety in 17th-Century Spanish Art” — Works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others, on loan from Bob Jones University Museum & Gallery.

“Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt” — An extraordinary assembly of Coptic objects dating from the 3rd to the 8th century CE belonging to Emanuel and Anna Nadler.

The museum’s days of operation are Tuesday – Sunday. Reserve a free ticket and see our policies at https://georgiamuseum.org/visit/.

The Porcelain and Decorative Arts Museum at the Center for Art and Nature

The Porcelain and Decorative Arts Museum at the Center for Art and Nature at the State Botanical Garden of Georgia will be opening its doors for timed ticket access (https://botgarden.uga.edu/porcelain-and-decorative-arts-museum-timed-access-now-available/). The newest building at the garden holds the personal porcelain and decorative arts of Deen Day Sanders, a longtime supporter of the State Botanical Garden. The space is designed to draw environmental and conservation connections to the collections in the museum.

Eight different gallery spaces blend conservation, botanicals, art, beauty and curiosity. Adjacent to the building is the Discovery and Information Garden, where visitors can connect to the living botanical collection that is represented in many of the porcelain works in the museum. Please join staff and docents for a time in the Porcelain and Decorative Arts Museum to develop your own ideas on art and nature and become inspired to see the natural environment through the lens of the many artists on display.

ATHICA: Athens Institute for Contemporary Art

ATHICA@675, Pulaski St., Suite 1200

“LIGHT: 2021 Juried Exhibition” — ATHICA’s annual juried exhibition features contemporary art in all media that explores or references light, which is found all around us, around our planet, and throughout art, nature, literature, science, society and language as a concept and a construct with many different connotations. Without light there is no color and art would not exist. Work was juried by guest juror Matt Porter, curator at the Morris Museum of Art in Augusta, Georgia.

ATHICA@CINÉ Gallery

“Remembering Chatham Murray and Her Art” — Works of the late, beloved Athenian and painter Chatham Murray, organized by her friends Charles Warnock, Juana Gnecco and Anne Sears and featuring 14 paintings that span six decades. A number of works in the exhibition illustrate Murray’s love of home and table. Favorite subject matter included the bounty of the garden and home interiors and exteriors, the latter inspired perhaps by her daily walks.

Lyndon House Arts Center

3THURS Artist Talk with Andy Cherewick & Jeffrey Whittle, 6 p.m. — Join the artists and Curator Beth Sale for a gallery walk-through and discussion about the works in the exhibition “I vs. Me.” Reserve your free ticket. https://www.eventbrite.com/e/artist-talk-jeffrey-whittle-and-andy-cherewick-tickets-168152154621

On View:

“Willow Oak Tree Exhibition with Guest Curator Abraham Tesser” — In honor of the willow oak tree that graced the lawn of the historic Ware–Lyndon House for over a century, this exhibition features works created with and inspired by the tree. Each of the participating artists received reclaimed wood from the tree to incorporate into a work of art.

“Inside Out: Expressing the Inner World” — Abstract paintings from a group of women artists working primarily in the Southeast.

“Modernist Sculptures from the Legacy of Loyd Florence” — Florence’s life was marked by a lifelong passion for aviation. He graduated in 1939 from the first civilian pilot training program, sponsored by the University of Georgia and served as president of Athens Aviation, which operated the Athens Airport in the early 1950s. Later in his life, he began making metal sculpture.

“Something I’ve Been Meaning to Tell You: Brian Hitselberger and Julie Wills” — For this exhibition, the artists worked independently in their respective studios while maintaining an active dialogue through correspondence and video conferencing.

“I vs Me: Andy Cherewick and Jeffrey Whittle” — Two beloved Athens artists’ paintings in one gallery.

“Arts Center Choice Award: A Lot More Than It Seems by David Froetschel” — With structures found at thrift stores and imagery taken from fiction, Froetschel balances between order and chaos, dreams and reality, imagining what could be and depicting “a lot more than it seems.”

“Window Works: AJ Aremu” — Using the banks of windows as a palette, AJ Aremu represents Black bodies in motion and states of repose. Their contemporary clothing blends with African patterns in Aremu’s exploration of the melding of cultures.

“Collections from our Community: Oscar’s Godzillas” — “I always admired the idea of something unbelievable and wonderful hidden out in the world. Godzilla holds a great example. It shows how small we really are as a species and how our actions have great effects.” – Oscar Justus

Lamar Dodd School of Art Galleries, University of Georgia

“Dawn Williams Boyd: Woe” — A series of textile works by the Atlanta-based artist that reflect a lifelong critique of social injustices and racial violence. Using scraps of fabric, needles, and thread as her tools, Boyd painstakingly “paints” the entire surface of her quilts, layer upon layer, cutting, sewing, endlessly repurposing, building the surface into a formidable, authoritative source that pulls no punches. The exhibition is organized by Daniel Fuller and will travel to the Everson Museum of Art, Syracuse, New York, and the Galleries at Sarah Lawrence College.

“Time at the Tableæ — Features the work of Dodd undergraduate students Alan Barrett, Alex Barrett and Massie Herlihy. In this intersection of performance, installation, ceramics and photographs, the artists hope to bring a better understanding of what it means to pursue and use ceramics in the ritual of our daily lives.

“Flex·i·ble Architecture: we’re not trying to be heavy, we’re trying to be light” — Dodd MFA candidate Rachel Seburn and Alberta, Canada–based artist Sarah Seburn created this exhibition that investigates materials and their malleability. The artists pull from architectural lineages as they create an installation that acts as a mock-up showroom, an investigation into a new kind of interior building that allows for floors and walls to sink, rock and tilt.

“Waste Creation” — Mickey Boyd, a Dodd MFA candidate, presents a collaborative exhibition with Max Yarbrough, an artist working and living in Albuquerque, New Mexico. The artists present a series of images and sculptures that explore how exponential growth equals exponential waste.

The Atheaneum

“Trevor Paglen: Vision After Seeing” — An exhibition of photographs and a video by internationally renowned artist Trevor Paglen explores an essential question at the heart of Paglen’s recent work: “Are vision and seeing the same thing?” Paglen investigates this question as it relates to the long history of technologies that have aided, and perhaps even eclipsed, the human eye.

tiny ATH gallery

“Davy Gibbs: ‘Empires’” — “Empire” is a word we associate with a powerful sense of place, with both glory and decay, rise and fall. The Deep South, if never quite an empire in the formal sense, has always been a land of little empires. Athenian Davy Gibbs examines this idea through photographs.

Safety precautions in place for tiny ATH gallery:

Unless vaccinated, please wear your mask

Please consider parking up Pulaski/Cleveland to alleviate parking issues

If you feel unwell, or have been in touch with anyone who has been sick, please stay home

Enter through front porch door

Hotel Indigo, Athens

ArtWall@Hotel Indigo: Considering the intersection of natural and industrial beauty, “All or Nothing” juxtaposes organic abstractions and lush landscapes with historic structures and decimated buildings. Featured artists include Alexa Rivera, Christina Matacotta and Zahria Cook.

BARBAR

“Uncaged” — Work in oil and watercolor by Helen Kuykendall, a largely self-taught artist originally from Venezuela who combines natural motifs in unsettling ways. Opening party from 7 to 9 p.m. as part of Third Thursday.

The Classic Center

No programming for this month’s Third Thursday.

Creature Comforts Brewing Co.’s CCBC Gallery

Artist-in-Residence Noraa James’s painting-in-progress on display in the CCBC Gallery. Plus: How do you contribute creativity to your community? Let us know on the interactive chalkboard installation!

—

Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. Rack cards promoting Third Thursday and visual art in Athens are available upon request. This schedule and venue locations and regular hours can be found at 3thurs.org.

Contact: Michael Lachowski, Georgia Museum of Art, [email protected].

#athensga #uga #universityofga #art #free #3thurs

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architectnews · 3 years

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Gables House, Cambridgeshire Property

Gables House, Cambridgeshire Architecture, English Building News, Images

Gables House in Cambridge

13 Jul 2021

Architects: chadwickdryerclarke.studio

Location: Cambridge, Cambridgeshire, England, UK

Gables is a striking low impact village home.

Photos by Nick Hufton and Al Crow

Gables House

Designed to be our retired clients’ forever home, the house is accessible, highly contemporary, low energy, sustainable and secure. The clients wanted it to be not too big for two, but big enough to accommodate village parties and wider family coming to stay.

The house is knitted into the local community, and so in order for the house to have low impact on the village setting and the immediate neighbours it was essential that our design encapsulated the character of the village and the wider site. CDC studio replicated the thatched barn with weatherboarding, incorporating into the new volumes local crafts and materials of flint, red brick, timber shutters and estate fencing complimenting this with the use of zinc to echo the agricultural aesthetic of the original land use.

Adopting a thoroughly modern approach, the larger part of the new house was set back to retain existing views of the thatched barn from the village road and kept deliberately low in height to accommodate the immediate neighbours’ views. This resulted in the low lying folding glazed volumes designed to accommodate the 200m sq client footprint of space.

The site is landscaped to lead visitors towards the entrance and the clients’ front facing study, whilst not being able to access the main house without an invitation. A narrow, curved hallway draws you into the main house. The kitchen, dining and living spaces are open plan to allow for social gatherings. The kitchen sits under a column-free, steel rod hung mezzanine with acoustic damping which was rigorously engineered to avoid the reverberating noise.

This creates a sense of enclosure to the kitchen whilst allowing CDC to achieve the fully flexible family / party space requested beyond. The folding roofline shapes are crafted and lined in silver fir timber plus acoustic felt, affording a very warm and cosy feel to the high volume spaces.

The long underside of the roofline is visible at full length of the building and delicately supported by a single steel post sat onto a concrete sheer wall. High level glazing allows the roofline to be viewed through the house, connecting the open plan space with the hallway and study beyond. Internally a bespoke dining room bench adds a sense of fun and colour using the clients family tartan as fabric to the seating area.

The character of the thatched barn is emphasized by embracing its full height to the ridge, offering modest but usable guest rooms wrapped in painted timber boarding. These were identified for immediate family use, the height helping to overcome their narrow nature on plan, integrated wardrobes, back panels and pegs for hanging make them hard working spaces. A separate master suite spreads into the new volumes providing dressing, bathroom and a private patio area which offers the clients a place for quiet retreat when guests are staying.

The house boasts its own private ‘Gin and Tonic’ balcony. The mezzanine space creates a private second sitting area with a concealed timber stair nestled between concrete sheer walls to provide access. It is quiet yet connected to the main space, and commands views to the west with a fully opening rooflight to let the outdoors in. A separate guest suite and shower room afford privacy to occupants and visitors alike.

Built primarily from timber frame with woodwool insulation and concrete sheer walls, the house incorporates air source heat pumps and photovoltaics and will be monitored for its energy use over the course of the year. The extended roofline and orientation provides solar shading to the solar controlled west facing glazing with the careful positioning of rooflights to prevent overheating in the height of summer, plus water run off is directed to a salvaged historical water trough which the clients will use to water the garden.

The linear design is extended into the immediate landscape with water rills extending out like fingers into the wider area which over time the clients will begin to accentuate with their planting.

Our clients concluded “CDC showed just the right combination of imagination and persistence, leading to an individual home that meets all our requirements and fits into its surroundings. Throughout the project we have benefitted from their attention to detail and their real interest in how we intend to live in our new house. 3 months in and we are VERY house proud!”

Gables House in Cambridge UK – Building Information

Architects: chadwickdryerclarke.studio

Structural Engineers: Michael Hadi Associates

Project size: 200 m2 Completion date: 2020 Building levels: 1

Images: Nick Hufton and Al Crow

Gables House, Cambridgeshire England images / information received 130721

Location: Cambridge, south east England, UK

Cambridge Residential Property

Recent Cambridge Residential Building Designs

Eddington Housing Development Design: Mecanoo photography : Greg Holmes and Mecanoo Eddington Housing

New Buildings in Eddington Design: Stanton Williams photo © Jack Hobhouse Buildings in Eddington, North West Cambridge Homes

Cambridge Architecture

Cambridge Architecture Design – chronological list

Cambridge Building News

Cambridge Tours

Cavendish III Physics Laboratory, Cambridge Science Park Design: Jestico + Whiles Architects image : Forbes Massie Cavendish III Physics Laboratory Building

Stapleford Granary Arts and Music Venue Design: MCW architects photograph : Jim Stephenson Colin Moses ACE Foundation Stapleford Granary Arts and Music Venue Building

Cambridge Buildings – Architecture Tour of the city on one page

Cambridge Architects – Alphabetical list of all featured designers

Comments / photos for the Gables House, Cambridgeshire property design by architects chadwickdryerclarke.studio page welcome

The post Gables House, Cambridgeshire Property appeared first on e-architect.

#e-architect

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dipulb3 · 3 years

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Court awards $2.3 billion to US ship crew held hostage by North Korea

New Post has been published on https://appradab.com/court-awards-2-3-billion-to-us-ship-crew-held-hostage-by-north-korea/

Court awards $2.3 billion to US ship crew held hostage by North Korea

More than 100 crew members and their relatives filed a suit against North Korea in February 2018 in a federal court under the Foreign Sovereign Immunities Act, which allows victims to sue state sponsors of terrorism for torture, hostage-taking, personal injury or death.

The award is among the largest sums ever handed out in a state-sponsored terrorism case, the attorneys representing the plaintiffs said in a statement Thursday.

Mark Bravin, the lead attorneys for the victims, called the judgment a “tremendous result.”

“I think all of the plaintiffs will be very, very happy,” said Bravin, who started working on the case about six years ago.”It has been a long process.”

The plaintiffs were allowed to sue after former US President Donald Trump named North Korea a state sponsor of terrorism in 2017, reopening the window to litigation against Pyongyang under the 1976 Act. North Korea had been removed from the list in 2008 by then-President George W Bush.

However, it remains unclear how the damages could be recovered from North Korea. Pyongyang was not represented at the case and has long accused the Pueblo and its crew of illegally spying in North Korean territorial waters when it was captured.

The Pueblo is technically still a commissioned ship in the US Navy, but since 2013 North Korea has used it as a tourist attraction and propaganda museum in Pyongyang.

Bravin said that because of the ruling, the plaintiffs will be able to successfully apply for an award from the Justice for United States Victims of State Sponsored Terrorism Act, a fund set up by Congress to support victims of terrorism.

While it may take some time to get a substantial portion of the award given by the courts, Bravin said victims could start collecting compensation “as early as next year.”

Previous cases have been brought against North Korea for the Pueblo incident.

In 2008, three members of the crew, William Thomas Massie, Dunnie Richard Tuck and Donald Raymond McClarren, and Rose Bucher, wife of the Pueblo’s late commander, Lloyd Bucher, brought suit.

In that case, the court awarded the three surviving crew members $16.75 million each, and Bucher’s estate $12.5 million for the abuse suffered during capture and the “physical and mental harm that (they) likely will continue to endure throughout the rest of their lives.”

‘A trying time’

The Pueblo was captured by North Korea while it was in international waters off the coast of the Korean Peninsula on January 23, 1968. After a tense standoff in which they desperately radioed for assistance that never came, the 83 crew members were captured and then transported to the North Korean port of Wonsan. One sailor was killed in the incident.

The group was later transferred to a detention center near Pyongyang, were they were held for 11 months. Survivors said they were beaten and tortured by their captors.

Tensions on the Korean peninsula ratcheted up to the extent that US generals drew up a potential nuclear strike plan. Washington eventually opened negotiations with Pyonyang at the so-called Panmunjom “peace village,” on the demilitarized zone between North and South Korea and, after months of talks, the US agreed to sign a North Korean-drafted apology. The men were then released across the demilitarized zone separating North and South Korea.

The plaintiffs of the case sought compensation for the “mental anguish, pain and suffering” caused to the families of the crew, as they waited anxiously for news of their loved ones for 11 months and dealt with the after effects of North Korean abuse, both physically and psychologically.

Don Peppard, one of the crew members who joined the case, said the isolation from the rest of the world was particularly tough to endure.

“Day after day, not knowing if we were going to survive the next day or if we were ever going to see our families again, it was a trying time,” said Peppard, who is the president of the USS Pueblo Veterans association.

Peppard said after his release, he changed into “a little bit of a different person,” even though he didn’t realize it at the time. He described an array of symptoms that resemble post-traumatic stress disorder, including suffering from bad dreams for “quite a long time.”

“I was kind of a disagreeable person,” he said. “I ended up with a divorce with my wife, and I actually didn’t spend much time with my children for all the intervening years.”

Peppard said the case has brought him closer to his children. But, as a young sailor, he said he never could have imagined suing North Korea for what he endured.

“We were military people and we were performing military duties,” Peppard said.

“Normally we wouldn’t want a lawsuit against an enemy … but this situation is just a little different,” he said. “We were hostages more than prisoners of war.”

This is not the first time North Korea has been sued in the US for damages.

A judge ordered North Korea to pay $500 million to the family of Otto Warmbier for his wrongful death in 2018. Warmbier was detained and allegedly tortured over 17 months in captivity in North Korea. He was returned to the US in a vegetative state and died just days after his release.

The Warmbiers, like the plaintiffs in the Pueblo case, sued North Korea under the Foreign Sovereign Immunities Act.

0 notes

all-my-books · 6 years

Text

2017 Reading

262 books read. 60% of new reads Non-fiction, authors from 55 unique countries, 35% of authors read from countries other than USA, UK, Canada, and Australia. Asterisks denote re-reads, bolds are favorites. January: The Deeds of the Disturber – Elizabeth Peters The Wiregrass – Pam Webber Homegoing – Yaa Gyasi It Didn't Start With You – Mark Wolynn Facing the Lion – Joseph Lemasolai Lekuton Before We Visit the Goddess – Chitra Divakaruni Colored People – Henry Louis Gates Jr. My Khyber Marriage – Morag Murray Abdullah Miss Bianca in the Salt Mines – Margery Sharp Farewell to the East End – Jennifer Worth Fire and Air – Erik Vlaminck My Grandfather Would Have Shot Me – Jennifer Teege Catherine the Great – Robert K Massie My Mother's Sabbath Days – Chaim Grade Not the Israel My Parents Promised Me – Harvey Pekar, JT Waldman The Readers of Broken Wheel Recommend – Katarina Bivald Stammered Songbook – Erwin Mortier Savushun – Simin Daneshvar The Prophet – Kahlil Gibran Beyond the Walls – Nazim Hikmet The Dressmaker of Khair Khana – Gayle Tzemach Lemmon A Day No Pigs Would Die – Robert Newton Peck *

February: Bone Black – bell hooks Special Exits – Joyce Farmer Reading Like a Writer – Francine Prose Bright Dead Things – Ada Limon Middlemarch – George Eliot Confessions of an English Opium Eater – Thomas de Quincey Medusa's Gaze – Marina Belozerskaya Child of the Prophecy – Juliet Marillier * The File on H – Ismail Kadare The Motorcycle Diaries – Ernesto Che Guevara Passing – Nella Larsen Whose Body? - Dorothy L. Sayers The Spiral Staircase – Karen Armstrong Station Eleven – Emily St. John Mandel Reading Lolita in Tehran – Azar Nafisi Defiance – Nechama Tec

March: Yes, Chef – Marcus Samuelsson Discontent and its Civilizations – Mohsin Hamid The Gulag Archipelago Vol. 1 – Aleksandr Solzhenitsyn Patience and Sarah – Isabel Miller Dying Light in Corduba – Lindsey Davis * Five Days at Memorial – Sheri Fink A Man Called Ove – Fredrik Backman * The Shia Revival – Vali Nasr Girt – David Hunt Half Magic – Edward Eager * Dreams of Joy – Lisa See * Too Pretty to Live – Dennis Brooks West with the Night – Beryl Markham Little Fuzzy – H. Beam Piper *

April: Defying Hitler – Sebastian Haffner Monsters in Appalachia – Sheryl Monks Sorcerer to the Crown – Zen Cho The Man Without a Face – Masha Gessen Peace is Every Step – Thich Nhat Hanh Flory – Flory van Beek Why Soccer Matters – Pele The Zhivago Affair – Peter Finn, Petra Couvee The Stories of Breece D'J Pancake – Breece Pancake The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared – Jonas Jonasson Chasing Utopia – Nikki Giovanni The Invisible Bridge – Julie Orringer * Young Adults – Daniel Pinkwater Jonathan Swift: The Reluctant Rebel – John Stubbs Black Gun, Silver Star – Art T. Burton The Arab of the Future 2 – Riad Sattouf Hole in the Heart – Henny Beaumont MASH – Richard Hooker Forgotten Ally – Rana Mitter Zorro – Isabel Allende Flying Couch – Amy Kurzweil

May: The Bite of the Mango – Mariatu Kamara Mystic and Rider – Sharon Shinn * Freedom is a Constant Struggle – Angela Davis Capture – David A. Kessler Poor Cow – Nell Dunn My Father's Dragon – Ruth Stiles Gannett * Elmer and the Dragon – Ruth Stiles Gannett * The Dragons of Blueland – Ruth Stiles Gannett * Hetty Feather – Jacqueline Wilson In the Shadow of the Banyan – Vaddey Ratner The Last Camel Died at Noon – Elizabeth Peters Cannibalism – Bill Schutt The Handmaid's Tale – Margaret Atwood A Fine Balance – Rohinton Mistry The Food of a Younger Land – Mark Kurlansky Behold the Dreamers – Imbolo Mbue Words on the Move – John McWhorter John Ransom's Diary: Andersonville – John Ransom Such a Lovely Little War – Marcelino Truong Child of All Nations – Irmgard Keun One Child – Mei Fong Country of Red Azaleas – Domnica Radulescu Between Two Worlds – Zainab Salbi Malinche – Julia Esquivel A Lucky Child – Thomas Buergenthal The Drackenberg Adventure – Lloyd Alexander Say You're One of Them – Uwem Akpan William Wells Brown – Ezra Greenspan

June: Partners In Crime – Agatha Christie The Chinese in America – Iris Chang The Great Escape – Kati Marton As Texas Goes... – Gail Collins Pavilion of Women – Pearl S. Buck Classic Chinese Stories – Lu Xun The Return of the Soldier – Rebecca West The Slave Across the Street – Theresa Flores Miss Bianca in the Orient – Margery Sharp Boy Erased – Garrard Conley How to Be a Dictator – Mikal Hem A Thousand Splendid Suns – Khaled Hosseini Tears of the Desert – Halima Bashir The Death and Life of Great American Cities – Jane Jacobs The First Salute – Barbara Tuchman Come as You Are – Emily Nagoski The Want-Ad Killer – Ann Rule The Gulag Archipelago Vol 2 – Aleksandr Solzhenitsyn

July: Dorothy and the Wizard in Oz – L. Frank Baum * The Blazing World – Margaret Cavendish Madonna in a Fur Coat – Sabahattin Ali Duende – tracy k. smith The ACB With Honora Lee – Kate de Goldi Mountains of the Pharaohs – Zahi Hawass Anna Karenina – Leo Tolstoy Chronicle of a Last Summer – Yasmine el Rashidi Killers of the Flower Moon – David Grann Mister Monday – Garth Nix * Leaving Yuba City – Chitra Banerjee Divakaruni The Silk Roads – Peter Frankopan The Hitchhiker's Guide to the Galaxy – Douglas Adams A Corner of White – Jaclyn Moriarty * Circling the Sun – Paula McLain Lies and the Lying Liars Who Tell Them – Al Franken Believe Me – Eddie Izzard The Cracks in the Kingdom – Jaclyn Moriarty * Fried Green Tomatoes at the Whistle Stop Cafe – Fannie Flagg * One Hundred and One Days – Asne Seierstad Grim Tuesday – Garth Nix * The Vanishing Velasquez – Laura Cumming Four Against the Arctic – David Roberts The Marriage Bureau – Penrose Halson The Jesuit and the Skull – Amir D Aczel Drowned Wednesday – Garth Nix * Roots, Radicals, and Rockers – Billy Bragg A Tangle of Gold – Jaclyn Moriarty * Lydia, Queen of Palestine – Uri Orlev *

August: Sir Thursday – Garth Nix * The Hoboken Chicken Emergency – Daniel Pinkwater * Lady Friday – Garth Nix * Freddy and the Perilous Adventure – Walter R. Brooks * Venice – Jan Morris China's Long March – Jean Fritz Trials of the Earth – Mary Mann Hamilton The Bully Pulpit – Doris Kearns Goodwin Final Exit – Derek Humphry The Book of Emma Reyes – Emma Reyes Freddy the Politician – Walter R. Brooks * Dragonflight – Anne McCaffrey * What the Witch Left – Ruth Chew All Passion Spent – Vita Sackville-West The Picture of Dorian Gray – Oscar Wilde The Curse of the Blue Figurine – John Bellairs * When They Severed Earth From Sky – Elizabeth Wayland Barber Superior Saturday – Garth Nix * The Boston Girl – Anita Diamant The Mummy, The Will, and the Crypt – John Bellairs * Are We Smart Enough to Know How Smart Animals Are? - Frans de Waal The Philadelphia Adventure – Lloyd Alexander * Lord Sunday – Garth Nix * The Spell of the Sorcerer's Skull – John Bellairs * Five Little Pigs – Agatha Christie * Love in Vain – JM Dupont, Mezzo A Little History of the World – EH Gombrich Last Things – Marissa Moss Imagine Wanting Only This – Kristen Radtke Dinosaur Empire – Abby Howard The Amazing Maurice and his Educated Rodents – Terry Pratchett *

September: First Bite by Bee Wilson The Xanadu Adventure by Lloyd Alexander Orientalism – Edward Said The Lost Crown of Genghis Khan – Carl Barks The Island on Bird Street – Uri Orlev * The Indifferent Stars Above – Daniel James Brown Beneath the Lion's Gaze – Maaza Mengiste The Importance of Being Earnest – Oscar Wilde * The Book of Five Rings – Miyamoto Musashi The Drunken Botanist – Amy Stewart The Turtle of Oman – Naomi Shahib Nye The Alleluia Files – Sharon Shinn * Gut Feelings – Gerd Gigerenzer The Secret of Hondorica – Carl Barks Don't Let's Go to the Dogs Tonight – Alexandra Fuller The Abominable Mr. Seabrook – Joe Ollmann Black Flags – Joby Warrick

October: Fear – Thich Nhat Hanh Fall Down 7 Times Get Up 8 – Naoki Higashida To the Bright Edge of the World – Eowyn Ivey Why? - Mario Livio Just One Damned Thing After Another – Jodi Taylor The Yellow Wallpaper – Charlotte Perkins Gilman Blindness – Jose Saramago The Book Thieves – Anders Rydell Reality is not What it Seems – Carlo Rovelli Cranford – Elizabeth Gaskell * The Witch Family – Eleanor Estes * Sister Mine – Nalo Hopkinson La Vagabonde – Colette Becoming Nicole – Amy Ellis Nutt

November: The Golden Notebook – Doris Lessing The Children's Book – A.S. Byatt The Fire Next Time – James Baldwin Under the Udala Trees – Chinelo Okparanta Who Killed These Girls? – Beverly Lowry Running for my Life – Lopez Lmong Radium Girls – Kate Moore News of the World – Paulette Jiles The Red Pony – John Steinbeck The Edible History of Humanity – Tom Standage A Woman in Arabia – Gertrude Bell and Georgina Howell Founding Gardeners – Andrea Wulf Anatomy of a Disapperance – Hisham Matar The Book of Night Women – Marlon James Ground Zero – Kevin J. Anderson * Acorna – Anne McCaffrey and Margaret Ball * A Girl Named Zippy – Haven Kimmel * The Age of the Vikings – Anders Winroth The Spanish Civil War: A Very Short Introduction – Helen Graham A General History of the Pyrates – Captain Charles Johnson (suspected Nathaniel Mist) Clouds of Witness – Dorothy L. Sayers * The Lonely City – Olivia Laing No Time for Tears – Judy Heath

December: The Unwomanly Face of War – Svetlana Alexievich Gay-Neck - Dhan Gopal Mukerji The Tea Girl of Hummingbird Lane – Lisa See Get Well Soon – Jennifer Wright The Testament of Mary – Colm Toibin The Roman Way – Edith Hamilton Understood Betsy – Dorothy Canfield Fisher * The Four Horsemen of the Apocalypse - Vicente Blasco Ibanez Mrs. Frisby and the Rats of NIMH – Robert C. O'Brien SPQR – Mary Beard Ballet Shoes – Noel Streatfeild * Hogfather – Terry Pratchett * The Sorrow of War – Bao Ninh Drowned Hopes – Donald E. Westlake * Selected Essays – Michel de Montaigne Vietnam – Stanley Karnow The Snake, The Crocodile, and the Dog – Elizabeth Peters Guests of the Sheik – Elizabetha Warnok Fernea Stone Butch Blues – Leslie Feinberg Wicked Plants – Amy Stewart Life in a Medieval City – Joseph and Frances Gies Under the Sea Wind – Rachel Carson The Red Virgin and the Vision of Utopia – Mary and Brian Talbot Brat Farrar – Josephine Tey * The Treasure of the Ten Avatars – Don Rosa Escape From Forbidden Valley – Don Rosa Nightwood – Djuna Barnes Here Comes the Sun – Nicole Dennis-Benn Over My Dead Body – Rex Stout *

#books #reading #2017

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thrivous · 4 years

Link

By now, just about everyone knows that geroprotectors and other life extension treatments (LETs) can extend the lifespans of model organisms such as mice. Examples include metformin [1, 2], rapamycin [3, 4], calorie restriction [5, 6], resveratrol [7, 8], and NAD+ precursors [9, 10]. The number of PubMed publications and Google searches has been increasing exponentially for many specific LETs.

What many may not know, though, is that there aren’t just a handful of these LETs. There are actually thousands of LETs that have emerged over the last hundred years, which is around the time that life extension in mice was first discovered [11]. And between 1950 and 2000, hundreds of diets, molecules, exercises, and other interesting methods, were discovered to extend mouse lifespan.

For some odd reason, it took a long time for the public and our healthcare system to become aware of all of this [12-20]. Although the topic is now popular, not one time did I learn about extending organism lifespan or reversing aging during the time I spent as a biomedical undergrad.

That changed my last semester, when I watched some YouTube videos of Dr. Aubrey de Grey, Ray Kurzweil, and Dr. Martine Rothblatt [21-23]. After watching the videos, I asked my colleagues and professors about the topic. Somehow, not a single one of them had heard of this seemingly promising research. Not even the gerontology department had heard of it.

I hope one day to discover the reasons behind this historical lack of awareness. But, for now, there's no time. The research must be developed!

Brief History of Life Extension Research

It was not until around the beginning of the 21st century that we began to see genetic edits extending the lifespan of model organisms [24-30]. One life extension gene edit after another was discovered as the years went by.

Before we knew it, hundreds of different genetic edits had extended mouse lifespans. Hundreds more had extended the lifespans of other model organisms. And their health-spans were dramatically increased also.

Single genes were deleted or over-expressed to extend the lives of mice by up to 50% [31-35]. Diets [36, 37], small molecules [38, 39], and other interesting approaches [40, 41] were discovered. And adult stem cells extended mouse lifespan between 10% and 35% [42].

Recently, Dr. Nir Barzilai began planning a human clinical trial (TAME) using metformin to target age-related diseases [43]. It could be one of the greatest trials ever conducted. Metformin won't necessarily extend human lifespan exactly as we’ve observed in model organisms [1, 2]. But this may trigger an avalanche of new research by massive biotech companies with the goal to help us live healthy lives up to 150 years or longer.

Direction of Life Extension Research Today

Imagine an industry in which thousands of diets, drugs, supplements, genetic edits, and stem cells are tested and combined for optimal healthy life extension. It could be as simple as a quick injection for gene therapy. Or maybe we could consume a combination of strawberries and green tea for the fisetin [44] and EGCG [45]. This is the direction that LETs are going.

Only a few scientists have been bold enough to combine multiple LETs in tests on model organisms [46, 47]. In 2019, Dr. George Church and his research team published a spectacular paper. It described the results of making three genetic edits with a single gene therapy combination in mice [48].

Dr. Church didn't take time to measure life extension in the mice because he thinks that measuring life extension in humans will take too long. Imagine a forty year trial! To prove life extension in humans, we would have to live far longer than 120 years. Instead, Dr. Church believes we must focus on preventing and reversing parameters of biological aging because we can measure them faster.

So he and his team targeted four age-related diseases in mice. It wasn’t too surprising that their health-span increased. And their biological aging process slowed compared to controls. In other words, the mice remained youthful for much longer.

And why would he stop there? His plan is to test a combo treatment of gene therapies in dogs. It will contain not three, not four, but over forty of promising gene therapies [49].

Speculating on the Potential of Life Extension

In yeast, flies, and nematodes, single LETs can extend lifespan well over 100% [50, 51]. And many single LETs can extend mouse lifespan by 20% to 40%.

Let's do some speculative math. Assume we observe in mice at least a 10% increase in maximum lifespan from each of 45 gene therapies. 45 times 10% equals a 450% increase in lifespan.

If that translated over to humans, we would live longer than 400 years. And we may even be healthier than today’s healthiest 25-year-olds.

However, some studies have indicated that combinations aren't synergistic. For example, if two treatments extend mouse lifespan by 10% each on their own, we might observe an increase of about 15% from the combination.

So, backing off, imagine a 200% life extension in humans from something as simple as just drinking enough green tea, injecting a few stem cells, and applying some gene therapies. Should we believe this is possible?

Are humans too complex? Do humans live too long? Well, mice are much more complex and live much longer than nematodes. And we have observed 20% increases in mouse lifespan from treatments that only extend nematode lifespan by 10% [52, 53].

So the complexity argument doesn’t always work. And, at the end of the day, we might as well check how thousands of model organism studies translate over to humans. Let's not rule out possibilities until we've properly tested them. We should conduct more human trials like TAME, but with combinations of LETs.

Lifespans of 150 years would be less than a 50% increase in maximum lifespan for humans. Maybe it will only take a few LETs to help us all get there. And there are hundreds of promising LETs to explore.

Audacious Hope

Why only 150 years? Have we already discovered a method to keep people alive, as some enthusiasts describe it, "long enough to live forever"? In other words, do we already have the tools we need to survive just long enough to make better tools, over and again, and achieve longevity escape velocity?

We spend trillions of dollars targeting symptoms of specific diseases. But, right in front of our face, we might already have a relatively inexpensive method to achieve what our ancestors have hoped for millennia. Maybe we can finally, once and for all, put an end to suffering and death from aging!

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Pearson, K. J., Baur, J. A., Lewis, K. N., Peshkin, L., Price, N. L., Labinskyy, N., Swindell, W. R., Kamara, D., Minor, R. K., Perez, E., Jamieson, H. A., Zhang, Y., Dunn, S. R., Sharma, K., Pleshko, N., Woollett, L. A., Csiszar, A., Ikeno, Y., Le Couteur, D., Elliott, P. J., Becker, K. G., Navas, P., Ingram, D. K., Wolf, N. S., Ungvari, Z., Sinclair,D.A.,anddeCabo,R.(2008) Resveratrol delays age-related deterioration and mimics transcriptional aspects of dietary restriction without extending lifespan. Cell Metab. 8, 157-168.

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https://go.thrivous.com/371t5TL.

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Originally published at thrivous.com on June 04, 2020 at 01:33PM.

0 notes

doomonfilm · 4 years

Text

Review : Jumanji - The Next Level (2019)

Since childhood, I’ve had a fascination with Jumanji. It began with Chris Van Allsburg’s children’s book, released in 1981, that featured a twisted story and amazing illustrations, both courtesy of Allsburg. It continued with the 1995 film, starring Robin Williams, Kirsten Dunst, David Alan Grier and more, that stayed faithful to the original book while expanding the imagery into the world of film. The first true surprise came in 2017, when out of nowhere, Jumanji : Welcome to the Jungle hit screens with plenty of commercial success and positive acclaim from crowds and critics alike, including myself. The surprises continue in the form of the late 2019 release of Jumanji : The Next Level, and at this point, I’m obligated to take part at a theatrical level.

Fridge (Ser’Darius Blain), Martha (Morgan Turner) and Bethany (Madison Iseman) make plans to catch up over the winter break from their ever-evolving lives, but Spencer (Alex Wolff) feels unfulfilled, leaving him alienated from his friends. Upon returning home from New York, Spencer finds himself roommates with his aging and jaded grandfather Eddie (Danny DeVito), who finds himself estranged from old friend and former business partner Milo (Danny Glover). On the morning that Spencer’s friends are supposed to meet for brunch, they find Spencer is not only missing, but non-responsive, and the group heads to his home in hopes of finding him there. Prior to their arrival, Milo pays Eddie a surprise visit, and as the two attempt to work through their awkwardness, Spencer’s friends arrive. To their horror, Fridge, Martha and Bethany discover that Spencer has jumped back into the Jumanji video game that was supposedly destroyed. The group makes the tough decision to return to the game in hopes of retrieving Spencer, but in a surprise occurrence, Fridge and Martha are pulled into the game, while Bethany is left behind. Martha returns to her Ruby Roundhouse (Karen Gillan) avatar, but Fridge is surprised to find himself in the Shelly Oberon (Jack Black) avatar. Shockingly, it is discovered that Eddie and Milo have mistakenly been pulled into the game, as Dr. Bravestone (Dwayne Johnson) and Mouse Finbar (Kevin Hart) respectively. After discovering Spencer in the form of an avatar named Ming Fleetfoot (Awkwafina), the group attempts to navigate and entirely new set of obstacles presented by Jumanji, including a powerful new villain named Jurgen the Brutal (Rory McCann), in hopes of finding a way back home.

The depths of the Jumanji idea mines seem to be limitless. In terms of the obvious elements, the animal attacks continue with a new group of unique threats rather than retreads of former animalia included, and different variations of the jungle are replaced by a desert, an Eastern-themed village, and different varieties of mountainous terrain. The update from board to video game is further mined for ideas, with our characters being adjusted in terms of their strengths and weaknesses. All of the original characters you’d expect to see are back, including Nigel the NPC (Rhys Darby) and ‘Seaplane McDonough (Nick Jonas), but the addition of Ming Fleetfoot as a thief, and Jurgen the Brutal as a warlord add new elements that work thematically in terms of narrative and the adventure game that is presented. The idea of looking to find yourself in imagined ideas is once again the basis of the story, but adding in the perspective of aging characters to parallel against the insecure ones keeps the premise fresh.

The film really works best, however, when it comes to how fast and loose it is willing to play with the Jumanji avatars. ‘Seaplane’ McDonough stays as a fixed role, and Ruby Roundhouse is mostly familiar (though Fridge’s brief appearance as Ruby is priceless), but the remainder of the characters find themselves inhabited by multiple real-world counterparts throughout the course of the adventure. When Kevin Hart is playing the Mouse role as Danny Glover, the laughs are nonstop, and it is clearly evident that he is having the time of his life doing the characterization. Danny DeVito is given flattery via imitation in two hilariously different packages : a gigantic and overly confident Dwayne Johnson, as well as a ridiculous deep dive courtesy of Awkwafina (who I had no idea could be so proficient with imitation). Jack Black shows amazing range in his embodiment of both Madison Iseman and Ser’Darius Blain, swinging from tough posturing and frustration due to limitation all the way to a self-obsessed but self-aware beauty in a less than flattering form. Even Cyclone the horse manages to go from ditzy to distinguished in very subtle ways.

The special effects are very strong overall, with the majority of the animal CGI being non-noticeable, even when you’re aware of the fact that it clearly had to be used to achieve the sheer volume of animals in some scenes. The CGI work continues to be strong in the forming of the grand locations, especially the desert and the rope bridges. The writing of the overall series continues to be strong, turning what could have easily been a one-note tribute to a children’s book into a surprisingly viable series, with their even being a mid-credit button that clearly sets up a continuation of the series. The writers also know to keep the real-world stories as simple and grounded as possible (up to this point), in order to keep us familiar with and connected to the main characters at the service of making their video game avatar characterizations unique and interesting, depending on where (or in whom) they may land.

Seeing the core cast of Wolf, Iseman, Blain and Turner make returns immediately puts us in a familiar and inviting place, eliminating the need for a lot of story-setting exposition. Danny DeVito and Danny Glover lean into their odd couple-esque connection, with DeVito’s natural edge playing well against Glover’s tender nature. Johnson, Hart and Black are given leeway to take the baton and run with it, getting chances to play their original characters, as well as bizarre switches of their characters with new real-world counterparts. Awkwafina does a great job of embracing Wolf’s insecurities, as well as DeVito’s unaware (or uncaring) brash nature. Nick Jonas and Rhys Darby both get to revisit their original roles, making solid cameos. Rory McCann, though not as integral to the plot as one would imagine he’d be as a villain, does manage to provide an intimidating presence when given the chance to be the focus. Appearances by Dania Ramirez, Massi Furlan, Colin Hanks, Marin Hinkle, and cameos by Bebe Neuwirth and Lamorne Morris round things out.

If you’d told me back in 1995, or even as recent as the release of Zathura, that there’d be multiple Jumanji movies, I’d probably have laughed in your face. As it currently sits, I will probably be sad when this current run of Jumani movies ends. This film, like its predecessors, continues to bolster my appreciation for Jumanji that was nurioushed in my childhood, and my discovery of both Alex Wolf and Karen Gillan has been rewarding outside of the franchise. I look forward to the next film in the series, and until the ball is dropped, I will continue to look forward to whatever happens in the future of Jumanji.

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chorddebtor0-blog · 5 years

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Projecting all the offseason moves for the Chicago Bears

Brace Hemmelgarn-USA TODAY Sports

The Chicago Bears offseason is upon us and because of that, it’s time to let the imagination fly. Even so, this is a team that is currently tight against the cap and will still have more movement before they can spend with any sort of impact, if that is indeed the plan.

There’s plenty that can happen in an offseason, so I’m going to do my best to project a combination of what I think general manager Ryan Pace would do and what I would do as well.

Without further ado, let’s jump into this head first.

Current Cap Space: $18.146 million

This includes every currently announced cut and I also projected Cody Parkey’s cut in here as well, since there will be no additional cap penalties in 2019 because of the June 1st designation. This also includes the $2.5 million cap credit from Mike Glennon’s 2018 offset language.

Cap Savers: (+$12.751 million)

Mike DiNovo-USA TODAY Sports

Restructure Khalil Mack. (+$8.396 million)

By converting Mack’s $11.3 million base salary into a signing bonus, it would allow the Bears to save a maximum of $8.3 million. That would include a sixth year minimum salary and spreading the remaining dead cap over a five-year period, which would start this year.

Extend Chase Daniel (+$2.33 million)

By giving Daniel a two year extension (two years, $8 million), the team could also turn around and convert his $4 million base salary into a signing bonus. After a minimum salary benefit and the proration of the bonus, it would allow them to save around $2.33 million in 2019.

Trade Jordan Howard (+$1.535 million after rule of 51)

This is a move the Bears should only make after finding his replacement(s). I’m projecting that the Bears will trade Howard and a 2020 sixth-round pick to the Buffalo Bills for their fourth round comp pick (#132). This saves money and makes the most sense for both sides if Pace feels comfortable with the return.

Notes: Converting Mack’s base salary into a bonus is somewhat of a risk, but even an extra $2 million in dead space over the next five years isn’t going to cripple them, especially when the cap has continued to rise by $10-$12 million each year.

Total Cap Space: $30.38 million

Internal Free Agents (8)

2019 MOCK FREE AGENCY

Mike DiNovo-USA TODAY Sports

CB Bryce Callahan (Four years, $26 million with $12 million guaranteed) $4.75 million hit (Comp: Bobby McCain)

WR Josh Bellamy (Two years, $3.5 million with $1.1M guaranteed) $1.5 million hit (Comp: Sherrick McManis)

G Bryan Witzmann (Two years, $3 million with $600,000 guaranteed) $1.25 million hit (Comp: Eric Kush)

LS Patrick Scales (Three years, $3.5 million with $1.25M guaranteed) $1 million hit (Comp: Mike Windt)

TE Ben Braunecker (One year, $900,00 with $150,000 guaranteed) $900,000 hit (Comp: Daniel Brown)

S DeAndre Houston-Carson (One year, $700,000) $700,000 hit

DL Roy Robertson-Harris (one year, $650,000 (ERFA) $650,000 hit

RT Rashaad Coward (one year, $650,000) (ERFA) $650,000 hit

Notes: This is going to be an interesting group to follow. It’s quite possible that the Bears could end up retaining both Adrian Amos and Callahan after hitting the market, especially with how packed both markets are at their respective positions. The Bears have been vocal about wanting to retain both, and judging by the lack of reported buzz from both players at the combine, this seems more and more realistic. Even so, I’m still going to make this a safer projection and assume that just one of the two comes back.

Total Spent (after the rule of 51): (-$6.87 million)

Current Cap Space: $23.567 million

Primary Outside Free Agents (6)

Tommy Gilligan-USA TODAY Sports

OLB Terrell Suggs (Two years, $12 million with $5.5 million guaranteed) $5.5 million hit (Comp: Cam Wake)

RB T.J. Yeldon (Three years, $12 million with $6 million guaranteed) $3 million hit (Comp: Isaiah Crowell)

DB Brian Poole (Three years, $10.5 million with $4 million guaranteed) $2.5 million hit (Comp: Terrance Mitchell)

CB P.J. Williams (One year, $1.5 million with $500,000 guaranteed) $1.5 million hit (Comp: Marcus Cooper)

K Kai Forbath (One year, $1 million with $200K guaranteed) $1 million hit

WR De’Anthony Thomas (One year, $900,000 $150,000 guaranteed) $900,000 million hit

Notes: This isn’t going to be some extravagant offseason for the team like in previous years. They don’t have the resources to go out and sign multiple contracts in the $8-$10 million range, but that’s alright. Their holes will be minimal and the focus should be more about finding missing pieces in the short-term that can help push them team closer to a Super Bowl. It’s possible the Bears could do better at safety than Poole, but I have a feeling Pagano will want versatility, which the former Falcon brings. There’s also “better” options than Yeldon at running back, but stylistically, he fits like a glove. Maybe they’ll shell out $7 million per year for someone like Tevin Coleman, but I’ll keep my projection more conservative for the time being.

Total Spent (After rule of 51): (-$10.98 million)

Current Cap Space: $12.587 million

Extensions: (-$3 million)

Kyle Terada-USA TODAY Sports

Notes: At this point, a Whitehair extension has not only been widely speculation by names like Adam Jahns and Biggs, but it seems like a foregone conclusion this summer. It’s a no-brainer and speaks to Pace’s ability to land talent out of the first round.

Current Cap Space: $9.587 million

Draft Class (-$2.5 million)

2019 MOCK DRAFT

Reinhold Matay-USA TODAY Sports

3rd (#87): RB Miles Sanders (Penn St)

This is a running back class that simply didn’t test very well as a whole, but even so, there’s not a lot of first round talent, if any in this class. This should be a good thing for the Bears. Sanders is someone who didn’t originally pop to me on film, but the more and more I watched him, the more attractive he was. He’s a one-year starter with minimal miles. He doesn’t have a ton of long speed and may dance too much behind the line, but he has all the physical makings of a primary back in Nagy’s offense.

4th (#126): DB Amani Hooker (Iowa)

Much like the Poole signing, I expect the Bears to look for versatile options in the defensive backfield. Hooker can play in the nickel, either boundary spot or at strong safety. He’s someone that was used in multiple ways at Iowa and if there’s one thing I’ve learned, it’s to trust a good friend of mine who covers that team. He raves about Hooker and it’s easy to see why. Could be a plug and play starter from day one, but the Bears won’t need him to be.

4th (#132): TE Foster Moreau (LSU) Projected Trade with Buffalo

I’ve kicked a few different tight ends around at this pick. My other choice would have been Texas A&M product Jace Sternberger, but I find it hard to believe he’ll be sitting there in the late fourth, so enter Moreau. He’s not a crazy athletic kid, but he’s big, has steady hands and is an outstanding blocker. The Bears have invested heavy at the position, but this may be a needed addition.

5th (#162): WR Penny Hart (Georgia St)

Depending on who you talk to, receiver is either a bigger need than meets the eye or receiver is not a worry at all. I’m more in the middle. I don’t think they need to go out and spent big money or use a high pick, but finding Taylor Gabriel’s eventual replacement in the fifth-round wouldn’t be bad. Hart is smaller, but he’s very quick and could be used perfectly in Nagy’s offense.

7th (#222): K Matt Gay (Utah)

The Bears are likely to draft a kicker, seeing as how they have a pair of seventh round picks. Right now, the two kickers on the roster are Redford Jones and Chris Blewitt. Neither have NFL experience. Enter Gay, who has one hell of a leg.

7th (#238): OG Alex Bars (Notre Dame)

This pick is all about value and development. Kyle Long restructured his deal to help the team for a year, but has over a $9 million cap hit in 2020. Bars has experience with Harry Hiestand and could be a nice developmental pick or depth at worst.

Total Remaining Cap Space: $7.087 million

Offensive Depth Chart

QB Trubisky/Daniel

RB Yeldon/Sanders/Cohen/Mizzell

WR1 Robinson/Bellamy

WR2 Gabriel/Wims

WR3 Miller/Thomas/Hart

TE Burton/Shaheen/Moreau/Braunecker

RT Massie/Coward

RG Long/Witzmann

C Whitehair

LG Daniels/Bars

LT Leno/Sowell

Defensive Depth Chart

DE Hicks/Bullard

NT Goldman

DE Nichols/Robertson-Harris

OLB Mack/Suggs/Fitts

ILB Smith/Kwiatkoski

ILB Trevathan/Iggy

OLB Floyd/Irving

CB1 Fuller/Hooker/Williams

CB2 Amukamara/Toliver

SS Poole/Bush/Hooker

FS Jackson/Houston-Carson

NCB Callahan/McManis

Special Teams Depth Chart

K Gay/Jones/Forbath

P UDFA/UDFA

KR Thomas/Cohen

PR Cohen/Thomas

Source: https://www.windycitygridiron.com/2019/3/7/18252545/projecting-chicago-bears-mock-draft-free-agency-callahan-amos-suggs-mack-yeldon-bellamy-whitehair

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8dpromo · 5 years

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Snax - Loose Beats (Random Records)

Random Records presents Loose Beats, five re-imaginings from Snax's latest album, Shady Lights. Much like the album, this is an eclectic collection; the last audio chapter in the saga. Tying up the loose ends and tightening up the beats. Loose Beats. Up first is a special extended version of “Loose Beat.” It's a fragile tune with a deep electronic mood tied together with a vocal performance from Snax which is distant yet intimate. Breaks are extended in this mix, the original of which prompted Will Automajic from Carry Nation to declare, “Loose Beat is the one for me here! So good!” Snax's good friend Massimiliano Pagliara took time off from his hectic touring schedule to revisit “Shade Of The Living Light.” Seems Pagliara wanted the original 1:30 coda off the Shady Lights LP to be extended into an ecstatic cosmic banger, and he delivered! This remix is already burning up dance floors in Massi's worldwide DJ sets. Mr. Manic is one of the true up and coming legendary children of the Berlin queer underground. He's been making a name for huh-self all over town, dazzling crowds with her otherworldly sounds, not too mention huh fierce looks for your nerves! Manic took Snax's thrill-hop track “No Fakin’” and completely turned it upside down. Must be heard to be believed. Techno legends TokTok need no introduction. Snax first met the duo during his Captain Comatose days and they've been collaborating in many ways ever since. TokTok restructures “Loose Beat” with their signature four-to-the-floor sizzle, creating a stomper with minimal production and maximum stomp. Finally, Snax returns as house music alter ego Box Office Poison with the last word on “Loose Beats.” This nine minute thrill ride recalls early morning NYC, Body And Soul club feels, complete with sweeping house hits, deep kicks, and shimmering highs. It's all tied together with an epic Latin-infused piano solo that will make the summer last forever.

Nick Warren (Hope Recordings) – “The Extended Version and Massimilliano Remix are ace!” KJ (Integrity Recordings) – “Solid. Feeling the piano, and nice remix by Box Office Poison.” JT Donaldson (New Math Records) – “Wild! I’m loving it.” Pete Williams (Natural Rhythm) – “The Massimiliano Remix is cosmic bliss.” Richard Hardcastle (All Out War radio show) – “Wowsers. These are all amazing. Proper.” Gianluca Pandullo (Opilec Music) – “I-Robots approved!” Snooba (Radio Panik) – “Haunted folklore … Snax is infectious!” Ollie Blackmore (Soul Heaven) – “What a surprise package.” Rob Warner (Ibiza Voice) – “Shade of the Living Light is dope!” Jon Fugler (XLNT radio show) – “A lovely retro feel to Loose Beat. The Box Office Poison remix is the best!”

Available Now From: Bandcamp, Beatport, Apple Music, And Spotify.

#House Music #leftfield #slo #Nu Disco #Electronica #Snax #TokTok #Box Office Poison #Massimiliano Pagliara #Mr. Manic #Random Records #Berlin

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londontheatre · 7 years

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Sienna Miller and Jack O’Connell – Photo by Charlie Gray

Lisa Palfry (Big Mama), Hayley Squires (Mae) and Brian Gleeson (Gooper) with Richard Hansel (Doctor) and Michael J Shannon (Reverend) join the previously announced Sienna Miller (Maggie), Jack O’Connell (Brick) and Colm Meaney (Big Daddy) for the Young Vic production of Cat On A Hot Tin Roof directed by Benedict Andrews. The younger members of the Company will be announced at a later date.

The twelve-week run in the West End at the Apollo Theatre begins previews on 13 July 2017 with press night on 24 July. The last performance is 7 October 2017. Set designs are by Magda Willi with costume designs by Alice Babidge, lighting by Jon Clark and sound design by Gareth Fry. Music is by award-wining composer and musician Jed Kurzel.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday. The scorching heat is almost as oppressive as the lies they tell. Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

Lisa Palfrey’s theatre credits include Junkyard for Headlong, Much Ado About Nothing for Theatre Clwyd, The Seagull for Regent’s Park Open Air Theatre, The Kitchen Sink for the Bush Theatre, Red Bud, Ingredient X and Under The Blue Sky all for the Royal Court Theatre, Festen and The Iceman Cometh both for the Almeida Theatre and Cardiff East and Under Milk Wood both for the National Theatre. Her film credits include Pride, The Englishman Who Went Up a Hill But Came Down a Mountain, House of America, Under Milk Wood and Guest House Paradiso. Her television credits include Hinterland, The Line of Duty, Green Hollow, Casualty, and Family Tree.

Hayley Squires’ theatre credits include The Pitchfork Disney at Shoreditch Town Hall and As Good a Time as Any at The Print Room. For the role of Katie in Ken Loach’s Palme d’Or winning I, Daniel Blake she won the British Independent Film Award for Most Promising Newcomer, the Evening Standard British Film award for Best Supporting Actress and also received a BAFTA nomination for Best Supporting Actress. Her other credits include Giantland, Away, Polar Bear, A Royal Night Out and Blood Cells. Her television credits include The Miniaturist, Collateral, Philip K. Dick’s Electric Dreams, The Commuter, Murder, Southcliffe, Complicit and Call The Midwife.

[See image gallery at http://ift.tt/1FpwFUw] Brian Gleeson was most recently seen on stage in The Weir at the Lyceum Theatre, Edinburgh. His other theatre credits include The Walworth Farce at the Olympia Theatre, Dublin and the Donmar Warehouse production of The Night Alive, which also ran at the Atlantic Theatre in New York. His film credits include Assassin’s Creed, The Flag, Tiger Raid, History’s Future, Standby, Darkness on the Edge of Town, Stay, Snow White and The Huntsman. His television work includes the lead role of Jimmy Mahon in the RTÉ series Rebellion, Quirke and Stonemouth. His film work due for release this year includes Steven Soderbergh’s feature film Logan Lucky, Darren Aronofsky’s Mother!, and Paul Thomas Anderson’s Phantom Thread.

Richard Hansell’s more recent theatre credits include Lazarus at the King’s Cross Theatre, the Young Vic’s production of A View From the Bridge which transferred to the West End and then to Broadway and Macbeth at the Trafalgar Studios. His other theatre credits include Tonight at 8.30 for Chichester Festival Theatre, The Madness of King George III at the Apollo Theatre, The Bridge Project at the Old Vic and the Brooklyn Academy of Music, Troilus and Cressida for Shakespeare’s Globe, Rosencrantz and Guildenstern Are Dead, School for Scandal and Hamlet all for English Touring Theatre and A Patriot For Me and Two Gentlemen of Verona for the Royal Shakespeare Company. His television credits include And Then There Were None, Downton Abbey, Spooks, The Royal, Miracle Landing on The Hudson and E=MC2, and on film his credits include Shine, The Wolfman and Hamlet.

Michael J Shannon’s theatre credits include The Dining Room and The Glass Menagerie, both at Greenwich Theatre, Artichoke for the Tricycle Theatre, Totally Foxed at the Theatre Royal Bath, The Price at the Leicester Haymarket, The End of the World at Nuffield, Southampton, A Thousand Clowns at the Palace, Watford and A Delicate Balance at the Nottingham Playhouse. His television credits include We’ll Meet Again, Boston Legal and Brothers & Sisters.

For this Young Vic production, there are seats available at £10 for under 25s for each performance booked through the Young Vic Box Office. Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones. Previously the Young Vic have transferred A View from a Bridge, Golem, Romeo and Juliet, The Scottsboro Boys, Simply Heavenly, Tintin and A Doll’s House.

Tennessee Williams’ Pulitzer prize winning play received its world premiere in 1955 on Broadway with Barbara Bel Geddes and Ben Gazzara as Maggie and Brick. The UK premiere, directed by Peter Hall, opened at the Comedy Theatre in 1958 with Kim Stanley and Paul Massie. The 1958 Academy Award nominated film starred Elizabeth Taylor and Paul Newman.

Finn den Hertog is Assistant Director. He previously worked with Benedict Andrews on A Streetcar Named Desire.

Natalie Denton is Jerwood Assistant Director, supported through the Jerwood Assistant Directors Program at the Young Vic.

The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighbourhood. It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Simon Stone’s multi award-winning new version of Lorca’s Yerma which returns to the Young Vic with Billie Piper reprising her performance in July, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees. David Lan is Artistic Director, Lucy Woollatt is Executive Director. www.youngvic.org

About the Jerwood Assistant Director Program The Jerwood Assistant Director Program at the Young Vic supports directors in the early stages of their careers by providing a vital opportunity to obtain professional on-the-job development. The programme is supported by Jerwood Charitable Foundation and was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world. The partnership was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world.

In 2014, the Program was expanded to include an international dimension, and this continues in 2017. The Program draws upon the vast expertise of our theatre colleagues across the world and will for the fourth time offer a professional practice visit to the seven Jerwood Assistant Directors. Travelling as a group to a major European theatre capital they will have the opportunity to see work and develop relationships with international practitioners with a view to generating new ideas and future collaborations.

The Jerwood Assistant Director Program has become a successful springboard. Past participants include: Sam Pritchard, who assisted Carrie Cracknell on A Doll’s House, appointed International Associate at the Royal Court. He will direct Pygmalion for Headlong in 2017; Craig Gilbert, who assisted Natalie Abrahami on Ah, Wilderness!, appointed New Works Associate at the Liverpool Everyman and Playhouse and Kate Hewitt, who assisted Sacha Wares on Wild Swans, winner of the inaugural Royal Theatrical Support Trust Director Award in 2016. In the Young Vic 2017 season, Jerwood Assistant Directors will have worked on Young Vic productions including: A Midsummer Night’s Dream, See Me Now, Life of Galileo and Wings.

Jerwood Charitable Foundation is dedicated to imaginative and responsible revenue funding of the arts, supporting artists to develop and grow at important stages in their careers. The aim of its funding is to allow artists and arts organisations to thrive; to continue to develop their skills, imagination and creativity with integrity. It works with artists across art forms, from dance and theatre to literature, music and the visual arts. For more information visit http://ift.tt/1qsP3BO

LISTINGS INFORMATION Theatre: Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES Dates: 13 July – 7 October 2017

http://ift.tt/2mkfWxw LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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dipulb3 · 3 years

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Court awards $2.3 billion to US ship crew held hostage by North Korea

New Post has been published on https://appradab.com/court-awards-2-3-billion-to-us-ship-crew-held-hostage-by-north-korea-2/

Court awards $2.3 billion to US ship crew held hostage by North Korea