#wanted to preserve this moment for posterity and wanted it with audio

[incidentale]

Throwback to this event from 2018 in Ostia after the screening of Non Essere Cattivo during Notte Caligari hosted by Il Cinema In Piazza.

I just think they are neat and hilarious at public events huge thanks to @weardes for tracking it down in this gifset.

Full video in the comments. Brief translation under the cut:

The host is thanking those of the crew who couldn't be there, and then asks everyone if they want to share a memory about Ostia or if they have anything they want to say in particular to the people there, since this was an event that brought the movie where it was shot after three years from its release, in some way closing the cycle with the palce too.

People didn't know who had to start and the host called Alessandro to speak first since he already had the mic.

Alessandro says that it seems like this cycle never ends, that even after so many years since they've met to make this movie, they are still here talking about it and this fact makes him, and them all, emotional. The only thing he can do is to shout his most absolute thanks to everyone for being here and to still want to watch the movie, and more in general for wanting to support cinematography. If one is in love with Non Essere Cattivo it's because they love a certain kind of cinematography, which is what they also love.

Then he makes a joke, aside from his huge thanks, he's passing the mic to Giordano Meacci (screenwriter), that way he'll have things to say for 40 minutes, and quote: "Nah, that's not true, look how handsome he is. And nothing, thank you, what else can I say? There's here Luca Marinelli who has something to say."

Luca meanwhile is taking pictures with an analog camera and is caught off guard, and says "Just like in the 90s." And Alessandro asks if it works with film, that camera, and Luca goes, "Yes, yes. You gotta develop it. Those things..." and makes a gesture to mean 'ancient'.

He then also thanks everyone and starts elaborating a reply. He says it's very, very, veeery moving, and this story really never ends. A while ago, when they were following and promoting the movie, they used to say it was like a book, every time you turn the page and it's blank then it starts filling in as colors start to appear, and seeing everyone here again– "it's been a while but... [emphatically] it doesn't seem like it."

At that everyone laughs and Alessandro cracks up, clinging to his shoulder, and Luca just closes with, "It's beautiful, thank you." Everyone claps and they move on to the screenwriters.

#EDIT: found again the post where i first saw the vid!! was losing my mind for two days cause I was sure it was in there #luca marinelli #alessandro borghi #don't be bad #borghi totally losing it at marinelli's answer was priceless #ill never tire of seeing the juxtaposition of the completely different ways these two are in public #wanted to preserve this moment for posterity and wanted it with audio #im still going through old stuff but this needed to be here #marinelli cinematic universe #non essere cattivo #borghi limited edition

[atariaction]

Kay’s 2022 Wrap-Up

Greetings from the tail end of 2022. This is my annual letter summarizing the computer history work that I did this year.

When I wrote last year’s letter, I was in a bit of a funk. I wrote:

I doubt I will be as productive in 2022 as I was in 2021 … I can’t predict how much energy I will have to devote to these projects in 2022. I need a break from so many interviews (each is more time-consuming than you might guess), and spending hours processing piles of scanned documents does not appeal to me at the moment.

In retrospect, I was right — I produced less in 2022 than 2021, and I really did need a break from interviews and so much scanning. But 2022 ended up being a fairly successful year for my computer history efforts, some of it in ways other than interviews and scanning. 2023 promises to be at least as productive.

I published just four interviews on ANTIC: The Atari 8-Bit Podcast. There was Tom Zimmerman, who worked in in Atari's Corporate Research Lab on the unfinished AMY audio chip; Anthony Ramos, creator of the type-in game Creepy Caverns and the software for the Parrot audio digitizer; Michael Park, programmer of the Swan and Fujiboink demos; and Scott Savage, who built “Lefty,” a robot that played checkers. All four people gave great interviews!

I’ll certainly continue doing interviews in 2023. I don’t want to sound like I’m making excuses, but I will say that with 400+ interviews in the bag, finding people to interview is much harder than it used to be. The people who were findable have been found; the people who were agreeable to an interview have been interviewed. There are still more stories to be told, but the path only gets steeper. Let’s shoot for at least six interviews in 2023. 

I did some solid software preservation work in 2022. With the help of 4am and John Keoni Morris, we preserved the only known copy of Glutton, an unreleased game for the Apple II. 

I digitized the entire library of the Ol' Hacker's Atari User Group over a period of two months and made them available at Internet Archive. That collection weighs in at 1,281 .atr files, or 130 megabytes! My thanks to John Hardie at the National Videogame Museum for lending me that collection. You can find discussion of that collection in the AtariAge forums.

The scanners got a bit of a workout in 2022 as well. I scanned the complete run of ITEC (Information Technology Electronics Computers), a partwork magazine published by GEJ Publishing Ltd. in the United Kingdom from 1983–1984, as well as 11 issues of AppleLink Update magazine. I also found a cheaper way to scan large-format posters, which I used to make hi-res scans of a 1989 Ukraine Computer Exhibition poster and the 1984 Atari Final Legacy poster.

The rest of my output, I can only lump into an overarching category I’ll call Miscellaneous Computer History Preservation:

My pal in the Atari 8-bit world, Sal Esquivel, died in December. I did what I could to preserve his memory by archiving his YouTube videos into a collection at Internet Archive. I’m working with Allan Bushman to create a complete collection of Atari Program Exchange manuals and catalogs at Internet Archive. I put several of the Phoenix Software source codes (preserved by me years ago) up at GitHub for easier access: Adventure in Time, Queen of Phobos, and Birth of the Phoenix.

I edited the videos of the all the presentations at Vintage Computer Festival East 2022 and VCF West 2022, and made them available at YouTube and Internet Archive.

Having finished scanning every issue of Mid-Michigan Atari Magazine and Michigan Atari Magazine, I created a “complete collection” 1000+ page PDF which is either a) very handy or b) will hopelessly choke your PDF viewer.

Russ Walter has been writing and updating Secret Guide to Computers (later renamed Secret Guide to Computers & Tricky Living) since 1972. Currently in its 34th edition, Mr. Walter has kept the book updated as hardware, software, and operating systems have evolved. I worked with him to get as many editions as possible preserved and free to download from Internet Archive. Thanks to the Kahle/Austin Foundation for funding the scanning of those books.

A surprise came late in 2022 when I was offered a role at Internet Archive — it turns out that my years and years of preserving computer history taught me a few things, so now I am Internet Archive's Program Manager, Special Collections. My role is to curate the Digital Library of Amateur Radio & Communications. I’m having a great time doing that work. It’s the same sort of work as computer history, in a slightly different, but just as nerdy, field. It takes away from the time I can devote to computer history preservation, but it’s a change that I needed.

But! I’m excited for computer history projects in 2023! Having found the guy who wrote the line “Have you played Atari today?” I plan to publish an article or print interview about him and that famous tagline. I’ll continue filling out the Atari Program Exchange collection at Internet Archive. There are a lot of Apple II and Atari documents in a pile to get online for the Scantastix project. And, as I wrote above, I’ll shoot for six interviews. 

Here’s to a productive and fun 2023. Let’s do this.

-Kay

P.S. Like many others in 2022, I moved from Twitter to Mastodon. You can follow me at @[email protected].

[stellarfirmafanevents]

Stellar Firma Holiday Exchange 2021 Masterpost

This year, we ran our inaugural Stellar Firma Holiday Exchange (a festive event where fans create fanworks for each other- for more information, check out this post here: https://theallknowingowl.tumblr.com/post/662952532751056896/hello-and-welcome-to-the-inaugural-stellar-firma). We genuinely didn’t expect as many people to sign up as did, as this was the first year of an event for a relatively small fandom. Still, somehow, 16 of you signed up and produced 18 fanworks of fanfic and fanart alike, all to spread the love of our little podcast in our lovely fandom.

Today we’re going to take a moment to list all the marvellous works created for this exchange so we can give them the love they deserve! Click here for the link to the Ao3 collection (https://archiveofourown.org/collections/SFHE21), or read below for individual links to each one :)

However, before we begin, I’d like to take a moment to say thank you. At the start of this event, it was just me (Mod Tako) and my laptop. Of course, I couldn’t have done all of this without coding help from Mod Franzi (@franzis-frantic thoughts whose first event with the team is coming up soon!), and the beautiful art above from Coot (@ulyssesthescribe , otherwise unaffiliated with the mod team), but otherwise it was just me, my spreadsheets, and my burning need to see more engagement and content for and from the Stellar Firma fandom.

And my goodness, you delivered.

I couldn’t have possibly done this without everyone involved being as wonderful as they were to work with, so a sincerely-felt thank you from the heart, from your loving Tako. Now, only a few months later, our mod team has expanded to four people (and hopefully more soon!), and we’re working on a Discord server dedicated to our events (next up: Stellar Firma Anniversary Prompt Month!). Thank you, everyone who has taken part.

And now on to the fanworks! Enjoy, and may the Board preserve and keep you :)

The Trial of... by HavenJunde (@havenjunde) for general_body_pain (G)

So, you want to know the story of how I, Trexel Geistman, worked things out with Bathin? Well, let me set the stage: I.M.O.G.E.N. as judge, Harry from IT as the bailiff, I (Trexel Geistman) representing myself as prosecuting lawyer, and David 7 representing Bathin as the defending lawyer...

David's Place First Annual Holiday Hangout by KiroAngel (@kiroangelica) for arazmis (G)

David 7 spends their first Stellar Firma Holiday running and defending their Holiday Hangout Party from their hapless boss.

I.M.O.G.E.N's holiday by general_body_pain for TheAllKnowingOwl (G)

After the fall of Stellar Firmer I.M.O.G.E.N finally had time for that well deserved holiday

Disregard (Album Cover) by rcbirdy (@rcbirdy) for Almu_de_Nada (T)

IMOGEN is turning security footage of Trexel into album covers again...    

An Entirely Uneventful Trip to Space Costco That Definitely Didn't End In Someone Almost Losing Their Cool Sunglasses, Bro by thetasteofsunshine (@thetasteofsunshineonyourtongue) for KiroAngel (G)

David 7 and Trexel’s awkward accidental awful family/ex-coworkers reunion post-series, right in the middle of getting groceries

David's Fact Corner - ep 8: Catenaries by Almu_de_Nada (@disclaimer-perfomatico) for ocean_of_ink (G)

David 7 records an audio blog about the most efficient kind of free-standing structure

A look at Hartro's crafting by Almu_de_Nada for ocean_of_ink (G)

Hartro paints a chicken figurine.

David's Place nouveau poster by Almu_de_Nada for ocean_of_ink (G)

little profits by darklingundersky for angelbloggerwithabox (T)

--REVIEW--

LOCATION: David's Place [formerly Office #8945123125] REVIEWER: Trexel Geistman (Citizen Employee #362884; Department Unknown) COMMENTS: It's awful! Possibly the worst place I have ever been, and I'm Trexel Geistman, so I've been a lot of places. They don't even serve alcohol. I mean, really?

A Meet-Cute at David's Place by arazmis for thetasteofsunshine (G)

Holiday gift exchange for thetasteofsunshine! I hope you like it and have a wonderful holiday season <3

we find many simple beauties by TheAllKnowingOwl (@theallknowingowlagain) for Franzis_Frantic_Thoughts (G)

Hello and welcome to- Daaaavid’s Fact Coooorner! Where I, David, give you the facts! The only audio blog run by a clone- but not for long! Um. Hopefully.

IMOGEN and I are very grateful for the submissions everyone sent us, and we’re definitely glad we took your advice. This month’s planet we visited on the- well, a lot of you suggested it to us, so here’s today’s episode on Mossvook!

Best of Frenemies by Pezzythecat (@pezilla) for SchmokSchmok (T)

Trexel found something in the archives called 'They Pipes' David 7 doesn't know what he expected... about as much plot as a standard episode of stellar firma really. with just as much spelling mistakes as you would normally expect ... but now with pictures.

SQUID DATE DETECTED. PEGGING INITIATED. by Franzis_Frantic_Thoughts (@franzis-frantic-thoughts) for Pezzythecat (T)

Trexel attempts to tell David about a date he's had with a squid in the Cosmic Lounge. He then proceeds to peg David. Except this is Stellar Firma so not the way you expect. 

I'm a little drunk on you and high on summertime by angelbloggerwithabox (@angelbloggerwithabox) for darklingundersky (G)

Bathin plans a perfect beach day for David 7, giving them all the love and appreciation they deserve. 

Time Bots by ocean_of_ink (@scienceandstarlight) for HummelArt (G)

Request from Velorina Bloodgood, from Internal Affairs, Second Vice President of the Entertainment As An Opiate For The Masses division. She wants us to write a pilot for a holovid show. 

Art! In space! by Eituoe (@eituoe) for rcbirdy (G)

All across the known universe, travelers. And planets.

Also Trexel somewhere but nobody wants to think about that.

New World, Old Ghosts by HummelArt (@HummelArt) for Eituoe (G)

David 7 and I.M.O.G.E.N. arrive on Galactonium to start a new life, but they carry their memories with them.

purely therapeutic steps taken (no underlying intention) by timstokerlovebot (SchmokSchmok) for HavenJunde (G)

Trexel is in a state (probably excited, possibly agitated, David-7's not sure), David-7 takes matters* into David-7's own hands.

*Trexel, Trexel is the matter

Image description: a redrawn version of the Cardinal Fang emoji from the RQO Discord. It now has a blue Santa hat, and there is light blue text in the left corner reading ‘2021 SFHE’.

#stellar firma holiday exchange #sfhe #sfhe21 #rusty quill #david 7 #trexel geistman #hartro piltz #i.m.o.g.e.n. #sf imogen #bathin #galactonium #fandom #fan exchange #holiday exchange #rq fanworks #stellar firma fan events #mod tako

[deathfrisbeeinthetardis]

“Move out of my way before I make you.”  Yes please- maybe Shane threatens this to Ryan because Ry won’t let him go in a cursed cupboard or something (maybe Ryan holds him back like during the Annabelle ep) and Ry adamantly blocks him anyway and Shane inevitably ‘makes him’ move

Thank you so much for the suggestion!! This little thing was so much fun to write, I hope the dynamics are alright. Also bless the people who sent me asks for prompts, anons or otherwise, I see ya’ll, but I am sorry when I say I make no promises on delivery time. Love you all the same

Here we go!

Wood creaks. Ryan hates everything about this room. 

From the distinct lack of dust on the furniture to the delicately billowy white dress that hung between the beams of the ancient four-poster bed, the covers rumpled and pushed back as if someone had just slept in them.  

He especially hates that look in Shane’s eyes as his friend assesses the scene in front of them, a sly curve to his mouth. 

“That’s where the daughter hung herself,” Ryan half-whispers into the silence. They’re on their own for the moment, go-pros strapped to their chests and cameras in hand. He shivers as his brain very helpfully presented him with the crime scene photo in full color, sometimes it really isn’t good for one’s health to have a good visual memory. “People say they have trouble breathing here, pricks on their wrists, that sort of thing, cause she slit hers before, well." 

Shane’s eyes are bright with interest, leaning over the guard rope into the enclosure, making full use of his stature to get his nose within three feet of the dress itself. He sniffs at it and Ryan stares at him. Sometimes he wonders why his stupid heart chose to beat for this man. 

"Dude get back, that thing is cursed!” Ryan grabs Shane’s arm and tugs, and the other man leans back but doesn’t budge his feet, turning to level Ryan with a long-suffering grin.

“Oh really?”

“Yes really,” Ryan huffs, letting go of Shane so he can point at said piece of clothing accusingly, “The people who’ve touched it after her death have all suffered in some way, serious injuries, depression, psychic breaks. Every, single, one.”

  "Impressive,” Shane hums, tapping at his chin with a hand while he studies the layers of fabric so light any whiff of air would send them trembling. “That’s one hard-working ghost! The spiritual PAs gotta get the lady an employee of the year award." 

"Yeah she’s got a pretty good track record,” A nervous laugh escapes him at the words, the air in the room weighing heavy in his lungs. Ryan had expected the stuffiness with the age of the house, but it hadn’t really hit him until the lights had gone out and the silence descended. The only sound is the gentle rustle of their clothes and small creaks in the floorboards as Ryan shifts his weight around, fiddling with the seam on his jacket sleeve. 

“You think she’s gonna come out and haunt me if I touch it?” There it is again, that look in Shane’s eyes, half mischief and half insurmountable determination to keep giving Ryan heart attacks. 

“I said it back at the studio and I’m still going say it now, you taunt the ghost all you want, just don’t bring me into your shit.”

“You did join me against our old pal Goatman,” Shane’s eyes twinkles and Ryan’s chest does a thing. 

“Tha-that doesn’t count,” He sputters, indignant, “There wasn’t anything there that time, we got lucky.”

“Says the guy who keeps trying to prove ghosts are real,” Shane grins, “Come on Ryan, wouldn’t it be great evidence if I get murked by a ghost? Then you can go celebrate with your Boogaras.”

“Fine by me.” Ryan mutters darkly, rolling his eyes when Shane pantomimes death, with explosive hand-blood spurts and everything. By the end of it, Ryan’s pointing the camera down at where Shane has melted onto the floor, both of them giggling like preschoolers. All ghost hunters are like this, Ryan thinks, they must be. Some good serious work right here.

“Phew,” Ryan wheezes, wiping a tear from his eye and holding out a hand to help Shane up despite himself, “Okay we need to get started, we’ve gotta leave enough time to sleep here too.”

“The Shanster does need his beauty sleep,” Shane quips, chuckling when Ryan looks at him somewhere between fond exasperated, “Okay okay, you said the daughter’s name is Elizabeth?”

Ryan nods, stretching out his arm to extend their audio recorder into the enclosure. This is one of the more active locations they’ve been to, and no way is he going to give Shane the opportunity to blame the EVPs he’s going to catch on their own clothes.

“Elizabeth? Or Eliza, are you here with us?” Ryan asks, feeling the pressure in the room again, but he’s done enough of these investigations that his voice is steady, “Our colleagues have seen you before, can you move something or say something to show us too?”

“You could rustle that dress right there,” Shane says, and the seriousness in his voice brings a smile to Ryan’s face, maybe if that respect can last they’ll actually get something good.

“Were you cursed?” Shane’s sweeping his eyes over the room, and the silence stretches for a good while, then he turns to Ryan and shrugs, “Nothing, I’m getting nothing.”

“I’ll scan the audio later, in the meantime,” Ryan ducks down to dig out the spirit box from his pack, fiddling with the dials and turning it on. He winces with Shane when the thing gives a loud screech before settling into the rhythmic skipping of channels. “Whoah there, was that you Eliza?”

“We need to bring earmuffs next time,” Shane mutters just loud enough to be heard over the noise and Ryan bats at his arm, straining his ears to pick out any response. He didn’t see Shane get that look in his eyes again.

Movement, his brain registered, oh shit it’s the ghost, Ryan thinks, whipping his head around to look, and oh shit Shane’s gonna touch the dress. Instinct kicks in, and he almost drops the spirit box as he leaps over the guard rope to stand in the other man’s way. 

“No,” Ryan half shouts, Shane coming to an abrupt stop in front of him, tilting his head and looking at the bundle of silk over Ryan’s shoulder, still with that sly smile on his face.

“No.” Ryan says again, firmer this time. 

“It could make her show herself.” Shane looks down at him, and sure he’s got a point. But. 

“It’s dangerous,” Ryan doesn’t really like the slight whine that creeps into his own voice, but fuck it, with all he jokes about killing Shane, he can’t not care. “It’s not worth it.” He says stubbornly.

“Aww, are you worried for me?" 

"I have to be! You’ve got like negative self-preservation.”

“Do you want evidence or not?” Shane quirks an eyebrow at him and takes a step forward, there’s barely a foot of space between them now, Ryan swallows. 

“Yes but not if it gets you killed, or-or cursed!’ He sounds breathless to his own ears.

"But it’ll be for science! Think about it Ryan, you’ll finally have concrete proof of death by a ghost, caught on camera.”

“Nope, not happening." 

Ryan’s expecting Shane to drop it, to back away so they can continue on their usual routine of questions and a bit of insulting for the ghosts. But Shane leans forward, forcing Ryan to tip his head up to look at him, the other man’s face set with determination, eyes twinkling.

“Move out of my way before I make you.”

Ryan shivers, he couldn’t help it, painfully aware that the motion is made more obvious with their bodies so close together. Shane’s eyes have gone dark, or maybe that’s just the shadows playing tricks on him. For a man who’s a big goof ninety percent of the time, the big guy can sure pack some intimidation points. Pity Ryan’s gotta fight him on this. 

"You’re gonna have to make me.” Ryan’s voice shakes just a little, something in his stomach fluttering and fingers flexing around the sharp lines of the spirit box. His face feels hot, but he hopes Shane won’t notice in the dim light, he really doesn’t need more things to make fun of Ryan for right now.  

“You know I can just reach over your shoulder right?" 

"I’ll fight you.” Ryan warns, though he doesn’t sound too threatening. He would have brought up his arms too, if only there was space for them. 

“Are you now?” Shane’s smiling down at him, eyes definitely darker than usual. He crowds Ryan until the smaller man takes another step back, “Careful now, you’re awfully close to the dress yourself.”

“Well fuck, guess I’m dead then,” Ryan says weakly, feeling the phantom cold of fresh air brush against his back. He should have at least two more feet of cushion, he’d eyed the distance when he jumped in front of Shane, but how many steps has he taken already? It’s hard to keep track when he could feel Shane’s breath on his face. “Better me than you.” he manages, barely. 

“How noble of you.” And then Shane’s leaning down even more, still not letting up on the space between them. Ryan’s breaths are starting to speed up, fast, shallow little things that rush in and out of his lungs without actually doing their job. He can step away, he should really, the cameras are still rolling. But Shane’s face is so close and there is a headiness to the tension between them and all the places they’re not touching. 

For a second something like uncertainly flickers in Shane’s face, his eyes search Ryan’s face for… something. Ryan can hardly move, his own gaze glued to the other man. What Shane sees must confirm his beliefs, since he sinks his head down, lower. Ryan’s eyes flutter closed.

And Shane kisses Ryan’s nose. 

“Wha-” Ryan makes an indignant noise and has to catch himself before he takes a step back and curses himself via ghost dress. He feels plenty cursed already, what with his heart beating thunderously in his ears and his stomach doing all sorts of acrobatics he hasn’t given it permission to. 

“What was that?” He had meant it as an accusation, but a small smile escapes him as he looks back at Shane, watching in quiet wonder when the brief worry melts away from his brow.

“A truce.” Shane’s voice is quiet, a soft tilt to his mouth, and Ryan’s knees feel weak. His body parts are just all ganging up on him today huh. 

‘Oh, um sure,“ Ryan stammers, breathing still unsteady, "Jus-um just don’t touch the dress, please.”

"Lets trade,” Shane’s eyes are twinkling again, mischief dancing in them, “I leave the dress alone and I get to kiss you, properly." 

"That’s not how it works,” Ryan grumbles, ducking his head and flushing furiously, but he knows Shane sees anyway. Shane’s full-on grinning now, Ryan doesn’t think he has ever seen him with this much gently suppressed excitement. I gave him that, he thinks, wild. 

“Okay fine. Just this once.”

“I’m good with that,” Shane sinks his voice a few octaves deeper and says with mock seriousness, “But Mr. Bergara! I do believe further such business negotiations would be beneficial to–”

“Oh stop,” Ryan chides, staring into Shane’s laughing eyes as he bunches a hand in the other man’s collar to pull him in, “Just kiss me, you idiot.”

And he does, and Ryan can’t remember a room he likes this much.

#prompt asks #anger prompts #thank you for this ask mello #Shyan #get together fic #ghost hunt #alex writes #ask

[burnouts3s3]

Maria-sama Ga Miteru, a blu-ray review

(Disclaimer: The following is a non-profit unprofessional blog post written by an unprofessional blog poster. All purported facts and statement are little more than the subjective, biased opinion of said blog poster. In other words, don’t take anything I say too seriously.) Just the facts 'Cause you're in a Hurry! Manufacturer’s Suggested Retail Price (MSRP):  99 USD How much I paid: 69.99 USD, the Pre Order price Animation Studio: DEEN Original Localizer: Nozomi Entertainment Licensed and Localized Currently by: Sentai Filmworks Audio: Japanese Audio with Subtitles Number of Episodes: 39 Episodes and 5 OVAs equaling a run time of 1237 Minutes. Length per Episode: 25 Minutes on average. 21 Without Intro and Ending song. Length per OVA: 50 Minutes on Average Number of Discs: 8 Blu Ray Discs Episodes per Disc: Seasons 1, 2 and 4: Episodes 1 through 9 on the 1st Blu-ray Disc. Episodes 10 through 13 on the 2nd Blu-ray disc as well as “Don’t Let Mother Maria Know”, funny ‘outtakes’ of the characters in Chibi From. Season 3: OVAs 1 – 3 on 1st Blu-ray Disc. OVAs 4-5 on 2nd Blu-Ray Disc. Aspect Ratio: 4:3 for Seasons 1 and 2. 16:9 for Seasons 3 and 4. Are there plans for a DVD release?: A DVD release of the series exists from Nozomi Entertainment. Does this come a digital voucher to redeem?: No. This only has the Blu-ray discs. Also on: HiDive, Sentai Filmwork’s Streaming Service. Bonus Features: Clean Opening Animation, Clean Closing Animation and “Don’t tell Mother Maria”, ‘outtakes’ of the characters in chibi form. Notable Localization Changes: Onee-sama, a popular phrase Yumi addresses Sachiko with, has been translated into “Dear Sister” (which is more or less the same thing). Honorfics such as –san or –sama have been omitted in the subs or changed. (For example, when a character refers to Sachiko as Sachiko-sama, the subs translate it into “Lady Sachiko”). Make of that as you will. My Personal Biases: I actually reviewed Marimite a long time ago on this site. I still hold fond memories of the show to this day.

My Verdict: A long running staple of the Shoujo genre and said to have kickstarted the Yuri trend that gave us Kannazuki no Miko, Strawberry Panic, Aoi Hana and Sasameki Koto, Maria-sama Ga Miteru still holds up to this very day. And thanks to Sentai Filmwork’s ability to print it on Blu-ray, now even newcomers can enjoy the quiet campus of Lilian Academy. Buy it! Maria Sama Ga Miteru, a blu ray review

“The Maidens who assemble in Mother Maria’s Garden have such angelic smiles that today, too, they pass through the tall gate. Their pure bodies and minds are wrapped in dark colored school uniforms. The pleats on their skirts shouldn’t be noticeable. Their while sailor collars should always be tidy. Walking slowly is preferred here. St. Lilian’s Academy is a Garden for Maidens.”

Our Protagonist, Yumi Fukuzawa, is a freshman in St. Lillian Girls’ academy, an all-girls Catholic School. One day, while praying in front of the Virgin Mary, Mother Maria, someone comes up to her. It is none other than the school’s idol, Sachiko Ogasawara. While Sachiko fixes Yumi’s collar, Yumi’s friend, Tsutako, takes a photograph and blackmails Yumi to get the scoop. While Yumi goes to the Yamayuri council, which acts as the governing body for the school, Sachiko storms out of the room and trips on top of her. Sachiko attempts to make Yumi her petite Souer. Through the Souer system, upperclass girls can make a lowerclass girl their ‘sister’ by handing them a Rosary. If the underclass girl accepts, they become partners and look after each other until graduation. While seemingly innocent at first, the system can lead to all sorts of conflicts and misunderstandings but also joy and laughter. This is the story of how Yumi first accepts Sachiko’s Rosary and ends when she eventually bestows that rosary to another.   I really love Yumi as a character. While she does act as the ‘ordinary outsider’ meant to be the audience Point of view character, there’s a charm to Yumi. She’s actually very quick on her feet, eager to help and very kind and friendly. She does make mistakes but there’s a very human quality and the small moments where she shines (initially rejecting Sachiko’s rosary, practicing her routine to impress the graduating Seniors, helping out during the school festivals, standing up to some rich snobs) that really makes her shine. (Though I will give some credit to Yumi as she manages to possess proper hand eye coordination and inner ear balance that her successors Himeko Kurusugawa and Nagisa Aoi seem to lack.) In some ways, Sachiko was the inspiration that lead to the creations of such characters such as Shizuru Fujino from My-Hime, Chikane Himemiya from Kannazuki no Miko and Shizuma Hanazono from Strawberry Panic. On the surface, Sachiko is a cold, stern and almost unbendable force of nature, bent on getting her way. However, slowly but surely, Yumi melts the icy exterior to find the human underneath. (It also helps that Sachiko occasionally is the butt of the joke at times, such as, being her first time at a fast food restaurant, she remembers to order correctly and pay the server, but forgets to pick up the food). Among my favorite characters is the adorably lovable Satou Sei, a senior of the school and the canon lesbian of the show. Sei is often flirtatious but also very humorous to boot.  There’s a sort of fandom clash as many people ship Sei and Yumi together and Shimako and Sachiko together.  (There’s the implication that if Sei had not picked Shimako to be her petite seour, she would have picked Yumi and Sachiko is jealous of that fact since she wanted to give Shimako her rosary first, but Shimako refused her). Rounding out the cast are Rei and Yoshino, a Kendo Senior and her sickly cousin who might switch the idea of a tomboy on its head and Touko, Sachiko’s cousin who’s prickly exterior might hide someone much more vulnerable and Noriko, a girl who might share a love of Buddhist statues the Shimako does. A lot of people cite Maria Watches Over Us (or Marimite for short) as the revitalization of the Class S genre, which focuses on romantic friendships between school girls. A lot of people have pointed out that the genre has had its fair share of negative stereotypes and doesn’t exactly portray a healthy or realistic relationships for young queer women. But, I’ve always stated I would rather have a problematic show that affects me emotionally over a well-meaning show that has a good social message but leaves me cold. Of course, the show is self-aware of its genre roots and occasionally pokes fun at it. (At one point, Yoshino does the ‘rich girl laugh’ with another person and all it does is draw unwanted attention from passerbys). If there’s definitely a weak spot to the series, it’s definitely the animation. Panning shots and freeze frames are all present here, but the direction is solid enough where you’re enjoying it even when you notice the stitches and seems. (It’s an early 2000’s show centering about the school lives of ordinary girls. What were you expecting, Darling in the Franxx?) Granted, Season 3 is when the animation quality (as well as the aspect ratio) picks up but even the older seasons are passable and enjoyable to watch. What sells the show isn’t necessarily the animation, but character interactions with one another. Those looking for Women Love Women relationships probably aren’t going to find it here, but it did lead to the inspiration for other works to tackle. Each movement, each subtle touch or facial reaction or slip of the tongue feels weighty. You can tell there’s so much more being said than what’s on the screen and the characters missing or picking up on those subtleties really is the highlight. Season 3 is where the show changes format from a half hour episodic series to an hour long OVA (Original Video Animation) format and they play out more like self-contained movies than a series of over-arching episodes. And yes, the blu-rays also include “Don’t let Mother Maria Know.”. These are a series of humorous shorts included with the original DVD releases that contain cartoonized versions of the characters engaging in very silly behavior and outtakes. 

After Nozomi Entertainment sold the rights off, Sentai Filmworks bought them and did a pretty good job localizing the show. The show contains no English Dub, but translates the Japanese text to pretty close to its original source material. One thing to note is the lack of honorfics. Honorfics are titles one refers to when addressing another person, like –san meaning Mr. or Ms. in English. “Onee-sama” is translated to “Dear Sister” while “Sachiko-sama” is translated to “Lady Sachiko”. (Though for some reason, Kashiwagi’s nickname for Sachiko, Sacchan, is kept in). CAVEAT: There’s the implication that Maria Watches Over Us feels dated in its depictions of girls’ relationships and class differences and promotes not quite so healthy relationships. But, had it not been for Studio DEEN and the characters of Yumi and Sachiko, we might have never gotten Himeko and Chikane or Shizuru and Natsuki or Fumi and Akira or Kazama and Sumika or Kase and Yamada or Touko and Yuu. Hell, even Flip Flappers did a parody of Marimite for an episode. With Nozomi Entertainment selling off the rights (as well as Seasons 2 and 3 DVDs being sold for outrageous prices), Sentai Filmworks has done the anime community a service by preserving this work and making it available to Western audiences. So, it all but depresses me to know that this great work will go unnoticed while the inevitable fans order the next Umaru merchandise instead. If you have enough of an attention span to watch a show that doesn’t have constant explosions, fanservice or attack names being shouted out, it’s definitely worth a look see. Of course, speaking as someone who binge watches Jojo’s Bizarre Adventure during his off hours, I enjoyed every bit I had with Maria-sama ga Miteru.

Verdict: Buy it!

#maria sama ga miteru #maria watches over us #sentai filmworks #hidive #yumi fukuzawa #sachiko #Ogasawara #sachiko ogasawara #touko #satou sei #sei satou #lilian #yuri #lgbt #review #anime

[prorevenge]

My Vile Ex Wife

I divorced my ex wife over 5 years ago for repeatedly cheating on me with over 13 different men and 2 women. To give you some background, my ex and I used to be swingers until the last year of our marriage. Things had spiraled out of control so I said that I was done swapping partners, unfortunately she didn't agree with me and kept hooking up with guys behind my back. Six months prior to our divorce my oldest child was diagnosed with a life threatening illness. I won't go into details to preserve my anonymity.

She started to crack under the pressure and started to drink in a lot putting herself and our children in danger. It got so bad that I moved out of the house for a couple of weeks and took our kids with me. During this time her best friend (we'll call her Amy) approached me because my ex had disclosed all of her dirty deeds to her at girls night out a couple of days ago. She disclosed that she had been sleeping with a new guy every night and getting drunk when she had the kids. She also told Amy that she went out one night a month ago and left our 3 year old and 4 year old kids at home alone while they slept so she could meet a guy. Amy said that my ex planned on filing for divorce once she drained some additional money from me while living rent free in my home. Amy and I were both disgusted and knew that things had to come to an end.

My ex hated living in the same house with me because she hated me and couldn't go mess around with her flock of desperate men. We had to come up with a plan to get her out of the house and document all of her poor behavior so we could limit her custody of the children. Step one, I moved my happy ass back into the house and plopped down on the bed right next to her. She lost her mind saying that she wanted me out of the house NOW and would call the police if I didn't comply. What she didn't know was that I was recording the audio of our conversation. I told her to pound sand and she called the cops reporting me for domestic violence. Well, the popo showed up in no time flat and had me in cuffs so fast it made my head spin. The detective came to the squad car to talk to me and I let him listen to the recording. The longer he listed the more angry he became with my wife. Before long she was the one in cuffs in the back of the squad car and she got to spend the night in jail.

She went to stay with Amy for the next week as she wasn't allowed back at our house (I got a restraining order). During this week she went on a veritable spending spree buying herself a new laptop, new iphone (full retail price) and a new wardrobe. She drained our bank account and started to dip into my savings. Amy also confirmed that she was drinking heavily at her house, to the point that she threw up and defecated on herself all over her bathroom. Amy video recorded her bender for posterity sake and provided me with 20 minutes of video showing a woman out of control drunk. The next day I went and withdrew all of our money from savings and deposited them in my new bank account so I would have money to pay the bills. I closed that account so she couldn't use overdraft protection and leave me on the hook for the overages. I closed all of our joint credit cards and transferred all of my investment accounts into an account solely in my name. She lost it when she found out that she had no money to burn through anymore. She told Amy that she was contemplating suicide because things had gotten so bad. I hate my ex but I didn't want to see her harm herself at all. Amy convinced her that she needed some help and went with her to check into an inpatient mental hospital. This worked out fantastic because she was getting some help, but also it showed that she was a danger to herself and the kids.

It was time to put the last part of our plan into action and seal the deal. I went for a consult at my attorney to start the divorce proceedings and complete the needed paperwork. My attorney was appalled at the actions of my ex and was 100% on board with helping me get primary custody. He filed my divorce decree and also got the judge to agree to a temporary restraining order until our initial hearing. We served her the papers while she was in the hospital and set the initial hearing for two weeks. The initial hearing came and she showed up with her attorney. Since it was a pre-litigation hearing they didn't know what information we had. She got on the stand and started lying her heart out, telling the judge how abusive I was and that is what pushed her into the mental hospital. She made a very compelling case and put on a Grammy award winning act. Then it was my turn. My attorney presented all of the evidence, videos and bank records. The defining moment was when my attorney called Amy to the stand to testify. She told an appalling story about a neglectful mom who was completely out of control. A story about a mother who had substance abuse issues that were only getting worse. My ex couldn't close her mouth the whole time that Amy was on the stand. She made her attorney look like an idiot as all of her lies were now being exposed and were contrary to what she told him.

When the dust settled I was awarded sole custody and she was awarded supervised visitation until she went to rehab and got additional treatment. We quickly settled out of court agreeing to a graduated visitation schedule once she complied with rehab and mental health counseling. I got the house (after paying her a portion of the equity), got to keep all of my investment accounts and get to see me kids 80% of the time. She got to go live with her mom for the next 2.5 years and jump from job to job. Life is pretty good 5 years down the road and is even better knowing that she isn't my problem anymore.

(source) (story by genericusername6168)

#prorevenge #by genericusername6168 #pro revenge stories #revenge stories #pro #revenge #revenge story #last10

[aion-rsa]

Flash Gordon’s Original Ending Revealed

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Following our enlightening Flash Gordon 40th anniversary interview with the film’s director, Mike Hodges, we got to have an in-depth conversation with author John Walsh. Titan Books published Walsh’s exhaustive coffee table book Flash Gordon: The Official Story of the Film last November. It was a labor of love for Walsh that delves into the making of the movie and celebrates its enduring appeal.

Walsh is a Trustee of the Ray and Diana Harryhausen Foundation, and was also behind the BBC’s critically acclaimed documentary series Sofa Surfers, which explored childhood homelessness, and the BAFTA-nominated film My Life: Karate Kids, which tackled issues of bullying among disabled children.

Den of Geek: You’ve been involved with preserving the legacy of the late Ray Harryhausen, and your first book through Titan was about some of his work. You first met him at film school in the 80s?

John Walsh: That’s right. I was BBC Young Filmmaker of the Year when I was 15. I was offered a place in London Film School when I was doing my A-levels and they sort of scooped me up. At the end of your first year you do a 16mm documentary film. I found Ray Harryhausen‘s name in the London telephone directory. I asked my parents for permission to use the phone, as you did in those days. My mom said “Ring after six when it’s cheaper.” So I rang him up and said “I’m making a film about your life and work” and he was very gracious about it. 

I went to see him. I’d done some very basic animation as a youngster but was fascinated by all his creatures and everything else. We stayed in touch over the years. He asked me to become a trustee of his foundation, so I’ve been helping to look after the vast collection, which is the largest of its kind outside of the Walt Disney Company. His daughter, Vanessa Harryhausen, and I run it with one member of paid staff. Then I did the book – Harryhausen: The Lost Movies.

At what point did you decide that Flash Gordon was next for the John Walsh treatment?

The Lost Movies was stories about films that we think we know but hadn’t been told. Titan are very good at making books on our favorite films – like Dark Crystal and Labyrinth – and those films which maybe we liked on VHS but weren’t successful when they came out theatrically. I was just thinking, gosh, no one has done a Flash Gordon book yet.

It took about eight months to get Universal Pictures and King Features, who were the rights holders for the Flash Gordon character, and Studio Canal, who now own the physical asset of that 1980 film, to come together and put a deal together. 

What happened after the deal was done?

I thought “they’ll give me all their photos because there’ll be a gazillion photos in the archive” – I got the shock of my life when there were no photos or any assets worth putting into a book! I was like “oh no, what have I done?” I drank from the poison chalice to some extent, because I thought that the work had finished when we got the rights, and it had really just started. 

Universal Pictures had some of the publicity photos, but not enough to put into a book like this. Nothing ‘behind the scenes’. I went begging around the world asking fans and different people, “please may I have your pictures if I credit you in the book?” A big part of the introduction of the book ended up being the story of how the assets had been dispersed or thrown away. The film cost three times what Star Wars cost. It cost somewhere in the region of $35 million. The idea that nobody kept any of the assets from it, the original artworks for the paintings, for the posters – gone. The models, gone. The costumes were mostly gone. 

A rare behind the scenes look at the making of Flash Gordon

It kept me up at night. I was genuinely quite worried about whether we’d get enough high quality images that would be good enough, but ultimately I got everything I wanted. I even managed to get a high quality unpublished image of Queen from 1980 for a publicity round they did in Japan. Virtually every page has something unseen, never before published, recently found.

It was around the clock. Sometimes it took 20 or 30 hours just to get one image. It was pretty all labor intensive. The easiest part was speaking to the people like the actors, but another problem existed there as well. If you take the Star Wars universe as a comparison, the various actors and filmmakers speak so regularly that you can pretty much find a consensus on how things happened and where they happened. But on this, [lead actor] Sam Jones – naughty, naughty Sam Jones! –  lovely Sam Jones, and Brian Blessed…

Brian tends to be quite creative, doesn’t he? Every time he tells a story there’s a new spin on it.

Mike [Hodges, director], told me “It’s not true what Brian says in your book that he directed one of the fight sequences.” He said “I love Brian dearly but there’s no way he directed one of the fight sequences. I was there every day and I never would have allowed him to do that. It’s just not what happened.” So between Brian and Sam, they’ve kind of filled in the gaps. As actors often do, they will inflate their parts! 

Some other bits are true. Sam did get stitches, and Dino [De Laurentiis, producer] was ready to kill someone. Two days before principal photography, there’s the lead actor getting stitches in his face. 

When I was researching the film for our piece, I couldn’t really establish how much of Sam’s audio had been replaced in post-production.

Some of Sam’s dialogue is in there! Some has been voiced on top of his voice, and some is a completely different actor in different places. If you were to cut together the different sounds and hear them all together, they sound higher and then lower.

There isn’t actually a record of who the actors are, not because anyone is trying to create conspiracy around it all, it’s just that’s one of the many assets of the film that were tossed aside. It’s more than one [other voice] Mike told me.

That’s new information to me. I knew that there was one other; I didn’t know there was more than one!

It’s more than one, and it’s Sam as well. There are at least three voices that make up Sam’s dialogue. There’s kind of a little Frankenstein’s Monster of dialogue in most places for Sam.

Do you remember the first time you watched Flash Gordon? 

Yes, it was a good movie at the time. I loved anything with science fiction! I’ll tell you what I was disappointed by: there were no robots. To me, if it had a robot in it I was like, “that’s it, I’m there, I want to buy the robot from that film.” So, I was kind of disappointed. There are no robots. 

I was obsessed with the Superman movie and how the flying sequences were created at the time. When this film came out, I thought “this is going to be better than Superman, it’s got hundreds of people flying.” But the flying sequences aren’t as sophisticated in this as they are in Superman, so my first time seeing Flash Gordon was tinged with a kind of geek boy technical disappointment about some of those aspects, and no robots. I haven’t told anyone that.

When researching the book, what ended up being the most surprising revelation?

There were two big moments. The first was when I discovered there had been an entirely different film planned – and we got the artwork, it’s in the book. Then, I found out that the film was supposed to have an entirely different ending. 

Where the film ends now, at the wedding crashing, that was the start of a new major sequence that was going to involve Ming turning into fabulous creatures and fighting Flash, the Hawkmen and the Arboria Tree Men. It all had to be cut. Literally, the pages were pulled. They were like “no time for that, haven’t got time for that.” They had the money for it, but no time.

At the back of my book are all of those scenes, and in some cases photos of scenes they shot that were cut because they couldn’t complete the effects for them, and then comprehensive storyboards with major characters like Lion Man, who was going to accompany Flash Gordon throughout the film like a Chewbacca character.

Wasn’t Lion Man in the cartoons as well as the serial? 

Yes. We got the original artwork from when Dino was going to make the film for Paramount Pictures. It shows Lion Man as part of this fantasy concept poster.

Flash Gordon concept art featuring Lion Man

When I talked to Mike last year, he still seemed somewhat baffled that he was the one who was chosen to take over from Nicolas Roeg as director. Do you think that Nic’s original vision would have worked on screen if Dino had just gone along with it?

No. For tax purposes it was very difficult to get a director in from America to do a picture, particularly in the late 70s. It was a big tax kerfuffle. British directors who’ve done major Hollywood films would have included Alan Parker, maybe John Boorman, Ridley Scott. Nic Roeg and Mike Hodges were the right fit, even though they hadn’t done special effects films.

Roeg’s version couldn’t have worked because the content was adult in tone, and also he came up with some concepts that were outside of the comic strip that would have made it much more adult-themed as well. For an audience to have followed it and enjoyed it and for the film to have had a chance to make back it’s $35 million, I think he was right to pull the plug on the Nic Roeg version. It needed to be a film that had a much broader base to make that money back. There were two sequels planned!

And Mike was originally brought in as an option for the second film.

Yes, that’s right. It was Roeg who suggested him, because he knew Mike and thought Mike would be a good fit. Mike had just been sacked from Omen II so he was suddenly available at the point when Dino parted company with Nic. It wasn’t a marriage of convenience, he was the right fit. 

Dino did this thing where if he liked your face, then you got the part or you got the work. It wasn’t about having a pretty face or anything, it was if he thought your face was sympathetic. It’s kind of an Italian superstition that you can kind of trust a man by his face. Dino wouldn’t get on an airplane if he looked at the pilot and didn’t like their face.

Wow.

Your natural instincts are often right. Dino’s were often right. He said to Mike, “I like-a your face Mike, and that’s why I chose you for this-a film.” Doing a very credible Italian accent there! I interviewed [Dino’s wife] Martha extensively for the book – she said Dino would have liked my face.

We’ve heard so many myths and legends about the Flash Gordon sequels. It seems like everyone you talk to has heard a rumor about what the story would have been. Has your own research revealed any new sequel information? 

Dino had great, great plans. Dino’s plan was to buy Pinewood Studios and to film three Flash Gordons back to back. That’s ambitious by any movie standard, isn’t it? 

Brian Blessed first put me on the trail of what the second film would have been about – it was going to be Flash Gordon’s Trip to Mars – based on the second cinema serial. In that, Flash Gordon meets the Clay Men and other people on Mars where Ming has set up base. 

Flash Gordon storyboards

40 years on, what do you think the enduring appeal of the movie is?

Flash Gordon has survived the critique of not having state of the art special effects. It’s a much more fun film to get into than Empire Strikes Back and Star Trek: The Motion Picture – two comparable big budget films of the era – as they’re kind of heavy going. 

This film was also perceived to be a Christmas film, it premiered at Christmas and received it’s TV premiere in 1983 on the BBC at Christmas. So for most people, it has a special Christmas vibe and a happy vibe about it. It looks like a Christmas ornament. 

It’s separate from other science fiction films of the time, it went in the opposite direction: rock score, kind of camp humor, brighter lit with more colors. There isn’t another film you could compare it with, except Barbarella from the 60s.

Recently, it’s come into criticism for its racial stereotyping – Ming playing effectively as a Chinese Fu Manchu character.

Yes, the BBFC has added a warning to the film now. Has the problematic nature of Ming’s portrayal changed the way you view the film?

For me it hasn’t, because when Max von Sydow played the part he didn’t have a darkening of his skin. That’s his natural facial pallor. The accent he chose is English – he decided to speak it as an English officer or an English monarch. There’s quite a kind of clash of cultures there. The facial makeup and the costume itself is definitely Red China from 1936, as Alex Raymond had envisaged. 

But I think it’s quite right the film should have a warning. I don’t think the film should be stopped, or that he should be pixelated out. I think Dino and Mike Hodges chose the best actors from the time to play these roles. You needed people who had played hard roles in films before. If they remake Flash Gordon, then I’ll be quite happy to see someone of Southeast Asian origin in the role of Ming. I think that would be spectacular.

There are levels to which this works and doesn’t work. The more extreme argument is “you wouldn’t cast a serial killer as a killer would you?” Well no, because if you’re casting for Dennis Nielsen you cast a good actor. David Tennant happens to be Scottish. I’m sorry he’s not a serial killer in real life.

That we know of, John.

That we know of. You can never trust actors, you know? Never leave them on their own in a room. But yes, I think where it’s possible and where it’s practical, it’s respectful.

Have you made any decisions about what you would like to do next, now we’ve had your take on Harryhausen, and Flash Gordon?

I’m literally in the process of delivering a manuscript for my next book. It comes out in September!

I will definitely check it out. Thank you, you’ve been brilliant.

Flash Gordon: The Official Story of the Film is available now from Titan Books. You can check out John’s The Official Story of the Film Podcast right here.

This interview has been edited for clarity.

Subscribe to Den of Geek magazine for FREE right here!

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[myrah519gaming-blog]

Are You Causing These GAMES Mistakes?

Unforgettable Moments In Gaming Part 3

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[godlessgeekblog]

Just the ticket! Britain’s greatest double-decker excursions revealed 

We imagine nothing at all of using a bus tour when checking out a metropolis overseas. But how quite a few of us have climbed aboard 1 in Britain? Indeed, how well-informed are we about our possess country?

Of system, the functioning commentary can change in good quality, but you might be regaled with some amusing tales, regardless of whether truth or fiction. And the buses are very hassle-free, preserving you shoe leather-based and permitting you hop on and off.

Listed here we current 5 of the UK’s prime double-decker tours…  

Beyond the Beatles

A spirited tour of Liverpool lasts 50 minutes and showcases a richly assorted city

What is it? A spirited tour of the centre of Liverpool (£11, cityexplorerliverpool.co.united kingdom), with stay commentary from a waggish area information. The tour lasts 50 minutes and showcases a richly assorted city. Your fellow travellers will be largely English-speaking, as there are no multilingual audio guides. Tough-core Fab 4 lovers have a tendency to consider just one of the expert Beatles tours.

What you see: All the major sights, from the Mersey and the Liver Setting up to the Cavern Quarter and the city’s two contrasting cathedrals. You get fantastic sights throughout the city as the bus climbs the steep streets from the docks.

What you are instructed: Historic titbits, with a larding of Scouse humour. ‘Victoria Street… named just after Victoria Beckham.’ ‘The Catholic cathedral… acknowledged as Paddy’s wigwam.’ ‘And you will find exactly where Gladstone was born… Queen Victoria considered he was the most monotonous gentleman she had at any time satisfied.’

Top rated guidelines: Of the end-off factors, the Cavern Quarter is an clear need to. You should not skip the statues of John Lennon, Eleanor Rigby and Cilla Black (who labored at the Cavern Club as a cloakroom attendant). You should also leave time for the exceptional museums at Albert Dock. 4/5

Bristol manner

From the docks to the SS Great Britain and the Clifton Suspension Bridge, a bus tour of Bristol displays you anything you would want to see

What is it? A 90-moment hop-on, hop-off tour (£15.50, bristolinsight.co.british isles), with a reside manual at weekends and pre-recorded commentary on other times. A effectively-crafted tour of Bristol, with a very first-course speak. The route meanders, but to outstanding effect.

What you see: Every thing you would want to see, from the docks to the SS Fantastic Britain and the Clifton Suspension Bridge.

What you’re instructed: A drop-load of Bristolian trivia, plus some sly West Region humour (‘the students’ union… frequently voted the ugliest constructing in the city’). Whether or not you are fascinated in the Bristol of Brunel or the Bristol of Banksy, you will be supplied plenty to chew on.

Leading strategies: Will not e book if the temperature looks dodgy as there are no included seats on the top rated deck. Good hop-off stops include things like uber-interesting Clifton village, with its stores and places to eat, the excellent church of St Mary Redcliffe and the SS Excellent Britain, the first iron steamer to cross the Atlantic. 4/5

Auld Reekie

A hop-on, hop-off tour of Edinburgh city centre contains detours to Holyrood House and Arthur’s Seat. Higher than a view of Holyrood Household from Arthur’s Seat

What is it?  A hop-on, hop-off tour of Edinburgh city centre (£16, town-sightseeing.com) with a multi-lingual audio tutorial. The English commentary is rather dire, but the sights of a wonderful city and its monuments are genuinely stirring.

What you see: The complete, prosperous architectural brew that is Edinburgh, from the slender streets of the Outdated City to the Georgian grace of the New City, with detours to Holyrood House and Arthur’s Seat.

What you might be instructed: A load of cobblers, alas. The out-of-sync audio guide is feeble, with far too significantly Awful Histories-type trivia about hangings, executions, chamber pots, Burke and Hare, etcetera. (Specimen joke: ‘The museum is packed with Egyptian mummies, but not Egyptian daddies.’)

Best suggestions: End off near the Large Street, pat the statue of Greyfriars Bobby and check out the exceptional small Writers’ Museum. Or, if politics is your bag, look in on the Scottish Parliament at Holyrood. 2/5

Brighton Rocks

Palace by the sea: An hour-prolonged tour of Brighton has 10 hop-off factors and a multi-lingual audio tutorial. Previously mentioned, the Royal Pavilion, a single of Regency Brighton’s sights

What is it?  An hour-prolonged tour (£14, city-sightseeing.com), with ten hop-off details and a multi-lingual audio tutorial. The latter is uninspired, to set it mildly, but the mixture of wonderful architecture, a stiff sea breeze and a faint trace of seediness has its possess attraction.

What you see: A generous stretch of the seafront, extending east and west of the town centre, a glimpse of the Royal Pavilion and a mazy little tour of Hove, Brighton’s bolshie sibling rival.

What you happen to be explained to: A slender gruel of info and figures about everything from the Prince Regent and Laurence Olivier to the nudist seaside. The audio manual contains a cringe-deserving impression of Margaret Thatcher’s speech to her social gathering convention right after the 1984 Brighton bombing.

Prime recommendations: You are hardly ever much from the sea, so hop off the bus, extend your legs, get pleasure from the crumbling Regency terraces and get some salt air into your lungs. The Brighton Pavilion is often value a go to. And, for wonderful outlets, bars and dining establishments, it is a toss-up involving the famed Lanes, quite crowded in summer season, or the subtler charms of Hove. 2/5

The bard on tour

To study about all items Shakespeare, just take an hour-prolonged loop of Stratford-upon-Avon. Over, Shakespeare’s birthplace on Henley Road

What is it?  An hour-very long loop of Stratford-upon-Avon and the encompassing countryside (£15, city-sightseeing.com), with an outstanding audio manual in seven languages. A remarkably enlightening tour, from which even Shakespeare buffs will master something.

What you see: The major Shakespeare ‘shrines’ in the city centre, together with his birthplace, Holy Trinity church and the Royal Shakespeare Theatre, as effectively as a generous dollop of Warwickshire countryside, which includes Mary Arden’s Farm, where the Bard’s mother was brought up.

What you’re instructed: A prosperity of historical morsels about the bustling marketplace town in which Shakespeare arrived of age. The audio manual is mercifully absolutely free of tacky puns but is a mine of info on every little thing from thatched roofs and four-poster beds to Elizabethan medication and the ancient Forest of Arden.

Prime recommendations: Shakespeare’s grave in Holy Trinity church is a will have to — much additional atmospheric than the birthplace. It is also a great plan to buy a mixture ticket for the bus tour, which incorporates visits to Shakespeare properties, these as New Location and Anne Hathaway’s Cottage. 5/5

The post Just the ticket! Britain’s greatest double-decker excursions revealed  appeared first on BestSellers.

from trackrgadget https://bestessayseller.co.uk/just-the-ticket-britains-greatest-double-decker-excursions-revealed/ https://bestessayseller.co.uk/just-the-ticket-britains-greatest-double-decker-excursions-revealed/

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[cinephiled-com]

New Post has been published on Cinephiled

New Post has been published on http://www.cinephiled.com/stunning-new-documentary-presents-apollo-11-weve-never-seen/

A Stunning New Documentary Presents ‘Apollo 11’ as We've Never Seen It Before

From director Todd Douglas Miller (Dinosaur 13) comes a cinematic event 50 years in the making. Crafted from a newly discovered trove of 65mm footage, and more than 11,000 hours of uncatalogued audio recordings, Apollo 11 takes us straight to the heart of NASA’s most celebrated mission — the one that first put men on the moon, and forever made Neil Armstrong and Buzz Aldrin into household names. Immersed in the perspectives of the astronauts, the team in Mission Control, and the millions of spectators on the ground, we vividly experience those momentous days and hours in 1969 when humankind took a giant leap into the future. I spoke to Todd Douglas Miller about this riveting widescreen look at one of the most remarkable achievements in human history.

Danny Miller: What an extraordinary film! I’m old enough to have vivid memories of watching the Apollo 11 moon landing when I was a kid. I remember running out into the street that night to look at the moon and see if I could see the astronauts. I thought I was familiar with most of the images from that time period but was flabbergasted at what you show in this film. Where has all of this amazing footage been all these years?

Todd Douglas Miller: Initially, our goal was to rescan all of the existing 16 and 35mm footage, we didn’t even know the large-format stuff existed. I wouldn’t say we “discovered” any of it, it’s more like we rediscovered these hundreds of reels of 65mm footage. Of course, that footage has been there the whole time but the technology to be able to rescan it is much more recent.

Has it ever been seen before by the public?

There was a film made back then called Moonwalk One that was released in 1970 when people were pretty saturated with the space program but it later became a kind of cult classic among space nerds and the space community. It was shot by these great cinematographers, Urs Furrer and Hideaki Kobaeashi, along with some other people, including all those shots during the launch of those faces in the crowd. We used some of the footage from that film. When we first started this project, we were going to do it in 4K. I remember we were at a meeting in New York when someone turned to me and said, “You know, if we wait about six months, we can do it in 16K.” The technology was changing that fast. I didn’t want to look back 20 years from now and say that we didn’t take advantage of that opportunity so we waited. Of course, the six months turned into seven, eight, and nine but I’m so glad we waited. For us, the work was partly about making this film and introducing new audiences to this incredible story, and partly about preserving and curating all of these materials for future generations. It’s really become a giant preservation project.

Seeing the large-format stuff is just incredible.

I’ve always been a big fan of large-format films from the 1950s and 60s which are tough to find nowadays. There was one particular company, Francis Thompson, that was shooting a lot of large-format film back then. They did a film called To Be Alive for the 1964 New York World’s Fair which ended up winning an Oscar. And those are the people who ended up working on Moonwalk One. We also used some footage from a fantastic little film called Bridge to Space.

The footage of the launch is just astounding to see in this way.

That was actually taken from a motorized remote control camera. They had rehearsed that with Apollo 9 and 10 and they kept missing it, but they nailed it on Apollo 11.

It’s so great that all of this footage is now restored for posterity. I can imagine what a huge editing task you had with all that footage. How did you decide what to include?

We started with nine days of footage and audio and transcribed everything and put it in a timeline. That obviously took a really long time. Then we just started looking for moments that hadn’t really been represented before. We read all of the books and autobiographies we could find of people who were there. Astronaut Mike Collins’ book, Carrying the Fire, was a great resource, it’s so well written and very witty and insightful. That gave us ideas for some of the things we wanted to put into the film. We worked with him and Buzz Aldrin and Neil Armstrong’s kids. Armstrong gave some interviews where he talked about some of the most iconic parts of the mission for him. They weren’t necessarily when he put his foot down on the lunar surface or even returning to earth safely, for him it was seeing the moon during the solar eclipse that was happening and how the moon appeared three-dimensional for the first time. There were lots of things we showed that hadn’t been depicted before in a film.

Were they any things you would have liked to include that you just couldn’t find room for?

We always wanted to highlight some of the people that were not that well known who had very important jobs. There was an African American man I’d always seen in the background who was in the spacecraft analysis room. He had a very important job which was to analyze the radiation that the astronauts were getting during the mission. Every night, the astronauts would radio back their radiation levels and his job was to analyze all that. He and his team were also tracking solar flares so that they could get warnings to the spacecraft to deflect them if necessary since that could greatly increase the radiation that the astronauts were exposed to.  There was also this 25-year-old mathematician named Poppy Northcutt who was smart as a tack. During the journey home, some of the guys at mission control were struggling with the math and the trajectories weren’t lining up, it was purely a mathematical issue but way above most people’s heads. And then Poppy gets on the intercom with them and she read them the riot act. Unfortunately, we couldn’t find enough footage of those people to make it work for the film but I hope we can find ways to include some of that other stuff.

I liked the use of the Walter Cronkite audio, that was so effective.

There were only a few places where I wanted to use it. He was pretty incredible — nothing was prepared in advance for Cronkite, everything he said was in the moment. We had these shots of the astronauts suiting up from the dry run three days earlier when they were joking and smiling and then when they’re doing that on the day of the smiles are gone and you feel like you can see the weight of the world on their shoulders. I remember watching that juxtaposition without sound and our jaws were on the floor, but then I had Cronkite in my head remembering what he had said about those guys the morning of the launch and I really wanted to marry those images and Cronkite’s words.

Watching this film, there were several times when I just burst into tears, I found it such a moving experience. I was trying to figure out why — was it just the sheer accomplishment of it all? Or maybe the feeling, as even President Nixon talks about, that this was one of the few times in history when the whole world was united for a common goal? Did you ever have that emotional reaction watching the film?

You know, it’s funny — usually, when I make a film I watch it once or twice after it’s completed. I like to edit my own stuff, so by the time it’s pieced together I’ve seen it so many times that I don’t need to see it again. But with this film, I went to every single screening at Sundance, and I’ve been at many other showings since then, I just can’t get enough of it! I watch it all the time and I get something new from it every single time. And I do get very emotional. Every time at the end of the film when I hear President Kennedy talking about his hope to get a man on the moon before the end of the decade, and I think of the sheer magnitude of what was accomplished by these men and women — you just can’t help but be emotionally connected to that.

Would you like to see another manned space program in this country?

Yes, I hope so. First of all, from a practical standpoint, I don’t think we’re going to be here forever, eventually we’re going to have to spread our wings into the universe. But thinking about what’s going on now in this country and all over the world, I just think that humanity needs these types of things. We need to be reminded that we can work together to do something extraordinary.

#Apollo 11 #NASA #space program #Todd Douglas Miller #Interviews #What's Hot

[bcwallin]

Coming to Pieces, Somewhere

Charlie Kaufman’s directorial debut is beautiful, yet frustrating. Synecdoche, New York (2008) is the kind of film that doesn’t fail to fascinate its audience. It is a force to be reckoned with. Kaufman is known for the mind-boggling clever narratives of Adaptation’s meta-fiction and Eternal Sunshine of the Spotless Mind’s multi-layered time- and memory-bending, yet here, there is something else. Synecdoche, New York provides harmony in its dissonance and enraptures in its extensiveness.

At the very beginning, while the credits roll, a radio show discussing the changes of the seasons plays. The film’s start sets off morbidly in the sense that everything is focused on mortality. It takes place in autumn, which suggests death and the “beginning of the end.” The film concludes with a voice telling the main character, Caden Cotard (Phillip Seymour Hoffman), to die.

As part of this all-encompassing sense of death, Caden is overcome by illness. Different types of doctors — ophthalmologists, neurologists, and urologists — create confusion and a sense that Caden is not being heard. He acquires pustules on his face and explains to his daughter, Olive (Sadie Goldstein), that they are called sycosis, not psychosis, in which the use of homonyms creates aural dissonance. He assures her that he is not deranged, but rather, has some facial blemishes.

Synecdoche is a film that is overcome with discomfort. Not only are Caden’s various illnesses difficult to watch, but his marriage is also fraught with arguments and a lack of support. An exemplary scene of such dissonance comes by way of a family car ride when Caden discusses needing a plumber with his wife (Catherine Keener). While Caden tries to call the plumber on his phone, Olive asks what a plumber is. Caden responds to her, and his wife, Adele, interrupts his explanation to correct him. His attention floats between the phone and Olive. He explains the concept of pipes and their similarity to veins. Adele chimes in by comparing them to “capillaries” instead, and Olive complains that she doesn’t want to have blood. Meanwhile, in the background, the music, a dissonant and jumpy combination of tones composed by Jon Brion, begins to build. The volume rises. The scene reaches a fevered pitch as everything collides and becomes an anxiety-inducing orchestra of discord.

While Caden falls apart inside his world, he does not notice the deterioration of the world around him. One night, there is a blimp or an airship flying above, with an ominous sweeping searchlight below it. The “Angelic Day Spa” is closed. Jeeps drive by, people gather gas masks, and a nude man is led through the street by a leash and a collar. By the end, it is the audio which takes over the revelations, with the sounds of fighting and rioting coming from outside of a building. But before then, there is a subtlety to the reveal. Rarely is anything shown in its entirety, and the appearance of landscape shots become sparse, with Kaufman opting instead to hide it all. It needs to be looked for, and one would most likely ignore the signs of what is to come at first glance.

Reality is fluid, and this is reflected through the film’s language. Caden is seen in all forms of media. He can be seen in an animated video about forgetting a parachute, and appears as a GIF on his psychiatrist’s website touting her book; yet he seems perturbed by its existence and unaware of its creation. He is also on the poster for a fictional movie, Little Winky, hinting at allegations made about him being homosexual.

Time is something to be deconstructed as well. Hazel (Samantha Morton), a box office attendant, tries to seduce Caden, who is still thinking about his estranged wife. She tries to persuade him by saying, “It’s been a year.” He corrects her, “It’s been a week.” Time progresses with no clear indication. When Olive is eleven, Caden still thinks she is four years old. He is told to return to the dentist in three months and is immediately found at his next appointment. The world is destroyed and Caden ages suddenly. There are multiple funerals. Time flies by, but Caden keeps moving.

Pain and discomfort abound, yet nobody can understand Caden Cotard’s pleas for help. He fears death, finding illness at every turn, but only while attending the funerals of the others, with the sadness left behind for him. Reality begins to flake, to chip, to break. Voices escape their written constraints and such art is living, as Caden struggles with his own mortality and cannot complete his work after 17 years. By the end, Caden claims that he knows how to finish the play and then dies. The play is something that all of these other details surround. It is the central element, and yet it is essential to chip away at its supporting thematic connections, just as Kaufman chips away at the world Caden inhabits. The ailing man seeks a way to create truth in his world of deception. With an unfathomably large warehouse and the funds of a MacArthur grant behind him, Caden stages real life.

There is art to Kaufman’s depiction of this play. It is a distinct entity with people receiving notes — clearly in the process of acting — at the beginning. However, as the film progresses, buildings are created to match those of the real world, and they are closed up to the point where anybody acting inside would go unnoticed. Caden hires somebody to play Caden, another to play Hazel — who has become his assistant — and the two follow behind the actors making notes, with the former making notes of their own. The visuals are a convergence of real life and the play, which soon diverge and splinter into unclear differentiation.

Sammy (Tom Noonan), the man who plays Caden, commits suicide and is scolded by Caden because he never did the same. Sammy falls in love with the wrong Hazel and a funeral in real life is delivered in Caden’s world. This time, Brion’s score plays out over a small speaker to the crowd standing on a set. When Caden’s identity is subsumed by his inhabiting of the role of Ellen — Adele’s cleaning lady, whom he plays once she (Dianne Wiest) takes over Caden’s role from the now-deceased Sammy — the boundaries of self are pushed past simple comprehension.

Synecdoche, New York is a meta-fiction of itself, like a paper being folded over and over, until it is too tight to be squeezed further. It tells stories at various levels simultaneously, subtly shifting reality on stage and behind the walls of the play, to the point where it is laughable to see Caden enter a smaller warehouse inside the warehouse wherein the play is staged, only to find another warehouse, even smaller, within.

Nothing is safe from the touch of this deconstructive force. The written word breathes the throes of Adele’s illness, through her voicing the letters she writes to Ellen-Caden, while the four-year-old Olive’s diary continues to tell Caden of his daughter’s life story after she leaves the book at home. Caden’s multifarious appearances in media are disconcerting when noticed. His psychiatrist (Hope Davis) comes into being when he reads her book on a plane, the book reacting in concert with her as Caden spurns her advances.

The premise of the film ties into an essential element of human nature: we all play ourselves. There is a performative aspect of being in the way we react to expectations and perceptions of ourselves, taking on roles dictated not only by our own sense of identity, but also through others’ views of us. This is Sammy, playing Caden, in his speech and action based on following the man for years, having popped up like Fight Club’s Tyler Durden at the beginning of the film, invading briefly before taking his part.

It is Ellen, though, whose performance of the same role shows something more. When she asks for the role, she explains to the real Caden — who says that he does not understand the character — “Caden Cotard is a man already dead, living in a half-world between stasis and anti-stasis. Time is concentrated and chronology confused for him. Up until recently, he has strived valiantly to make sense of his situation, but now he has turned to stone.” This, following the death of Hazel, and the disappearance of nearly everything connecting Caden to his world is met with the man’s approving remark, “Okay. That sounds good.”

After a funeral scene on set, with a rousing speech by a pastor (Christopher Evan Welch) calling for self-preservation, Caden abandons the role of playing himself for that of Ellen’s. The ‘real’ Ellen becomes Caden, giving instructions to Phillip Seymour Hoffman’s Ellen through an earpiece. Hoffman’s Caden was playing the wrong role the whole time, and that is what he learns through this new casting. Everybody else was focused on appearances, and on maintaining lines of reality. But when reality does not want to maintain itself, neither should the world of the play. Ellen-Caden makes tweaks in the funeral’s script, and the resulting moment is performative, yet honest, playing within the bounds of the world and making the most of what it has, creating a scene of transcendentally spiteful bliss.

A synecdoche is a part representing a whole or a whole representing a part, the meaning of the word as dense as the film it represents. Kaufman examines honesty, the quest for creative freedom, and for bringing something meaningful into the world. Adele creates paintings smaller than the naked eye can discern, while Caden tries to stage a whole city of life, and the former is referred to as “honest.” They each try to find their part within the whole, to examine the broken world in which they reside. It is uncomfortable to consider whether we are being who we are meant to be or being who we are expected to be, and in Kaufman’s magnum opus, the discomfort is an essential part of the consideration as a whole.

Originally published in Baruch College’s Refract Magazine

#refract #synecdoche #charlie kaufman #film #bc wallin

[davidsmitht-blog]

All You Have To Learn About The Asian Wedding Videography London

A marriage is just a once in a lifetime event. One remembers the beautiful and delicate ceremony fondly. Simply taking photographs isn't enough. To raised preserve these memories, to talk about them with kids and to simply relive the moment, videography is the better option. Videography captures the wedding ceremony, the reception, the tender moments of affection and sentiment involving the bride and the groom and the families within an unobtrusive manner for posterity. Wedding Videography can record the wedding ceremony, the reception, in addition to the associated revelry in detail. It helps to keep in mind the marriage vows, the exchange of rings, and the walk down the aisle, the toasting, and the tinkling laughter years following the wedding. Hence, it is essential to hire a professional wedding videographer who will do justice to the whole event and create a great masterpiece that you can cherish forever. The wedding videographer is today an integral part of each wedding as he plans the whole filming to recapture important images and emotions.

Editing and making copies triggered the increased loss of recorded material and poor image quality. Technological improvisations made the video camera portable and an integral part of every home. The very first wedding videographies were essentially home movies shot by close friends of the couple. The cameras could shoot only small films and that too without sound. Making wedding videos was an expensive affair with few professional videographers around. Today professional wedding videographers shoot weddings with the expertise and finesse of Hollywood directors. They place a number of cameras to get the best angles and on-site sound equipment to fully capture every spoken word involving the couple and the guests through the wedding. Post filming, they conduct expert editing and highlight segments to make the wedding film interesting and entertaining. VHS and DVD are both several types of videography available today. Most videographers will convert the videotape to DVD for a nominal amount. The DVD is longer lasting with better picture quality and image resolution.

Wedding videography now includes elaborate photomontages, thematic films, music videos, and family histories of the bride and groom. Simplistic styles may be in the form of an ordinary vanilla documentary style videography that is merely a presentation of the event but isn't preferred style for obvious reasons. An expertly filmed wedding videography could be in the form of a tale, perfectly edited with special effects, graphics, and sound bites for dramatic effect. The introduction of digital technology has caused it to be possible to make slick videos with special audio and video effects for greater impact. When choosing a marriage videographer review samples of his previous work before shortlisting. Price should not be the only consideration since shooting a marriage video requires creativity and skill to understand the tenderness and sensitivity of the event. The chosen videographer will need to have the skills, latest technology and fascination with his work to produce the best possible results. Involve the videographer in your wedding preparations and discuss the actual nature of the wedding videography you want. This may avoid confusion and the effect is a artwork treasured by future generations as an heirloom.

[carolinarpaz]

Meu Canto

About the project  1st edition – October 2017

Meu canto in Portuguese means my sing and also my place, my own place or the place where I feel I belong. Taking my own experience as an recent expat, feeling divided between belonging to São Paulo and looking for my place in New York, this project becomes a space for all those who are attracted to the idea of projecting their voices about their places. 

Where do you belong? What sensations are involved? Do you have a place to call your own? Is it a room in your home or a complex metropolis? Is your own skin your place? Another person? Is a state of mind your place? A language, a smell, a taste? How to translate this by projecting your voice? Is there a song, a poem, or any text that translates this feeling? 

Through an online platform, I have opened an audio playlist with voices that sing, recite, declare how each participating individual stands on these issues. This playlist is a work in progress without a deadline to be completed. I look for an infinite accumulation of voices, without instruments, without effects, without editing but only voices and the background noises from where they are recorded.

https://soundcloud.com/meucanto

“How do I participate?” 

I invite you to record your voice by singing, speaking, reciting, etc. through whatever device is most convenient to you. Generate an mp3 file and send it to [email protected]. Names will not be disclosed. The authors of each track will remain anonymous and you can send as many files as you want, as long as the project is still in progress. 

Every day (except weekends and holidays) once a day, I will check the files received and publish them at https://soundcloud.com/meucanto. When this project is on view as part of an exhibition I will upload the files three times a day, every day. 

At each edition of the project, I will publish a zine, printed on newsprint paper, with texts (written by me and guests) and images that deal with the experience of developing this project. This publication is collectible, can be used as a poster and serves as a form of disclosure. 

Listen at home by Anna Harsanyi

Caetano Veloso’s song “Sampa” is an ode to São Paulo, a city whose streets contain multiple personalities and embrace characters whose unique traits combine to tell a story of admiration and uneasiness in the song’s narrative. As a descriptor of the city, “Sampa” projects a familiar relationship to concepts of home and place. The song tells of enchantment when crossing Ipiranga and São João Avenues paired with the disappointment of urban poverty in the face of economic growth. Such juxtapositions expand beyond the locale of São Paulo and call the listener to reflect on the city as a metaphor for life’s uncomfortable changes, and the natural desire to preserve the familiar. Traditional definitions of home imply comfort and ease associated with a specific place. Despite the constant transformations taking place around us all the time, home becomes a fixed variable in an otherwise ever-changing world. When considered more broadly, and just as Veloso invites us to reflect through his song, home can be a more complex and chaotic concept. Home can be as much related to one place as it can be to its ever-changing and constantly progressing qualities. What if home is comfort in the juxtapositions and the whirlwind of change that exists all around us? Can home be dissociated from a locale, and become instead a feeling of comfort in transition? 

 Carolina Paz’s work “Meu canto” uses song as a medium to reflect on these questions. Paz invites audiences to sing their own conceptions of home – whether through literally singing a song reminiscent of home, or reciting mundane activities like grocery shopping lists or daily routines. Either way, the act of singing calls to mind anyone’s ability to vocalize a moment of personal connection to varying ideas of comfort and familiarity. Just as Veloso brings us into his world by unveiling the conflicting symbols and metaphors he observes in his home, participants in Paz’s project invite others to listen to the details of personal relationships to their own.

Fiddler’s Green by Alexandre Nix 

This is an elusive one. Precious as gold dust and sighted for such a short period of time, that would vanish if you did a double take. Please don’t do double takes when visiting the premises. To get there you have to be prepared with all the tools and equipment - that most people don’t possess or keep. - and here’s the catch: you only can go there when you’re doing your best to get somewhere else. Here are the directions: first you must to have a safe place to start, a bunch of good companions to join you... and another destination in mind. This is paramount: your bills must be paid and you will need a good sum of money in your bank account just to keep you focused on the journey ahead. Ok. Let’s proceed: you will have to leave by fall – better weather -  in possession of a dream that should me dreamed collectively (thus your companions) and in a state of mind that should fluctuate between blissful hope and a constant feeling of achievement. When you hear music by the meandering path that brought you there you should dance while you can... once all is gone, work hard and live joyfully for another couple of years and try it again. Maybe the next time is the one that we can finally stay there.

1st edition exhibition schedule Opening: Thursday, October 19, 2017, 6pm to 8pm October 20 – 10am to 6pm 21 22, Oct 2017 – (12) noon to 6 pm RU Residency Unlimited 360 Court Street #4 Brooklyn, NY 11231 

 Image: meu canto, 2017, oil on canvas, 50 cm (diameter)

#soundart #installation #participatory art

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