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"In just moments they heard some strange sounds. There was a very gradual rumbling which began to get worse. Then almost as if out of nowhere and totally unexpected there was this "BOOM"! Suddenly a big dark debris cloud and blackness fell upon them with the speed and strength of a bomb and not unlike the eruption of a volcano. Little did they know that building # 2, the south tower had collapsed.
Sergeant Kenney heard distinctly "someone's down". Then he turned on his flashlight and to his great surprise he saw Father Judge. He helped carry father Judge out of the building along with some FDNY Firefighters.


text:
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Home>Green Sponsorships and Community Engagement
Green Sponsorships and Community EngagementTuas Power Ltd2015-12-29T23:27:18+08:00
Green Sponsorships
Tuas Power has been a firm supporter of the Singapore International Energy Week (SIEW) since its launch in 2008. SIEW is an annual platform for energy professionals, policy makers and commentators to discuss energy issues, strategies and solutions.
The Company also supports youth and student projects with an environmental message to inspire Singaporeans to care for our living environment by adopting an environmentally-friendly lifestyle.
In conjunction with the launch of its new value-added service, the Lighting Solutions, Tuas Power sponsored S$100,000 worth of energy saving lighting solutions to help five charitable organisations – YMCA Singapore, Metta Welfare, Ren Ci Hospital, Moral Home for the Aged and Rainbow Centre – Margaret Drive School – reduce their overhead costs and enable them to put the much needed funds to better use.
In 2007, Tuas Power provided a $500,000 sponsorship-in-kind for the development of a combined power and cooling (CPC) system under an Energy Research Project at the Prototype Glasshouse managed by the National Parks Board. Under this project, the company supplied, installed and commissioned two 30kWe microturbines and a 20RT absorption chiller, which employs energy-saving technology. The project aims to develop and study the effects of air-conditioned space cooling and humidity control for the Prototype Glasshouse, which acts as an important research base to test horticultural techniques, building materials and energy systems that will eventually be implemented at the Conservatory Complex of Singapore's Gardens by the Bay. This sponsorship represents not only Tuas Power's contribution towards Singapore's larger development plans but also forms an integral part of the continued efforts of the company toward energy efficiency and environmental sustainability.
Children are the future pillars of our society and they should be given the opportunity to reach their maximum potential, regardless of their family backgrounds or learning difficulties. It is with this belief in mind that Tuas Power has firstpartnered two charity organisations – Student Care Service (Clementi) and Katong School – in 2010 to help their young beneficiaries overcome their difficulties and maximise their potential. Besides providing financial assistance, the Company also organises outings that allow our staff to interact with the children under the charge of the two charities. To encourage staff volunteerism, a voluntary committee comprising staff from different departments was formed within the Company to plan and organise volunteering activities with our partner charities. In appreciation of its contributions to the two charity organisations, Tuas Power received a Bronze Award from ComChest in November 2010. Starting 2015, Tuas Power is looking at two other charity organisations to support and work with for the next four years.
Other than supporting Student Care Service (Clementi) and Katong School, Tuas Power also makes donations to numerous other charity causes on an ad-hoc basis. In particular, in 2010 the Company made monetary contributions to two selected schools in which the children of some of its staff are studying. The donations went toward helping needy students (under the Financial Assistance Scheme administered by the schools) to purchase school essentials such as uniforms and textbooks.
Staff Philanthropy
Tuas Power endorses the SHARE programme, a fund-raising programme of ComChest. Employees are encouraged to sign up for the programme, under which a monthly contribution to ComChest is deducted from the individual employee's monthly salary.
Each year, Tuas Power would hold an internal auction of items that were received from its corporate partners. All proceeds collected from the auction were then channelled towards a selected charity organisation. This is to encourage staff to donate generously to charity causes.
Tuas Power organised its own dollar-for-dollar donation drives to lend financial aid to victims of international calamities. For the period 2012-2014, our staff collectively donated a sum of more than S$14,000.00 towards the aid of victims from the Ya'an City earthquake in Sichuan, China and the Typhoon Haiyan in Philippines. With the Company matching more than a dollar for a dollar of staff donation, the total amount came up to more than S$40, 000.00.
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text:
Chase Pellerin
The American Cashmere Brand You Need to Know
The finest fabric money can buy.
By John Zientek
From Issue Three of the Gear Patrol Magazine.
Discounted domestic shipping + 15% off in the GP store for new subscribers.
Tucked away on a private driveway in West Hollywood, Greg Chait sat barefoot on the steps of a small bungalow. Though the mid-century building was once used as movie-studio housing, Chait now uses it as an artist's retreat for his cashmere brand, The Elder Statesman. Inside the house, photographs and found objects sat next to collections of books. A surfboard leaned against the wall and a stack of cashmere blankets — the first product offered by The Elder Statesman — sat in a corner. "There's nothing about my life that's linear," Chait said, reflecting on his early career in the entertainment industry. Since founding The Elder Statesman in 2007, Chait has built a reputation for producing some of the finest luxury goods on the market.
Chait's first love was the music industry. One summer during college, he landed an internship with Whitney Houston, on her last tour of the '90s. "Things started to crumble, but what ended up happening for me was, I was in the inside, so I got a massive lesson in life." Over the following summers, Chait worked for Arista Records and spent time surfing in Australia, where he became friends with the founders of the denim brand Ksubi. Upon returning to the US, Chait sought out an entry-level job in music and landed himself a mailroom job at The Firm, an entrepreneurial, forward-thinking management company.
Though the recession was in full force when his sweaters were delivered in October, the entire first season sold out.
Moving through the ranks, Chait eventually worked himself into the brands division, a section of the company that connected artists and brands. "Branded entertainment had not been done before," Chait said. "These guys were the pioneers." The Firm's work caught the attention of innovators like Richard Branson and Steve Jobs, and publications like Vogue and GQ. Chait gained an invaluable list of connections working at The Firm, and when his friends from Ksubi asked him to work with them full time to launch their line of skinny jeans in the US, he took the leap. Then, after a few years with the brand, Chait left Ksubi, with plans to capitalize on a new trend. "I was going to be in the juice business, believe it or not," he said. But thanks to the grand foresight of his brother, he instead decided to invest in the world of cashmere.
After designing cashmere blankets for his personal use, Chait founded The Elder Statesman in 2007. He sold his first creations at Maxfield, a luxury store in Los Angeles. "I had no vocabulary for it, but I inherently got it," he said of his passion for the fabric. After a sold-out run of blankets, Chait produced a line of sweaters and hats, showing them to luxury-retailer buyers in Paris. "I thought I had a men's collection, and I walked out with eleven orders from women's stores and one men's order," he said. Orders were placed in early 2008, and though the recession was in full force when his sweaters were delivered in October, the entire first season sold out.
"Cashmere to me is like gold. If it's kept in fiber form or yarn form it can be anything."
"Without the recession, I don't believe The Elder Statesman would be here," Chait said. The brand's understated aesthetic and lack of branding offered an alternative to the ostentatious products other luxury brands were selling. "It wasn't in good taste to be seen wearing the new season's stuff when people were really suffering."
Chait knows that the value of his product is in the yarn, the highest-quality cashmere. "Cashmere to me is like gold. If it's kept in fiber form or yarn form it can be anything," he said. "It doesn't go down in value, if anything it goes up. It doesn't go out of style or trend." The Elder Statesman runs a Culver City factory with workers knitting on vintage looms. Chait points out that much of his stock of cashmere comes from a single village in Mongolia. "I take all of that village's capacity in yarn," he said. "They're farmers that spin it by hand, and we take every last ounce that they can make when they're not in the fields."
Behind the factory, freshly washed cashmere sweaters lay in rows, drying in the open air. "This is what nobody has that we have in California," he noted. "There's something that the sun does that you just can't replicate as part of the finishing process." The Elder Statesman's business is not a high-numbers game; rather, it focuses on custom orders for clients and limited releases for stores across the world. "We're an Americana luxury brand," he said. "And nothing else like it exists."
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Not all is lost though: Amerang, the wholesale part of Modelzone, has been purchased by Ripmax, a distributor of radio-control (RC) models. It sounds an excellent fit, as Ripmax is an old-established outfit that's been around in various forms since 1949, and RC continues to be extremely popular.
Sad to say, Modelzone stores are likely to disappear, as Deloitte is putting in place a closure programme.
Why did Modelzone run into trouble? It seems that online competition was a big issue, but that over-expansion was the real villain, with new stores that couldn't cover their high lease costs.
For UK modelmakers it'll be worthwhile looking out for closure bargains across the Modelzone stores.
Also hit by the Modelzone collapse is Hornby, which sold model trains under a store-in-store arrangement, though this wasn't flagged out to customers. It's good for Hornby now though - the company owns the stock, meaning that it can pull trains out of Modelzone and sell them elsewhere.
Good luck to all involved, especially Modelzone staffers.
Header pic courtesy Wales Online.


I live in Rome in the Monteverde neighbourhood, near to Trastevere and quite close to Villa Pamphili park and I love this peaceful residential area. I have been practicing yoga for a long time and lately have started teaching. I love practicing by myself but the chance to share and exchange yoga experience is alwasy precious! And is there any better place to do that than in the middle of nature!?
We will explore together the enchanting Villa Pamphili park, the largest in Rome, and have a walk near its magnificent villa and the small lake. Then we'll find a nice spot and have one hour yoga session surrounded by beautiful nature.
Bring confortable clothes and shoes. You do not need a mat, but if you feel unconfortable with bare feet, I'll bring a piece of cloth. Please note that in case of heavy rain we might have to cancel!
I'll bring some fresh fruit so we can have a rest before we leave!
you might need a bottle of water!


text:
VTDance/Vincent E. Thomas in Moving Dialogues Redux at Baltimore Theater Project 3/12/22
Lisa Green-Cudek
All around, the news worsens. In the theater, Vincent Thomas creates a sanctuary
Vincent Thomas is an award winning choreographer and a Professor of Dance at Towson University. He has performed his work throughout North America, Europe, and Asia, and is an Urban Bush Woman Facilitator. VTDance has been a laboratory and outlet for Thomas' solo and collaborative performance projects since 2002. He launched a junior company, VTDance II, in 2022 to mentor and nurture college-age male dancers, preserve a repertoire legacy, and develop new work. VTDance has significant reach throughout the DC/Maryland/Virginia region and is a driving artistic and spiritual force in the Baltimore community where it is based. The concert program of Moving Dialogues Redux included the following description: "VTDance builds on the use of contemporary dance, improvisation, text/movement, a variety of sound sources, and collaborations with other artists including dancers, musicians, poets, visual artists, and others [to be discovered]." Visit www.vtdance.org
During the radio program, On Being, Krista Tippet recently conversed with Kate DeCamillo, who writes profound and beautiful stories for children. Their conversation revolved around the question, how do we tell the truth and make the truth bearable? Their conclusion was through love, through love of the world. Truth and love motivate Vincent Thomas who tells equally profound and beautiful stories through dance.
Dancer: Vincent Thomas | Photo: Nick Hood Photography
I did not take notes on the performance of VTDance at Baltimore Theater Project on March 12, 2022 as I had not intended to review it. The experience of my time in that shared space has stayed with me and compelled me to write about it retrospectively. In the absence of notes there are many details that I cannot remember, but I do remember movement that was grounded and authentic: space and time yielding to the realness of a glance or simple gesture; beautiful crouches and leans; the closeness of humans. I remember the feelings these elicited in me. It was a grounding and restorative experience to be in the presence of Vincent Thomas and the artists he gathered. Thomas communes with others through dance. He creates a space of sanctuary, celebration, invitation, and hope. The emotional exhaustion and despair that I, like many, have been carrying these days began to unwind over the course of the program.
The evening's six dances were sequenced as a communal journey or process. One piece built upon another until, by the end, a sense of hope and wholeness had been restored. Speak Space was an organic and lovely 50th birthday salute to Baltimore Theater Project. Vincent Thomas' movement intimately addressed the familiar space he was dancing in and the art and artists whose spirits inhabit it. From a seat in the center of the audience, Kristin Putchinski contemplated the history of the theater and conversed with Thomas and the audience. The conversation became a spoken and danced duet when Putchinski joined Thomas on stage. Speak Space was like a toast; you pause to acknowledge something of merit and then swallow a delightful drink.
Inbox | Dancers: Vincent Thomas, Kristen Putchinski | Photo: Nick Hood Photography
Guitarist Julian Peterson, replaced Putchinski as Thomas' duet partner in the next dance, Inbox. The chair from which Peterson played was amidst stacks of newspapers piled against the back scrim. The solid stacks of newspapers crowded the back of the stage the way news stays in the back of my mind these days; ever present. The electronically amplified intricacies of Petersen's melodies were organically amplified by the fullness of Thomas' movement, breath, and presence. This skilled, fluid movement was counterpointed by Thomas' capacity to draw deeply from a well of stillness, quiet, and interiority. At the end of Inbox Thomas became an information gatherer when he asked each person in the audience to write one wish on the back of an index card. These cards would be collected to create an archive to spark Thomas' future work.
Inbox | Dancer: Vincent Thomas | Guitarist: Julien Peterson | Photo: Nick Hood Photography
A third duet between Thomas and Clay Taliaferro, a revered elder of the dance world, provided the core of the evening's program. Gardens of Clay, Thomas explained, was intentionally presented as a "work in process (not in progress.)" A recorded text by project documentarian, Dr. Gaynell Sherrod set up a dialogue between present and past to give the audience an inkling of the vast experience, history, and siblinghood of artists and thinkers contained within Taliaferro's being like rings inside a mighty tree. Taliaferro, a dancer of immense intelligence and ability in his younger years, continues to radiate gallant power in his eighties. Indeed, the recorded text centers around a meeting between Mr. Taliaferro and the great soprano Leontyne Price, who saw him dance in London in 1967 and told him that he danced as gloriously "as a gazelle." As Mr. Taliaferro recollected in the recorded performance text, and later in conversation with me, Price "saw" Taliaferro as an artist and as a human; that "seeing" was a gift that he still treasures.
Although Taliaferro's physical ability has inevitably diminished, the intelligence of his dancing has not. Taliaferro's powerful presence throughout this program derived from his authenticity, generosity, vulnerability, and sense of self. Gardens of Clay had a lovely improvisational sequence of woven individual pathways and meetings between Taliaferro and Thomas. They met again downstage where they sat side by side as companions and equals. The beautiful gestures of this seated duet framed their faces drawing attention to their eyes as they looked outward together. It was like a prayer to the universe or a beacon to others; as if to say, "Let us come together, look within, and move toward light."
Gardens of Clay | Dancers: Clay Taliaferro & Vincent Thomas | Photo: Nick Hood Photography
Gardens of Clay has been conceived as a multi-year project involving several creative residencies with Thomas, Taliaferro, and their creative team. The complete cycle of etudes will be premiered in 2024.
Words are integral to Vincent Thomas' art, and he chooses them with care. The subtitle of this project, A Work in Process, recalls the chain of nurturance of which Clay Taliaferro is a mighty link. He was a favored son of Jose Limon and Donald McKayle and has passed on their legacies, and those of others, to younger generations of dancers. Through his own example as a performer and through teaching, choreographing, and coaching, Mr. Taliaferro has nurtured a great many dancers including Vincent Thomas. Even today, he continues to do so as the following two pieces in this program demonstrated.
Pursuit of Hope, set to music by Christian Cherry, included projections and recorded readings from the preamble to the Declaration of Independence. The title's allusion to the famous phrase, "pursuit of happiness" made me consider the significance of the substituted word, hope. Vincent Thomas is concerned with the rift between the universal language of the preamble and the lived realities of Black Americans. Pursuit of Hope might then refer to the pursuit of justice; the struggle to rectify systems of exclusion so that stated ideals become real for everyone.
Stage light shone on the pillars of newspapers piled against the back wall of the stage. They were a material reminder of the weightiness of history and the crushing information overload through which we must navigate in the 21st century. Four young men, Elias Brzezinski, Mikhail Gordon, Yasir Jones, and Brandon Palmer, rummaged through the newspapers as if searching for something. They tore the newspapers apart and reveled in the light substance of the liberated pages. All four dancers then turned toward the audience and moved together in a close-knit band. This was the most concentrated dance movement of the evening; they moved with elevated hearts, open arms, soaring jumps, spiraling lifts, and the grace and appetite of youth. The bond between the dancers and the direct frontal facing of the choreography proclaimed their power. I watched these young dancers. Faced with their beauty; I did feel hope. The image of Taliaferro as a gazelle echoed.
Pursuit of Hope | Dancers: Elias Brzezinski, Mikhail Gordon, Yasir Jones, Brandon Palmer | Photo: Nick Hood Photography
Vincent Thomas turned to the audience and asked each of us to consider our own pursuits of hope. While we wrote on the back of our index cards, dancers unrolled a floor covering that depicted a labyrinth. Petersen resumed playing guitar and the full community of dancers -Thomas, Putchinski, Taliaferro, and young men- began traversing it in Step, a walking meditation that Thomas devised from an experience with Nancy Romita, his colleague in the dance program at Towson University. The program noted that this unicursal labyrinth "expresses the metaphor for moving with presence and traveling with compassion and hope."
The awkwardness of real life became evident as the dancers improvised along the spiral pathway. They sometimes found themselves crowded in "traffic jams" and always found themselves in the uncertainty of the moment. Taliaferro was a compelling figure to witness here; devoid of all pretense, he brought quiet attention to being himself in the moment and to "seeing" the younger humans traveling around him. The authenticity that Taliaferro and Thomas emanated on the pathway was a centering force that guided the young dancers to shed their need to please or impress. It was a lesson for the younger dancers and for the audience. Taliaferro and Thomas seemed to radiate the message: "Let us each find a way to be as we truly are and at the same time to experience the saving power of being with others."
Thomas invited audience members to leave their seats so that we too could experience traveling through the labyrinth. After two years of personal isolation and collective tragedy, it felt like a miracle to be together and to experience live dance performance. Now we were even being invited to participate! I watched as people moved through the labyrinth's swirling path. In my mind, I still heard Leontyne Price in the gorgeous recording of I Wish I knew How It Would Feel to Be Free that had accompanied Mr. Taliaferro's featured dance earlier in the evening. My ears heard laughter –real laughter– emanating from children traversing the labyrinth on the stage of Baltimore Theater Project. The space was filled by the hum of human beings meeting, talking, and walking together. It was a sanctuary.
Step | People from the audience | Photo: Lisa Green-Cudek


What if jobs numbers were designed to be poor right before the elections as the perfect political script? Watch videos of our leaders as the jobs numbers script of today was being written.
Pandora or Spotify: Which One Will Top the Social Streaming Music Industry?
Pandora is the most popular online radio with a market value of $2.6 billion, but Spotify is on its way to the top. Wich one has the potential to revolutionize the way of social music listening?
The job numbers and weak recovery are only getting worse, yet President Obama continues to blame anything and everything else for his failed policies. Here's a look at his top 25 excuses.
As fears of a possible "Zombie Apocalypse" grow by the minute in light of increasingly gruesome reports of cannibalism, the Center for Disease Control and Prevention has been forced to intervene.
Republicans from all over the state of Louisiana will be in Shreveport this weekend for the Republican State Convention. Follow the live updates here.
The Washington state Republican convention started Wednesday, and the delegate election process begins Friday afternoon. Follow the live updates here.
When pimps brand their prostitutes like livestock, it only adds insult to injury for these girls. Not only are trapped, but they're painfully singled out like a Jew in Nazi Germany.
This is a speech of hope and optimism that should be read by all.
While cultural exploitation is distasteful, it is nothing new and isn't going away. As Indian people and Cherokee people we have more important things to worry about.
Adding to the national debt is the worst thing we can do for our economy in the long run. Austerity and wise spending are the answers.
The world's political leadership and the financial elite are casually meetign up in Virgina for a holiday and definitely not to coordinate public policy for the upcoming year.
Republicans from across Missouri will gather this weekend in Springfield to select 25 delegates to the Republican National Convention. Follow the live updates here.
Four Wisconsin State Senate seats are also up for grabs in the June 5 recall elections.
The ultimate authority on Reagan conservatism has given the Reagan seal of approval to the former governor of Massachusetts and private equity CEO.
Though the former Egyptian president was sentenced to life in prison, citizens gathered in Tahrir Square to demand execution for the deaths of last year's anti-Mubarak protesters.
Mayor Bloomberg's Soda Ban is First Step Toward "Food Justice"
Our enlightened leaders have a plan for fighting obesity. They're not taking away your freedoms, just forcing you to make the "right" decisions. Who could argue with that?
Make the summer of 2012 the best you've ever had. Follow these 7 tips to remember what made you love summer so much as a child and find ways to recreate that magic as an adult.


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package com.rmbin.db.mongo.Exception;

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redpajama_set_name: RedPajamaGithub


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Tag Archives: graeme shimmin
Reading diary, #10
With all the dipping into books I've been doing for research for All That Outer Space Allows, I've not been reading as much as usual – although I have managed to fit in several reads for review for SF Mistressworks. And, er, several books which I've actually written about at greater length… which is something I've not done on here for a while either.
Dark as the Grave Wherein My Friend is Laid, Malcolm Lowry (1968). My love of Lowry's prose remains undimmed. I wrote about this book here.
Women as Demons, Tanith Lee (1989). I reviewed on SF Mistressworks – see here.
My Name is Red, Orhan Pamuk (1998). I originally picked up this book for a world fiction reading challenge a couple of years ago, but got bogged down about halfway in and gave up. I eventually decided to give it another go, and this time I managed to finish it. In Istanbul in the late sixteenth century, the Sultan asks a retired and highly-regarded miniaturist to manage the creation of a book to celebrate his reign. But this book will not be illustrated in the Persian style, as is considered proper and religiously correct, but in the European style (depictions of people and animals is haram in Islam; hence Islamic art's focus on calligraphy and architecture). But one of the miniaturists secretly approached to provide illustrations, or part of the illustrations, disagrees with the project and murders one of the other miniaturists. The novel is structured as first-person narratives by all those involved, including the murdered victims, the daughter of the man managing the project, and a young man who has returned to Istanbul after years in the provinces to ask for the daughter's hand… It's not the fastest-paced of murder-mysteries, and Pamuk seems fond of presenting the same piece of information from several different viewpoints so they more or less contradict, or at least, confuse each other. But I did think My Name is Red was very good… although I wasn't so taken I plan to seek out Pamuk's other novels.
Mindjammer, Sarah Newton (2012). This novel set in the world of a sf role-playing game of the same name and is, I believe, chiefly intended to support the RPG rather than vice versa. Which no doubt explains some of its set-up, like ,for example, the fact that it follows the adventures of a group of four military specialists from varied backgrounds (ie, both above and below the law). They've been sent to a rediscovered human polity as a Security and Cultural Integrity Force team by the New Commonality of Humankind in order to ensure everything about the newly-discovered world, Solenius, is exactly as it seems. Except, of course, it's not. The plot of the novel basically comprises the four SCI agents stumbling from one violent encounter to another, interspersed with fact-filled info-dumps, while a number of villains twirl moustaches and gloat evilly. Mindjammer is space opera turned up to eleven, which is both its appeal and its worst problem. Space opera needs those clunky wodges of exposition, it needs a relentless plot filled with violence, discovery and violent upsets, it needs to rely on clichés because there isn't much room for anything else… And when you have a space opera based on what is clearly a rich and lovingly-designed role-playing game universe… One for fans of the subgenre as much as it is for fans of the RPG; but yes, one for fans, I think.
Sanctum, Xavier Dorison & Christophe Bec (2014). I picked up a copy of the first part of this a few years ago, but it's only recently an omnibus edition of all three parts has appeared in English (I was tempted to buy it in French, but never got around to it). Sadly, after all that wait, I can't really say it was worth it. Some things it does very well, but it also fails quite badly in other respects. The opening section, in which a US submarine stumbles across a wrecked Soviet sub in an underwater chasm off the coast of Syria is done well… Except it all takes place at 4,000 feet, and you can't have people diving that deep – the pressure would crush them. And should you somehow manage to saturation dive at nearly 120 atmospheres, you'd be decompressing for weeks afterwards. The US submarine is also infeasibly large inside, and reminded me of the Russian mining submarine in the BBC's execrable The Deep (which I wrote about here). Near the Soviet wreck, the divers find the entrance to an ancient temple. Which is where the story turns all Lovecraftian, as the temple proves to be a magical prison for a Sumerian demon, which the Americans inadvertently release. The art is uniformly good throughout – it was intended to be cinematic, and it works well in that respect – and the story does hang together, even if the pacing is a little slow. But the author should have done a little more research and not sacrificed plausibility for drama.
All Those Vanished Engines, Paul Park (2014). I am a big fan of Park's fiction. I wrote about this book here.
Isaac Asimov's Space of Her Own, Shawn McCarthy, ed. (1984). I reviewed on SF Mistressworks – see here.
A Month Soon Goes, Storm Jameson (1962). The first read in my informal project to try a number of British women writers from the first half of the twentieth century. And I enjoyed it very much. A polished piece of work. I wrote about it here.
The Suicide Exhibition: The Never War, Justin Richards (2013). This was a freebie from Fantasycon, and I only picked it up after spotting the Nazi Black Sun and flying saucers on the cover. And this was despite recently reviewing Graeme Shimmin's A Kill in the Morning, another occult Nazi alternate history, for Interzone and not being very impressed. A secret section of the British intelligence services called Station Z crops up in various places, intriguing a man and a woman who are plainly intended to be the series main protagonists. They are duly recruited and learn that Station Z is fighting against Reichsführer Himmler's new secret occult weapon, ancient technology some of his Ahnenerbe officers have discovered in ancient barrows scattered across Europe. Unfortunately, also in said barrows are alien creatures which are, well, are completely ripped off from the hand-creatures in Alien, and some sort of alien parasite which keeps the ancient kings interred in the barrows still alive, sort of – and who promptly go on a violent rampage once released. Oh, and there are some flying saucers too, which may be linked to the ancient aliens. It's all complete tosh, and appallingly researched. Incidentally, the title refers to an exhibition laid on in the British Museum for the duration of the war and which the Museum didn't mind losing should the Germans bomb the crap out of the building. It's also mentioned later as a metaphor for Station Z or something, but its presence in the story is so trivial it seems completely undeserving of providing the title. Avoid.
Across The Acheron, Monique Wittig (1985). I reviewed on SF Mistressworks – see here.
The Towers Of Silence, Paul Scott (1971). This is the third instalment of Scott's Raj Quartet. I must admit to a little confusion when I started the book. I was pretty sure I'd not read it, but the story seemed very familiar. At least, it sort of did. And when the narrative referred to something I remembered clearly from an earlier book in the quartet, but here it all happened off-stage, I realised that Scott was covering ground previously described but this time from different characters' viewpoints. So, for example, when Sarah Layton goes off to Calcutta and has her adventures there, The Towers Of Silence remains behind in Pankot and, in the person of Barbie Batchelor, we get to witness Mabel Layton's death at first hand. Barbie, incidentally, is a superb creation, an ex-Mission teacher who has retired to Pankot and shares Rose Cottage with Mabel as her companion. She's played in the television series by Peggy Ashcroft, who is the best thing in the programme, and captures Barbie perfectly; although the rest of the series is a little disappointing as it misses so much interiority out that most of the characters comes across as unrepentant racists. The books, however, are built on cleverly-nuanced character studies, so they're vastly superior to the TV series.
A Pictorial History of Oceanographic Submersibles,, James B Sweeney (1970). I picked this up cheap on eBay, and it proved to be ex-library so I got a partial refund. I should have sent it back – while it covers the early history of submarines reasonably well, as soon as it reaches WW1 it's almost as if the world shrinks to only the US and its concerns. The chapter on WW2 is especially bad – it reads as though only the USA and Japan operated submarines, with only brief mentions of German U-Boots (which are not U-Botes, as the book writes at one point) and British mini-submarines. It's also deeply racist – the Japanese are referred to as "the little people from the land of the Rising Sun" and dropping an atomic bomb apparently caused Hiroshima to be "blasted into immortality". The writing throughout is terrible, and while I've spotted no blatant inaccuracies there is plenty that is given such an American emphasis it mendaciously implies every single advance in the field was made by that country.
Categories: book review, books | Tags: christophe bec, graeme shimmin, james b sweeney, justin richards, malcolm lowry, monique wittig, orham pamuk, paul park, paul scott, sarah newton, shawna mccarthy, storm jameson, tanith lee, xavier dorison | Permalink.
Reading diary, #8
More catch-up content, I'm afraid, covering the books I've read over the past month or so. It's the usual mix – some genre, some literary, some which are neither. I'm not going to write too much about each individual book, or I'd never get this post finished. And I am supposed to be doing things, after all.
Microcosmos, Nina Allan (2013). This is number five in NewCon Press's Imaginings series of collectible, er, collections. Other volumes are by Tanith Lee, Stephen Baxter, Tony Ballantyne, Lisa Tuttle, Adrian Tchaikovsky, Steve Rasnic Tem and Eric Brown. I often find myself conflicted about Allan's short stories – there's no denying she writes excellent prose, but I often have trouble with the details. 'Flying in the Face of God' is a case in point – it's a lovely story, and it draws its portrait of its protagonist sensitively and well, but… the whole astronaut thing seemed to me too vague and hand-wavey, and that spoiled it for me. 'The Phoney War', on the other hand, is less overtly sf and so I felt it worked better, particularly since Allan is excellent at sense of place.
Paintwork, Tim Maughan (2011). I'm coming to this a bit late, but I only have an ebook copy and I'm still not quite comfortable reading ebooks. All the same, I took my Nook with me on a business trip to the South Coast as I've been reading an ebook of Henry David Thoreau's Walden on and off for a couple of months, but I read Paintwork instead. 'Havana Augmented' I thought the best of the three in the collection, with its VR mecha combat on the streets of Havana, but all are good near-future sf of a type that few people seem to be writing at the moment.
Worlds for the Grabbing, Brenda Pearce (1977), I read for SF Mistressworks. My review is here.
The Moon Is Not Enough, Mary Irwin (1978). This is the only autobiography by an Apollo astronaut's wife I've been able to find. Jim Irwin, Mary's husband, was the LMP on Apollo 15. (Nancy Conrad and Betty Grissom, on the other hand, wrote biographies of their husbands.) I suspect Irwin's story is not unusual among the astronaut wives – a marriage that begins to fall apart due to the husband's commitment to his work, dragged back from the brink by either church, psychoanalysis, or NASA's insistence on "happy families", or, in Irwin's case, all three; or the marriage explodes as soon as hubby has been to the Moon. I read the book for research, and in that respect it proved very useful.
Cyclonopedia: Complicity with Anonymous Materials, Reza Negarestani (2008) Recommended by Jonathan McCalmont and, to be honest, I didn't really get the joke. It's written as a cod academic text, and probably does an excellent job of spoofing its material, but I'm not familiar with the sort of academic arguments it uses. It did remind me a lot of some of the Nazi occult science mythology – especially those books published by Adventures Unlimited Press – which create entire secret scientific programmes out of the flimsiest of evidence. The plot, such as it is, describes the War on Terror as an emergent phenomenon of humanity's exploitation of oil, which is itself an inimical intelligence determined to rid the planet of humans. Or something.
Judgment Night, CL Moore (1952, although it was originally serialised in 1946), I read for SF Mistressworks. My review is here.
Sea of Ghosts, Alan Campbell (2011). I usually avoid fantasy, but I picked up this book because a) Martin Lewis recommended it, and b) the cover art features a deep sea diver. There's some interesting world-building in this, and a nice line in wit, but the thinly-disguised discussions on quantum mechanics wore thin very quickly, and the unnecessary brutality was also a little wearying. I enjoyed it, but I don't think I'll bother with the sequels.
Second Body, Sue Payer (1979), I read for SF Mistressworks. To be honest, I didn't think this book read like it was written by a woman, but there's a comment on GoodReads from the writer's granddaughter which says otherwise. My review should be appearing in the next week or two.
A Kill in the Morning, Graeme Shimmin (2014), I read for Interzone. Hitler victorious alt history with a nameless narrator who owes a little too much to James Bond.
Aurora: Beyond Equality, Vonda N McIntyre & Susan Janice Anderson, eds. (1976). I was in two minds whether to review for SF Mistressworks, since it contains three stories by male writers. But it was put together as a feminist sf anthology, the first of its kind, so I felt it too important a document in the history of women in science fiction to ignore. Review to appear in the next couple of weeks.
Shaman, Kim Stanley Robinson (2013), I originally intended to be part of my Hugo reading, but I never got around to it at the time – not that it seems to have made any difference, anyway. And, to be fair, it would be stretching the definitions of science fiction and fantasy both past breaking point to categorise this book as either. It's a year in the life of a twelve-year-old boy – a near-adult – in Europe some 32,000 years ago. The story was apparently inspired by the paintings in the Chauvet Cave, as filmed by Werner Herzog in his Cave Of Forgotten Dreams. I was mostly carried along by the story, although on occasion it didn't quite convince. The Neanderthals were good, though.
A Man and Two Women, Doris Lessing (1963). I have previously found Lessing a bit hit and miss for me, often in the same novel – but I did like most of these stories. Especially the Lawrentian title story. 'England vs England', however, is more of a Lawrence pastiche, but I wasn't convinced by Lessing's attempt at portraying South Yorkshire characters. The stories set in South Africa, by comparison, were much more successful, particularly 'The New Man'. Also good were 'Between Men', about a pair of mistresses, and 'Notes for a Case History', a potted biography of a young woman with aspirations to rise above her working-class origins.
Categories: book review, books | Tags: alan campbell, brenda pearce, cl moore, doris lessing, graeme shimmin, kim stanley robinson, mary irwin, nina allan, reza negarestani, sue payer, susan janice anderson, tim maughan, vonda n mcintyre | Permalink.


trevors333 needed a new logo design and created a contest on 99designs.
No color preference yet. We will have multiple sites maybe with different color schemes.
The logo should have the domain name in a text layer so we can modify the name eg 4CashBack, CashBack, eCashBack and 1-800-CashBack.
Contest winner will be paid by their preferred method.


I made this nearly every Friday during Lent and my whole family loves it. Sometimes I would vary it a little, using fresh spinach, adding mushrooms or green peppers or an extra egg. I always doubled the pepper and used fresh cracked. This is a fantastic recipe and very versatile.


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ShihadMovie.com
Shihad: Documentary 2012
This was the official website for the documentary about the legendary Kiwi group Shihad, chronicling their two-decade rise to greatness. From their roots in Wellington's '90s punk metal scene, Shihad's rock dreams faced wild days in Berlin, the tragic overdose of their manager, the international explosion of their The General Electric album and the infamous American name-change. This "all-access pass" doco charts the journey, and the bands fight with fame, the industry and finally – itself.
Content is from the site's 2012 archived pages as well as from other outside sources.
images/award-icon.jpg
Winner Documentary Director and Best Documentary Editing at the NZ Film Awards 2012.
Shihad: Beautiful Machine - official movie trailer 2012
Rialto Distribution and Pacific Lightworks present the highly anticipated documentary film Shihad: Beautiful Machine, in cinemas across New Zealand from 17 May. For over two decades, Shihad has defined New Zealand rock music. From their roots in Wellington's furious '90s punk metal scene to the wild Berlin days, the tragic overdose of their manager, the international explosion of The General Electric and the infamous American name-change. Shihad: Beautiful Machine asks, "What went wrong?" More than a documentary, this is an all-access pass to an extraordinary rock saga, charting a legendary band's fight with fame, fortune, the industry, and finally -- itself.
Shihad: Beautiful Machine documentary released
Press Release: Rialto Distribution
Shihad documentary provides an all-access pass to the legendary band's fights with fame, fortune, the industry and themselves
Rialto Distribution and Pacific Lightworks present the highly anticipated documentary film Shihad: Beautiful Machine.
Shihad: Beautiful Machine, directed by Sam Peacocke, will be in cinemas around New Zealand from 17 May.
Shot in various locations including Wellington, Melbourne, New York, Nashville, Berlin and London, the film follows the tumultuous trajectory of New Zealand's best-loved rock band which celebrates its 24th anniversary this year.
For over two decades, Shihad has defined New Zealand rock music. From their roots in Wellington's furious '90s punk metal scene to the wild Berlin days, the tragic overdose of their manager, the international explosion of The General Electric and the infamous American name-change. Shihad: Beautiful Machine asks, "What went wrong?"
What makes this documentary unique from many other music genre documentaries is its focus on not only the music, but also on the band member's relationships with wives, girlfriends and their parents. Interviews with the band's nearest and dearest illustrate the extent to which these were instrumental in shaping the voice and journey of Shihad over time.
Producer Laurence Alexander says, "When we first discussed the idea of the film, I met with a friend of the band who told me many stories that had occurred during the band's career and it started to paint a picture of the adversity they had been up against.
"Beyond the band exists family and personal relationships that all feed into the story of the survival of New Zealand's longest-running rock act."
None more so than the relationship of Jon Toogood and his former wife, Ronise Paul, which provided much inspiration for Shihad's lyrical material.
The documentary marks director Sam Peacocke's debut feature-length film. Peacocke won attention with a slate of distinctive music videos, including Shihad's Beautiful Machine, and his short film Manurewa was selected for the Berlin International Film Festival, where it won the Crystal Bear for Best Short in the Youth section.
Shihad:Beautiful Machine is a truly unique Kiwi film experience and an unflinching look at the elusive reality of a true rock dream.
"Huge fan and worked for over 12 of Shihad's 20 years as one of their roadies - worked on their concerts in Wellington, Berlin, and the outdoor festival in Sydney. Observed several different phases of their evolution, lived through the death of a manager, the USA tour, etc. They even went through a Batman phase, where everyone, including the technical crew wore Batman t shirts. On cooler days we'd be in Batman hoodies or sweatshirts, but always wearing apparel branded with our Dark Knight hero. Started in Berlin because we were there when the movie came out and we all went crazy for Batman. We might have bought out all of the supply of Moon At Midnight Batman shirts during that time. This was a short lived happy time for us - we got loads of positive reviews and we chalked it up to our association with Batman's karma. Unfortunately it didn't last very long. The worst time though was the USA tour after the terrorist attack of 911 when all that anti-Muslim hatred rained down on us even though none of us were Muslim - we just had name that rhymed with "jihad" - crazy! But horrible for us. Not even the real Batman could have saved us from the vitriolic attacks triggered by complete ignorance. We all dreamed of the American tour, but that one turned into a nightmare." James Loft
For over 20 years, Shihad has defined New Zealand rock music. From their roots in Wellington's furious 90's punk metal scene, to the wild Berlin days, the tragic overdose of their manager, the international explosion of The General Electric, and the infamous American name-change, Shihad: Beautiful Machine asks – what went wrong?
filnMAKERS
Director – Sam Peacocke
Peacocke won attention with a slate of distinctive music videos (eg. Mint Chicks Vodafone award-winner Crazy? Yes! Dumb? No!). His drama debut, Manurewa, re-imagines events surrounding a high profile 2008 liquor store shooting. At the 2011 Berlin Film Festival, it won the Crystal Bear for best short in the Generation 14plus section. He has also won awards for commercials, this is Sam's first documentary of any length.
Producer – Laurence Alexander
Laurence is the currently head of Wellington based film production, rental and sales company Rubber Monkey, more commonly known for it's primary role in the production of NZ Film Secondhand Wedding. Previously a veteran Music Producer based in Sydney he has been involved in projects ranging from Australian Idol, Popstars (AU), a range of writing and production credits incl Artists Guy Sebastian, Sophie Monk, Short Stack, Slinky Minx, Paulini, Kate DeAraugo, Westlife and more. Currently he is developing a range of future projects with fellow producer Grant Roa through their partnership venture Pacific Lightworks. Their first foray into Feature Film being Shihad: Beautiful Machine.
Producer – Grant Roa
The six foot tall, green eyed, Maori boy raised in Porirua Wellington is now a familiar face to most people in both New Zealand and Australia. In 2001 Roa impressed audiences worldwide with his fabulous portrayal of Uncle Rawiri in the award winning Oscar nominated New Zealand feature film Whale Rider with Keisha Castle Hughes, Cliff Curtis and Rawiri Paratene. Other film credits, among his ten feature films, include roles in Separation City along side Joel Edgerton, Danielle Cormack, Rhona Mitra, Les Hill and Thomas Kretschmann and James Cameron's Avatar.
Roa has also had his fair share of work in television with roles on New Zealands' longest running show Shortland Street, The Lost Children, The Hot House and the children's horror series The Killian Curse amongst others.
In addition to this, Roa loves comedy and his work on Facelift and the very popular McPhail and Gadsby back in the 90s reflect this. Shihad: beautiful Machine is Roa producing debut but he is putting the knowledge that he garnered from all his past work into creating something special.
Co-Producer – David White
David White started out as an actor with Guest roles on "The Strip" and "The Tribe". Since this fleeting foray in front of the camera, he turned his hand to producing and directing. He started with music videos which won an array of awards before producing the Independent feature film The Last Great Snail Chase (2007) and most recently and obviously Shihad: Beautiful Machine. He has just finished directing two other short documentaries one for BBC knowledge other the for NZFC and has array of different projects on the horizon.
Editor – Cushla Dillion
Cushla Dillon is an award-winning film editor and screenwriter with over 20 years experience, and has a passion for story-telling in both dramatic form and documentary. She won Best Editor on a Feature Film for TOPLESS WOMEN TALK ABOUT THEIR LIVES and SNAKESKIN at the NZ Film and TV Awards, and in recent years has edited some of the most successful NZ feature documentaries, including Academy Award-short listed documentary feature THIS WAY OF LIFE and the critically acclaimed TROUBLE IS MY BUSINESS. In 2008 she attended the Binger Filmlab in Amsterdam with her screenplay, A GUIDE TO MAGICAL THINKING, currently in development. Since completing BEAUTIFUL MACHINE in 2011, she has been editing two documentary features, JERUSALEM/HIRUHAMA and PICTURES OF SUSAN, as well as additional editing for Berlin Film Festival selected MAORI BOY GENIUS. Earlier this year, Cushla was Jury Member at FIFO, the Oceania Documentary Film Festival held annually in Tahiti. Cushla's continued attraction to the documentary form is her respect for a genre that continues to evolve, with a seemingly inexhaustible capacity to "challenge our perceptions of truth and fiction".
Producers Story
The inspiration to tell this story was clear to me from the start. Personally, I was curious to know what had happened during their 23 years. Curious because, outside of being a filmmaker, I am a musician, and curious also as to how the band had achieved their longevity despite numerous career setbacks. A lot of talk about a band that changed their name after the 9/11 tragedy had given Shihad notoriety here in New Zealand but beyond the outcome of that one event, in fact, here was a bunch of guys who as teenage boys had set out to be the best band in the world. 4 uniquely difference personalities coming from the tiny country of New Zealand and setting out to conquer the daunting US Music business
Beyond the band story and beyond the music exists a human drama that explores the meaning of loyalty, desire, friendship, loss, success and purpose. This is the universal story that many other band documentary have failed to explore. In Shihad: Beautiful Machine one of the main things I've drawn from the film and notice whenever we screen it, is that it gets people talking. It's a film about goals and dreams and whether or not fulfilling those goals necessarily bring you the success you'd hoped. It explores what place New Zealand has in the Americanised arts world which has become almost entirely focused on commercial gain, rather than artistic merit.
In 2009 when we first discussed the idea of the film I had a sit down meeting with a friend of the band who told me many of the stories that had occurred during the bands career, and it started to paint a picture of the adversity they had been up against. Beyond the band itself also exists family and personal relationships that have all feed into the story of survival of New Zealand's longest running rock act.
The difficulty from that point in telling the story would start with how truly open the band would be to telling it. Luckily they were, and from the very start they had expressed an interest to tell their story warts and all, avoiding spending too much time on the music and delving more into the personal journey that they're been through.
Several passes at an original treatment gave us a framework for which we could now use to sell the idea and get funding. Resourced with this and our own passion for the film, we were able to secure the funds and go into production in 2010. The next step to getting this story on screen was somewhat more difficult. The band throughout its career had been interviewed hundreds of times and without some unique approach it was difficult to set the stage for a unique interview, where we would delve on the Shihad world in an entirely new way.
The answer came in the form of our Director Sam Peacocke. Sam is a young and up and coming Kiwi director had having already developed a relationship with the band having directed a number of their music videos. He used the trust he'd had gained and took the band out of their comfort zone and into a entirely unique space where questions couldn't be answered so automatically. This style produced a very genuine response, and from then on the story began to build in depth and honesty.
Relationships with wives, girlfriends and families are a key part of this story and in many ways help to set it apart from other music genre documentaries. Meeting the parents of the band members and relating to their observations of their sons upbringing and journey in the group. And then the wives and girlfriends which helped define in many ways create the voice of the band, none more so than the relationship of Jon Toogood with his Partner Ronise Paul with much of Shihad's lyrical material drawing from that relationship.
This film serves up an example for all NZ artists who desire to take their art to the world. In some ways it's a cautionary tale and in others it's about a balance between your goals, friendships and family. For the producers we are proud to have created a truly unique NZ film experience and hope audiences will gain insight and be challenged as much as being taking on a great ride of 23 years of Shihad history
-Laurence Alexander
IMDb Review
17 years overdue, NZ film funding mistake
6 January 2016 | by maxastree
"Beautiful Machine" had no reason to exist upon release, and less after seeing it; its essentially the story of Wellington, New Zealands most successful post-grunge/radio metal band who made their most successful recordings prior to 2003. Decamping to Melbourne in the nineties, the band released a string of radio singles, and toured the Aussie pub band circuit and further overseas, a tradition that New Zealand musicians have held since the 1970s.
My main issue with the film is that NZ arts funding bodies supplied some $980,000 to produce what is essentially a series of found-video excerpts, home interviews and some in concert clips - much of it about the quality level of a well made student film. Where the money actually went I can't say, but possibly the bands ever-declining recording sales was the main motivator for this NZ music nostalgia flick; fans should be aware of their plans to recently try and sell their live performances as pay-per-view broadcasts to bars, part sponsored by NZ house paint company Resene. (note: a musical act is not a rugby or cricket team, but anyways. . .)
But what about the film's content? Well, back in the mid nineties, Shihad and a group of other popular acts (Supergroove, Headless Chickens and to an extent smaller groups like HDU or the Nixons) were on the warpath in NZ, impressing kids via radio sponsorship or live sets at local college orientation gigs etc. Shihad were originally a high school metal band, based around rich-kid drummer Tom Larkins impressive rhythm chops, with the rest of the band playing along. Frontman Jon Toogoods cartoonish, manic stage energy helped engage an audience often indifferent to local releases in the countries tiny commercial music market.
Ultimately, what happens in reality is not what happens in this documentary; for starters, it should be noted that the bands early alt. metal gigs were surprisingly sharp and self-assured, but later attempts at coercing the bands sound into a radio-friendly singles format made the same strengths weaknesses; their robotic, soulless sound may have suited industrial tinged metal, but sounded like generic radio rock on air years later, maybe in part due to the influence of Warners NZ music manager James Southgate, an ex-pat Brit that likes overproduced, American accented radio bands that people will pay to see in a pub somewhere, but have about as much personality and zest as the plastic bags you use for weekly shopping.
I can't stress enough how annoying Jon Toogood actually is: the frontman of the strident, earnest metal group later came across as a sort of charmless, macho New Zealand jock, annoyingly self assured, almost arrogant.
The films raison d'être is ostensibly that they could have been huge in the US, but the stigma of the 9/11 attacks on US soil was too much of an issue for music managers at the time. NOT TRUE: in reality, dozens (in fact hundreds) of bands were submitting their albums, promo kits and demos to US record labels, trying to be the next "modern rock" band, a kind of macho, heavy-handedly earnest format that culminated in Nickelback, The Calling, Alter Bridge and other bands too vile to mention.
Not that Shihad were a group that started playing to become that format, they started playing in high school circa 1988, and if they'd been documented in the mid-nineties, the nostalgia of seeing the item today would be relevant. As I suggested above, this 2012 release is some kind of cash-in, and one that sells a pretty mediocre retelling of their story to the public.
Shihad: Beautiful Machine
16 May, 2012 ww.nzherald.co.nz
Put the music to one side for a moment, because this documentary about Shihad digs the dirt and along the way tells a good old-fashioned rock 'n' roll yarn.
The music is by no means a secondary element here, it's just that the film delves into the personal lives of the four band members. So, at times, it plays out more like a soap opera than a rockumentary.
Which is fine, because you can guarantee that everyone who goes to see this film about our longest-running, and arguably best, rock band, will have already seen them live many times.
So a concert-style music documentary, while worthy, would really be nothing that new.
But the lives, loves, and rocking good (and bad) times of Jon Toogood, Karl Kippenberger, Tom Larkin and Phil Knight makes for intriguing viewing.
It's like the no-holds-barred Foo Fighters' documentary, Back and Forth, from last year, which concentrated more on the personalities and dynamic within the band.
What comes through in Beautiful Machine is Shihad's passion for the band, and, well, the occasional bit of brutal back-stabbing. But most of all, it is up front and honest.
From the revelation that Knight was an alcoholic (he's now addicted to yoghurt instead) to Kippenberger, a normally lovely, level-headed chap, putting the boot into Toogood over his less than unifying antics when they first got to America.
The temporary name change - to Pacifier post 9/11 - is dealt with frankly, and Toogood perhaps sums up the debacle best when he says their options were "shit (a)" (give up their American dream) or "shit (b)" (change the band's name and give it a go).
As the film charts the ups and downs of their 20-plus year career it features candid interviews with the band, their mums and dads (including Ma Toogood with her Shihad tattoo), their ex and current partners, and music industry insiders, to find out how they became who they are as people - and as a band.
The rare footage of their very early days, back when Toogood and Larkin were still metal kids at Wellington High, is priceless. This is Shihad's story, and it's a cracker, which makes it a must-see for fans of the band.
Stars: 4/5
Director: Sam Peacocke
Rating: M (offensive language, sexual references and drug references)
Verdict: Shihad's riveting rock 'n' roll soap opera
Movies of My Life # 11: Shihad Beautiful Machine
June 4, 2014 by Simon Sweetman | https://offthetracks.co.nz/
You should see this film. It's the best music documentary that will ever come out of New Zealand. It has grit and heart and soul – and then there is the manipulation, the rewriting of history, the candidness that becomes a cover for what is tantamount to backstabbing. It's all here. Shihad is New Zealand's best live act. And the Wellington-born rock/metal band has been at it for some twenty-five years. That is reason for praise. Reason enough for this documentary.
There is not a lot of music to be seen – or heard – as part of the film Shihad: Beautiful Machine and though that might bug some fans it makes the film all the more appealing as a general documentary; a feature film about the lives of four Kiwis. They just happen to be in a band. Add to the story the death of a manager, a name-change that felt like betrayal, a singer prepared to think about selling out, a drummer who won't let that happen on his watch, a guitarist who swaps alcohol for yoghurt so that the band can continue and a bass player who was the band's biggest fan (that's what got him the gig) and ends up being the most scathing about Jon Toogood's botched joke-attempt on stage in America; the buzz-kill that contributed to Shihad-as-Pacifier's failure stateside.
All of this is beautifully framed with the families of the band members providing touching moments of sincerity.
And the musicians know their roles off-stage.
Jon Toogood (vocals) plays the poet-fool; Tom Larkin (drums) is the defacto-manager and driving force; Karl Kippenberger (bass) is the fan-boy turned band-member, it went from being surreal to a little too real for him; Phil Knight (guitar) is the film's reluctant star, daunted, drained, hen-pecked even, but proudly still there to serve the music.
For all the attempts to swerve the narrative towards Toogood's lyrics, loved-up doggerel that doesn't have the prescience that he and the film's makers would have you believe, even when Jonny-Boy is happily hamming up a faux-troubadour gimmick, performing the songs to camera in solo acoustic renditions, it's Knight that burns into the soul. Staring out with an intense introversion from the front lawn with his partner who he is sure would never have given him the time of day if he was still drinking. It's Kippenberger helping his mum in the garden, still amazed he's part of the band he used to go and see. And it's Larkin at home with his partner and child, the band's goalkeeper, always aware of the score.
Three musicians that are somehow just right for each other and their frontman – the best in the country by some distance. And this is everything that has happened around keeping them together. Shihad: Beautiful Machine is about so much more than just the music. And just as well.
I had an advance copy of this film – a screener-disc. I watched it three times in the first week, before the film was released. I loved the way this film was made, the story it told. I like a lot of Shihad's music – but there's plenty I don't like and a fair bit I've never (really) heard. Maybe I've skimmed and scanned it, heard it once, moved on. Maybe it could reveal more with more time attached to it. But none of that matters here – this is an equal-opportunity film, you've as much chance enjoying this, I believe, if you're a fan of the band or if you've never even heard their music. Because it manages to be the story of four people. Four mates. And then there's a whole lot of other stuff to deal with on top of that – levels of fame, the hunger for (more) fame, tragedy and the usual insecurities around making music and being in a band – that marriage of convenience that often becomes (just a tad inconvenient).
I've gone back to this film recently – watched it again. And again. I keep coming away from it with the same feeling – the guys in the band were brave. They might have even been stupid. But they put themselves out there with this. And it succeeds because the filmmaker found a way to tell the story of the people as much as it was ever about the music.


text:
11 July 2019By Katie Imms
The founder and president of Graduate Fashion Week (GFW), Jeff Banks, has stepped down after 29 years.
Banks will be succeeded as president by fashion journalist Hilary Alexander.
GFW chairman Mark Newton-Jones, who has held the role for five years, is also stepping down. Treasurer Mark McMenemy is leaving the organisation as well.
Current senior educational trustee Douglas MacLennan will assume the role of interim chairman, and a new treasurer to be named in due course.
In a statement, the trustees of the charity behind Graduate Fashion Foundation and Graduate Fashion Week said they would "like to thank Jeff for all of his hard work and commitment to their cause over the past 29 years and equally thank the two Marks for their drive and stewardship over the last five years, a period in which Graduate Fashion Week has grown in size and stature, into the success it is today".
Graduate Fashion Week
This week's need-to-know people moves
Senior departures at M&S and Graduate Fashion Week, with new appointments at Public Desire and Veja.
Edinburgh student triumphs at Graduate Fashion Week
6 June 2019Emily Sutherland
This year's Graduate Fashion Week Christopher Bailey Gold Award has been given to Edinburgh College of Art's Brian McLysaght.
New Look founder exits in board shake-up
6 June 2019Isabella Fish
New Look has announced that its founder and non-executive director, Tom Singh, is to retire at the end of June.
The Hut Group reports 'landmark' results
Online retailer and technology company The Hut Group (THG) has reported a 24% increase in gross profit to £417m for the year ended 31 December 2018, compared to £318m in 2017.


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