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This beloved ballad from Brigadoon is Broadway at its best! Expressive harmonies over a lush piano accompaniment make this a perfect setting for concert groups. Available separately: SATB, SAB, SSA, ShowTrax CD. Instrumental parts available digitally (ob, syn, perc 1-2). Duration: ca. 4:20.


Do you think there is a theme that links together all of your movies?
Gu Tao: Since I started making movies over ten years ago, I have pursued a few consistent themes. One is the survival and spiritual life of ethnic minorities from China's north and northwest regions in contemporary society. Another is the relationship between ethnic minorities and nature, because many of them either live within nature or at least have traditional lifestyles that depend on nature. Finally, a third theme is the relationship between ethnic minorities and the Han population, as well as how they interact with the government.
How has watching and recording these worlds on the verge of extinction shaped you as a person?
Gu Tao: To be honest, I do not feel that it has influenced me much. Maybe this is because I have always felt a deep loneliness (gudugan) and distance from the time in which we live. China's ethnic minorities probably also feel this kind of isolation. When I spend a lot of time in the city and then go to film minorities in the borderlands, I realise that we share the same heart and solitary feelings. For this reason, it is difficult to talk about how these experiences have changed me. Maybe, as time passes and I get older, the biggest change has been in my attitude toward life (dui shengming de taidu). [The groups I have filmed in the past], the Evenki and Oroqen, and [the groups I am filming now], the Mongolian and Kazak, follow the rhythm and pace of nature's growth and base their actions on a heavenly order and instruction (tian shang de zhidao). This kind of philosophy of life cannot be learned from books, but develops spontaneously in how one acts. It is a respect and reverence toward nature. In the earliest days, when those minorities hunted in the mountains, they would pray to the mountain gods and believed in the spirits of all living beings (wanwu youling). But Chairman Mao proclaimed: 'Man can conquer nature!' (ren ding sheng tian). And people started to believe in the impressive power of human strength and began to view everything else as unimportant.
Why do you think the government confiscated the Evenki's hunting rifles and moved them from the forest into the city? Why not just allow them to continue living in the forest? What do you think is the state's motivation?
Gu Tao: The government took away the Evenki's hunting rifles in Aologuya because they thought that nature should be protected and should not be destroyed. But they overlooked the fact that nature is best protected when people live in harmony with it. In nature, the Evenkis will only burn wood that is already is dead or that has been split by lightening. They almost never cut down new trees, except occasionally to build homes. They used their hunting rifles to hunt (shoulie) as a part of their culture, which is different from hunting for sport or money (dalie) by simply opening fire as soon as one sees a living animal. For the Evenkis, to hunt (shoulie) is to balance the natural ecology and thin out the population of old, weak, sick, or crippled animals. Their customs allow them only to hunt certain animals depending on the season. Of course, the government doesn't understand any of this. The government wants them to have good lives but its idea of the 'good life' comes from that of other nationalities. This kind of 'good life' is measured by having a decent house in the city with a marble floor, a nearby market where they can buy food, and a kitchen where they can use liquid gas to cook their meals. But this perspective neglects how ethnic minorities define the good life and what they want.
An original drawing by Gu Tao.
I don't remember where, but I recall reading that you don't consider yourself an 'anthropological' filmmaker. What don't you like about this label?
Gu Tao: In my opinion, to be an anthropologist, you need to have systemic knowledge pertaining to a specific field of research, such as the history, culture, and religion of an ethnic group. I don't consider myself an anthropologist, or ethnic specialist, or photographer, or film director. I think of myself more as someone who studies life (shenghuojia). I observe how people live and feel, which doesn't really have anything to do with being a 'specialist'. As soon as you have this kind of a label or title, you feel a psychological limitation and restriction. You are scholar so you have to put on the airs of a scholar to appear like an erudite person. I don't want to be 'erudite', I'd much rather be relaxed and free.
Do you ever feel that you are too close to the subjects that you film?
Gu Tao: A few scholars from China have already said this to me, that maybe I am too close, and not detached, not objective enough. But I really believe that what we lack in China is the subjective perspective, and not the objective one. Objectivity deals with facts and situations. What I want is for more people to develop their own methods of expression. I am referring to China's education system. For example, if you study media or if you study anthropology, it is easy for someone to lose their own ability to feel and sense the world.
Can you tell us what new documentary film projects you are working on?
Gu Tao: First of all, I don't really have 'projects' (xiangmu). I am not sure what the Western understanding of 'project' is but [here] as soon as someone has a project, it means devoting your body, mind, time, and energy to completing that project. You do this because you expect a certain result and you anticipate what it will look like. That is why you do the 'project'. But when I make documentaries, I never think in terms of a project that needs completion. Projects have deadlines—you have one or two years, or even one or two months to finish—what emotionally stirs me aren't projects. My style of filmmaking touches on every aspect of my being—my life, body, sensitivity, and attitude.
To put it differently then, what are you paying attention to now in your work? What has caught your eye?
Gu Tao: I have moved on from the north to the north-western region of China, while staying mainly in the border areas. I am interested in border areas because many ethnicities can span boundaries. For instance, the Altay region in Xinjiang shares a border with Kazakhstan but many Kazakhs live on the Chinese side. I go there, observe, and film one or several families and track how they experience their living conditions. Maybe their experience is representative or not—that is up for a scholar to decide. I just film people who I think are worth filming. Although China is huge, a person's own territory is small. For example, I won't go south to Yunnan or to Tibet to film because I do not feel a strong enough personal connection and intimacy there.
Earlier you described a sense of 'loneliness' that you share with ethnic minority groups you film. Where does this feeling come from?
Gu Tao: It is perhaps a loneliness in my bones. This kind of loneliness is not necessarily the result of a system, culture, or civilisation, nor is it a loneliness that comes from being in the forest, city, or grasslands. This kind of solitary feeling is hard to describe—I don't have the words for it—but I always feel a difference from other people that springs from a deep place inside. I think people need to have this kind of sensitivity (mingan) and compassion (beimin). What I mean by compassion is the feeling you get when you see a small animal, a solitary plant, or a dead tree. There is also a fragility to human existence. I have the same feelings in front of a people losing their right to their own way of life.


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Q: Why was Barty Crouch Jr. a Death Eater? Given his father is a dedicated worker of the Ministry of Magic, and not an apparent segregationist like the Malfoys, and that Barty Jr. was a highly accomplished student, why exactly did he become a Death Eater in the first place?
Was it to deny his father? Was he a pureblood supremacist all along?
I'm fairly sure there's an explanation somewhere on the pages of the book, but my memory is fuzzy.

A: His father is so obsessed with his work in the Ministry that it's like his work is more significant than his family. But then, you asked the specific reason of why was Barty Crouch Jr. a Death Eater?
There is no specific reason based on what I read in book four.
It all just leads to a fake Mad-Eye who wants the Dark Lord to be pleased with him after what he did to help Voldemort to find a way through to Harry, to rise again, and to kill.

'The Dark Lord and I have much in common. Both of us, for instance, had very disappointing fathers...very disappointing indeed. Both of us suffered the indignity, Harry, of being named after those fathers. Both of us had the pleasure...the very great pleasure...of killing our fathers, to ensure the continued rise of the Dark Order!'
 Barty Crouch Jr. - Harry Potter and the Goblet of Fire, Chapter 35

The reason stated above could have been one contributing factor. Voldemort was born with a Muggle father who abandoned him and his mother after the love potion's effects wore off. Barty Crouch Jr's hatred for his father worsened every day, just like what happened with Tom, and it can be guessed that Barty Crouch Jr possibly got used to doing Dark things every day that lead him to become a Death Eater - after his grudge and rebellion against his father.
As was mentioned, he was a highly accomplished student. We still don't know how or what plans he had. Just like Tom Riddle, he was great at school - but eventually Riddle became Voldemort.
Clarification: Barty Crouch Jr. possibly hated his father and turned out to be a rebel, because his father's methods in sentencing him to Azkaban were unfair. He uses unforgivable curses and, at the same time, sentences people to Azkaban without proof or evidence. His son would have thought that these accusations were ridiculous, unfair, and highly unbefitting of a Ministry worker.
But most of all, the characters in the story seem to conclude that Crouch Jr's decision was because his father was known for not guarding and spending proper time with him.

A: Is not particularly clear even within the context of the series. However, people do believe that because Barty came from such a good family, there's no reason why he should have gone down the wrong path the way that he did and his father was essentially blamed for it. That's kind of why Barty Sr was "transferred" to a position of less power. It was thought if he spent more time at home with his son than in the office, things could have been different.
Barty If was described as being g very you g she. He was sent to Azkaban, so he was involved at quite a young age. It might have simply been rebellion against what his father believed, but in the end it seems he identified with Voldemort in some ways.

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January 12, 2022 Literary Bound Tours
We are so excited to be announcing the tour schedule for FREAKS by Brett Riley. Thank you to everyone who signed up to participate in this Creative Review Tour! Please be sure to check out each stop on the tour, where our hosts will be reviewing the book and displaying it in a creative way. We appreciate all the help in spreading the word about this awesome title!
Eva – @heronstairxs
Anya – @hoardingbooks.herdingcats
Summer – @reading.among.chaos
Zoe – @shh.lilysreading
Heidi – @bookish.heidi
Leah – @leahlovestoread
Kera – @kerasalwaysreading
Christine – @anxioustattooedandbookish
Caroline – @caro.library
Freaks by Brett Riley
By Imbrifex Books
Genres: Young Adult Sci-Fi
Format: Hardcover, Paperbook, Ebook
Purchase: Amazon | B&N | Books-A-Million | Indiebound
In Freaks, four high-school friends suffer daily humiliation at the hands of three bullies. When the friends accidentally open a portal to another dimension, they unintentionally allow terrifying, other-worldly creatures to invade their small Arkansas town. Discovering that they are now endowed with strange superpowers, the four teens dub themselves "Freaks," the very name their tormentors used to ridicule them. The "Freaks" must fight to save the lives of family and friends now in mortal peril and thwart a secret government task force intent on capturing them.
Packed with action, teenage angst, and suspense, Freaks appeals to fans of Stranger Things and X-Men. As the four friends gain self-awareness and come to terms with their peculiar powers and the responsibility that comes along with them, they struggle to redefine themselves, the true meaning of friendship, and their roles in their families and community. The Freaks, who know better than anyone what it is to be bullied, must fight to avoid becoming bullies themselves.
About Brett Riley
Brett Riley is a professor of English at the College of Southern Nevada. He grew up in southeastern Arkansas and earned his Ph.D. in contemporary American fiction and film at Louisiana State University. His short fiction has appeared in numerous publications including Folio, The Wisconsin Review, and The Baltimore Review. He has also won numerous awards for screenwriting. Riley's debut novel, Comanche, was released in September 2020. Lord of Order, a dystopian novel set in New Orleans was published in April 2021. With Freaks, Riley makes his YA debut. The second novel in the Freaks series, Travelers, will follow. Riley lives in Henderson, Nevada.
You can find Brett on his socials: Website | Instagram | Facebook
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John Singleton
Find on IMDB
Reviewed Filmography *
Four Brothers (2005) — Directed by
2 Fast 2 Furious (2003) — Directed by
Baby Boy (2001) — Written and Directed by
Shaft (2000) — Directed by
Rosewood (1997) — Directed by
Higher Learning (1995) — Written and Directed by
Poetic Justice (1993) — Written and Directed by
Boyz N the Hood (1991) — Written and Directed by
* This filmography is not intended to be a comprehensive list of this artist's work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Cannes 2019 Video #8: Justice Singleton, Elizabeth & Pamela Guest and the Ebert Fellows
by Chaz Ebert | June 7, 2019 |
Our final video report from the 2019 Cannes Film Festival.
Cannes 2019: Justice Singleton on the Legacy of Her Father, John Singleton
by Bill Stamets | May 23, 2019 |
Justice Singleton held an event about her father at this year's Cannes.
#354 May 14, 2019
by Matt Fagerholm | May 14, 2019 |
Matt writes: On April 28th, the movie world lost a true giant: filmmaker John Singleton, whose 1991 masterpiece, "Boyz N the Hood," remains one of the most astonishing feature debuts in cinema history. Roger Ebert awarded the picture four stars, writing that it was one of "the best American films of recent years." Roger's thoughts regarding the entirety of Singleton's career were detailed in a special compilation by Nick Allen, while Odie Henderson penned a deeply moving obituary for the trailblazing auteur. I was among the writers at RogerEbert.com who paid tribute to Singleton in a separate article, "Breaking Barriers."
Breaking Barriers: Goodbye to John Singleton
by The Editors | May 1, 2019 |
A tribute to John Singleton.
John Singleton: 1968-2019
by Odie Henderson | April 29, 2019 |
A tribute to the late, great John Singleton.
How the Image of Black Women Has (and Hasn't) Changed in the Last Two Decades
by Carla Renata | March 7, 2019 |
An assessment of the image of the black woman on the big screen since Halle Berry's Oscar win.
22 Years Later, Kasi Lemmons' Eve's Bayou is Still Making an Impact
by Whitney Spencer | March 7, 2019 |
A look at the greatness and influence of Eve's Bayou.
Home Entertainment Consumer Guide: February 7, 2019
by Brian Tallerico | February 7, 2019 |
The latest on Blu-ray and DVD, including Boy Erased, Suspiria, The Sisters Brothers, Widows, and a Criterion edition of In the Heat of the Night.
Thumbnails Special Edition: "Crazy Rich Asians" and Representation in Hollywood
by Matt Fagerholm | August 27, 2018 |
A special edition of Thumbnails chronicling the success of "Crazy Rich Asians" and the current state of representation in Hollywood.
The Power of Community: A Recap of the 2018 TCM Classic Film Festival
by Laura Emerick | May 5, 2018 |
A look back at this past week's TCM Classic Film Festival, including the special guests and screenings.
Inclusion Rider: Backstage at the 90th Academy Awards
by Matt Fagerholm | March 5, 2018 |
A report from the Oscar press room at the 90th Academy Awards.
The Shape of Water, Three Billboards Win Big at 90th Oscars
by Susan Wloszczyna | March 5, 2018 |
A recap of the 90th Academy Awards.
The Shape of Water Tops 2018 Oscar Nominees
by Susan Wloszczyna | January 23, 2018 |
An article about the 2018 Academy Award nominees.
Roger loves Chaz
by Roger Ebert | July 18, 2017 |
Wednesday, July 18, is the 20th anniversary of our marriage. How can I begin to tell you about Chaz? She fills my horizon, she is the great fact of my life, she has my love, she saved me from the fate of living out my life alone, which is where I seemed to be heading. If my cancer had come, and it would have, and Chaz had not been there with me, I can imagine a descent into lonely decrepitude. I was very sick. I might have vegetated in hopelessness. This woman never lost her love, and when it was necessary she forced me to want to live. She was always there believing I could do it, and her love was like a wind forcing me back from the grave.
Roger Ebert's Birthday 2017: Table of Contents
by Chaz Ebert | June 23, 2017 |
A table of contents of articles published to commemorate Roger Ebert's birthday on June 18th, 2017, starting with his interview of Paul McCartney who was born on the same day and same year: June 18th, 1942.
The L.A. Riots: 25 Years Later
by Jana Monji | April 30, 2017 |
A report on the L.A. Riots and the many documentaries looking back on it 25 years later.
Taken for Granted: Awards Veterans Like Streep, Hanks and Washington Deserve Their Nominations
by Susan Wloszczyna | December 21, 2016 |
This seasoned triumvirate of talent deserves their recognition in a competitive year.
Outstanding, Black Music: Raphael Saadiq on "Underground," "Insecure"
by Craig D. Lindsey | November 10, 2016 |
An interview composer Raphael Saadiq about making the music for "Underground," "Insecure" and more.
African-American Film Critics-Black Oscars?
by Matt Fagerholm | February 10, 2016 |
An article about the 7th Annual African-American Film Critics Association Awards.
Video: Roger Ebert's 2014 Birthday Celebration
by The Editors | June 18, 2015 |
The video from last year's Google Plus birthday celebration of Roger's life.
Unstoppable Force: A Look at the "Fast & Furious" Franchise
by Nick Allen | April 7, 2015 |
A look at why the "Fast & Furious" franchise has become an international juggernaut.
Memories of Roger: My Photo Journal from the Last Two Years
by Chaz Ebert | March 30, 2015 |
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
#225 July 2, 2014
by Sheila O'Malley | July 2, 2014 |
Sheila writes: Welcome to the "Life Itself" Special Edition of the Ebert Club newsletter! The film, directed by Steve James, opens on July 4 in select cities (and on demand), with more dates and cities to follow. You will find more information about that below, as well as an exclusive for the newsletter: an interview with Ebert Club member Greg Salvatore, who won tickets to the L.A. premiere of "Life Itself" at the Google+ Hangout held on Roger's birthday. He was generous enough to share his thoughts with us and let us experience the L.A. premiere vicariously. There's lots more below. Here is the official trailer for "Life Itself."
#223 June 18, 2014
by Sheila O'Malley | June 18, 2014 |
A message from Chaz:
Dear Ebert Club Members: Please join us today at the Google+ Hangout for Roger's birthday: Wednesday, June 18 at 11 am Pacific Time, Noon Mountain Time; 1 pm Central; 2 pm Eastern.
Black FIlm and TV Directors in 2013: A Progress Report
by Nichole Perkins | December 23, 2013 |
By all accounts, 2013 has been a striking year for black film directors. But is the real story about black directors working in television?


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Josef "Sepp" Zehnder (* 18. Dezember 1974) ist ein ehemaliger Schweizer Skispringer.

Werdegang
Zehnder sprang ab 1991 im Continental Cup (COC). Am 19. Januar 1992 sprang er zudem erstmals in Engelberg im Skisprung-Weltcup. In diesem wie auch den folgenden Springen blieb er jedoch erfolg- und punktlos. Erst am 20. März 1993 konnte er mit Platz 23 im Skifliegen in Planica seine ersten Weltcup-Punkte gewinnen. Damit belegte er zugleich auch den 23. Platz bei der Skiflug-Weltmeisterschaft 1993. In den folgenden Jahren blieb er im Continental Cup zum Teil erfolglos und auch bei den Weltcup-Springen, bei denen er antrat, konnte er nur 1995 in Falun noch einmal Weltcup-Punkte erreichen. Seinen grössten Erfolg feierte er an der 24. Schwarzwaldtournee 1994, welche er nach einem 5. Platz in Schönwald und einem 3. Platz in Neustadt, wo er mit 116 m Schanzenrekord sprang, gewann. Nach weiteren erfolglosen Jahren beendete Zehnder nach der Weltcup-Saison 1997/98 seine aktive Skisprungkarriere mit der Teilnahme an der Skiflug-Weltmeisterschaft 1998 in Oberstdorf.

Weblinks

Skispringer (Schweiz)
Schweizer
Geboren 1974
Mann

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Song recitals
Program Young
Why we can no longer perform
Mail for you
Friends of the Opera Zurich
Friends of Ballet Zurich
Pique Dame
Video on Demand available from 23 until 24 January 2021
The German officer Hermann is an outsider in St. Petersburg society: he has no money. That is also the reason why Lisa, in whom he has fallen passionately in love, is unattainable for him. Granddaughter of an enormously rich countess, Lisa is engaged to Prince Jeletzky. By coincidence, Hermann learns that the Countess is keeping a secret: she knows which three cards can ensure a win that would give Hermann a new life. From now on, gambling becomes an obsession for Hermann, as a result of which he loses not only Lisa, but ultimately also his own life. "Never before has one of my characters made me weep so passionately," wrote Tchaikovsky while he was writing the opera; the composer identified with Hermann, emotionally torn and almost insane, more than with any other of his protagonists. Director Robert Carsen tells the story entirely from the perspective of Hermann, who lives through events once again shortly before his death. Oksana Dyka and Eduard Martynyuk gave their Zurich debuts as Lisa and Hermann, respectively. Doris Soffel appeared in the role of the Countess. Musical direction for the performance was in the hands of conductor Stanislav Kochanovsky, who most recently headed Tchaikovsky's «Jewgeni Onegin» in Zurich.
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