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Tag Archives: Tamil Nadu
Posted on April 14, 2017 by tcrcindia
By Sugeeth Krishnamoorthy
The late 1800s saw a cultural renaissance in what is Tamil Nadu today. Several art forms, including traditional dances and performing arts like Sathir, Poi Kaal Kuthirai, Thol Paavai Koothu, Bommalatam, and so on, saw a revival, that was not just culturally driven but also strongly driven by the nationalistic movement. Legends like U.V. Swaminatha Iyer discovered and published literature that sought to explain the culture, history and life of the ancient Tamils.
The origins of modern theatre began in the second half of the 19th century. Its success can largely be attributed to two doyens: Sankaradas Swamigal and Pammal Sammanda Mudaliar. These two dramatists strongly defined theatre, as it would be, in the years to come.
While most of early theatre was based on puranic themes, several of the plays Mudaliar was involved in writing had modern themes adapted or inspired from English plays or based on contemporary social commentary. Several of Mudaliar's works like 'Sabapathy', 'Manohara', 'NallaThangal', 'Yayati' and 'Dasi Penn' were adapted to film formats. There were also nationalist' plays attempted to be made into film, like Inbasagaran[1], based on Kovai Ayyamuthu's stage play of the same name. The early actors of the Tamil talkies were also sourced from stage[2], as they had the ability to sing and thereby influence the audience through their melodious voice, although the initial acting during the first decade of Tamil cinema, was, at times, very rough and crude. The oldest surviving film today, is Pavalakkodi[3], which D.V.Balakrishnan, says was a filmed version of a stage drama.
'Free India' was reeling under immense poverty. This became a hot-bed for intellectuals and writers, who inspired by communist principles sought expression through literature and film. Subsequently, several films in the 60s, 70s and early 80s were made that were based on interlinking themes of unemployment, poverty and communist ideology.
Thanneer….. Thanneer is one such story. This story, penned by Komal Swaminathan,resulted from a discussion among a group of intellectuals in the late 70s, on what could possibly become a defining 'Tamil stage drama' in a global arena[4]. Interestingly, the writer rated this work as his best. The play, is based on the characters who live in a remote village, and their daily struggle to fetch water— a basic commodity, that eludes them.
It is their trials and tribulations that form the story. Using water as a metaphor, Swaminathan has woven a tale about the social injustices faced by marginalized sections of society. The writer challenges these inequities by asking, for instance, why villagers are allowed a ration of only 1kg of sugar, whereas urbanites are permitted 5kgs. More over, being denied the basic necessities of life existence like Water, The writer also, at various points in the story, points out how the 'communist party' targeted these groups, winning their allegiance through their overt challenges of authority using tools such as 'unions' and 'boycotts'. The author also makes references, sarcastically at times, to the impending "River Integration" schemes' and the presence of Seemai Karuvelam marams' surrounding the village. For a state that has no natural river springs and that is dependent on three rivers from neighbouring states, these issues are only too relevant even today.
Another aspect that the writer brings in vote-bank politics. This divisive strategy used by politicians is as if not more relevant today as it was then. The writer speaks of the plight of these groups of people, exploited by politicians and left high and dry after they come to power.
When Vellaisamy, a nomad with a murky past, comes across this tiny village and its people reeling from drought, he tells the villagers, "If the State and the Administration will not help you, then you must take things into your own hands." He leads the villagers and is yet one among them, helping them launch a campaign to regain their rightful claim to that vital fluid, water. And when all seems lost, he provides the villagers, hope and the courage, to do the unthinkable—build a canal; break the hills and divert the water towards the village[5]. When the villagers attempt to do this, the State opposes, puts an end to an undertaking that will alleviate the suffering of the villagers, instead declaring it unlawful. What follows is the climax of this play.
Although the play seems most obviously influenced communist ideals, it is easy to see past it objectively to the dominant and apolitical issue of human rights violation. It makes one wonder what crime the poor villages committed to be denied, even the most basic necessities? The author concludes, adopting a communist stance that if these things continued to happen, social revolution will be inevitable.
K.Balachander, made this play into a movie with the same name -— "Thanneer…Thanneer'. Keeping the basic structure of the play intact, Balachander has made a few changes that have added value to the film. In stark contrast to other Kollywood directors of his time, K. Balachander was known to give a lot of importance and 'central' roles to his female leads. In this story, there is only one female character, Sevanthi. Balachander has altered her role significantly, to make her the mother of a new born, who is spending her early motherhood at the place of her birth. This enables Sevanthi[6] to be in the village 'Athipatti', the place where the story takes place, and thereby play a central role in the film.
At various points in the original play, one can observe a generational difference in thinking between the older men, who prefer being subservient to their boss and the younger rebellious group, lead by Goval. By introducing a female character, Sevulli, at the 'cheri', and creating a love interest for Goval, K.B has also tried to raise issues about caste-based geographical segregation, which was and is quite common in rural India. By making Sevulli, a victim of paralysis, Goval's love interest ,K.B brings the issue of 'poisoned flouride well', beside the cheri[7]into focus in a powerful way. Unlike in the movie, Swaminathan's play does not dwell too much on this part of the story.
There are two other important characters in this film. Being the most educated person in the village, Vaidhyanathan, the school teacher represents the 'experience of age' and yet at the same time, has the power to command respect amongst the hasty youth. Originally a nomad, Vellaisamy, a run away convict, finds the village 'Athipatti' as his new home. He becomes one of the dynamic leaders of the village and offers solutions and plays a major role in the attempts of the villagers to bring water to them. His presence in the village grows to a point where the villagers on coming to know of his past, offer to protect him rather than hand him to the police, inspite of a bounty on Vellaisamy's head. Balachander has retained the essential elements of both these characters, right across the film.
Aligning with the theme of the film, K.B also introduces several dramatic elements that add more value to the story, as film is a visual medium. There are certain scenes—such as the one where the poosari tricks Sevanthi into fetching a pot of water, threatening to otherwise curse her; the man who opposes the village's rules and enters the polling booth to drink as much water as he can; , the conversation between Sevanthi and the engineer who asks for water for his Jeep; and the one where the Nayakar in his thirst laps up the soda he brings with him in his vehicle—that are apt examples of the use of such elements to elevate the film.
Another invaluable aspect of this film is the music. Without wasting footage, several dialogues in the film, which were cut out at the editor's table were, used in the title track, as audio fillers. There is also the clever use of silence to convey climactic emotion — such as when the rain clouds betray the expectant village-folk ( with the camera panning on Sevanthi), when the womenfolk with their mud pots block the passage of the politician, and when a battalion of police face-off against the shocked village-folk at the site where the mountain is to be broken. The film makes good use of natural sounds like baby-cries, breaking of wood and wooden pots, among others. The short folk songs, which were there in the original play itself, keep with the tone and mood of the film.
The end climax sees a couple of major changes. In the play, the teacher 'Vaidhyanathan' continues to take classes for the children in the evening, but in the film version, he volunteers to go to jail claiming he was responsible for hiding Vellaisamy. Another surprising element is that, in the climax, Sevanthi removes her thaali' and throws it at her husband Alagiri, who threatens her. She tells him to put it around his neck, along with the several medals that he is going to receive after arresting Vellaisamy. This scene would have invariably added more value to the 'characterization' of Sevanthi. It would have added weight to K.B's portrayal of 'the independent woman', but alas this scene was omitted.
The death of Vellaisamy is tragic, yet poetic. The man who started things with a 'hiccup' and went on to attempt to save the village, thanks to Sevvanthi's act of kindness, did not get any water when he was chased by the police and died of thirst. Goval, who was shown to have a rebellious streak,joined similar groups. And in an unresolved pre-climax, several people leave the village while those that chose to live behind, lived in hope.
The film ends with a montage shots:government officials engaged in water conservation programmes' and 'River integration' discussions;. Nayakar going to the village and pleading with his caste members (the same ones who boycotted him earlier) for votes and. Sevanthi laughing to his face; and finally a paddy field covered with flags of political parties.
The writer of the play must have had tremendous foresight and politico-social insight if the dominant themes of the film continue to be relevant 35 years later. The film "Thanneer…Thanneer" does the play justice by staying true to its content and spirit while adapting it to the medium and the ethos in an evocative and sensitive manner. The movie is sure to leave you with a lump in your throat!
Watch the screening of this film at Ashvita Bistro on the 17th April at 7.30pm
[1] Inbasagaran' was made into a film, as well. Unfortunately, it met with a tragic fire accident just before release. The reels were lost and the film was never released. The film was produced by Mahalakshmi Studios, a film production company.
[2] Successful actors like M.K.Thiyagaraja Bhagavathar, S.D.Subbulakshmi, N.S.Krishnan, S.V.Sahasranamam all came from the stage.
[3] Pavalakkodi (1934) and Sathi Sulochana(1934) are the oldest surviving Tamil Films. Both of them have been preserved at the N.F.A.I
[4] Komal Swaminathan's own words : 'Thaneer.. Thaneer' – Vanathi Pathipagam.
[5]Such an event has happened for real in our History. The Mulla Periyar dam was built to divert water from Upper Kerala to Lower South Tamilnadu, a century ago. Less than a tenth of the water has been diverted, yet this water which reaches Tamilnadu takes care of the drinking and irrigation needs of 6 districts in Tamilnadu. The Dam was built by a British man, John Penny Cuik, who is revered in Theni District.
[6]In the original play, Sevanthi is married off to a policeman, Alagiri and leaves the village after marriage. She returns for Aadi, and plays a prominent role in the climax. She does not have any children in the play.
[7]The play tells us that the people of Athipatti did not use the water of the cheri, because the well was poisoned. Alternatively, we may speculate that they refused to do so, also because of caste- based differences. However, there is a scene in which Goval and his friend, drink water from this 'fluoride well' due to unbearable thirst, as no water sources existed in the vicinity.
Posted in Events, From Book to Celluloid, Tamil Cinema, Theater	/ Tagged adaptation, Films on water, Ilayaraja, K.Balachander, KB, Komal Swaminathan, Saritha, Tamil Movies, Tamil Nadu, tamil nadu politics, tamil theater, Thaneer Thaneer, water	/ Leave a comment
Filmy Ripples: Movie Studios (Part 1)
Posted on February 20, 2017 by tcrcindia
By P.V.Gopalakrishnan
Once in my high school vacation, a guy in our friend circle motivated us for a trip to the far away AVM studio to witness a film shoot, on the pretext one of his relatives worked there. Our long bus trip to Puliyur and beyond made a bunch of us cross a lot of fields and Aubergine cultivated lands (you know, Kodambakkam Kathirikkai was very popular in those days), till we reached our dream destination. But our starry eyed expectations were soon blown off by the studio sentry who, forthwith, denied entry to our small group of school kids.
Today, the word 'Kollywood', coined after Bollywood, would refer the whole hub encompassing Vadapalani to Kodambakkam to Saligramam, the nerve center of Tamil film industry & TV. It is in this topography, the mighty film studios such as AVM & Vijaya Vahini once clustered & grew with vast facilities for film production. They had innumerable shooting floors, with Vijaya Vahini having as many as thirteen. Of course we had also, by exception, film studios spilled over to other areas of Madras too, such as the mighty Gemini in Mount Road, Venus in Alwarpet, Meenakshi Cinetone turned Neptune turned Satya in Adyar and Newtone, Citadel in Purasawakkam.
An Ad for Newtone Studios in Kalki Deepavali Malar 1942 PC: From the archives of TCRC
Those days, before the advent of Kodambakkam over bridge in 1965, there was a rickety railway level crossing at busy Kodambakkam, choking with heavy traffic. The gate closed with every suburban service passing. The ever hungry star gazers hanged about this level crossing to catch a glimpse of their favourite stars, lurking inside their car, waiting for the gate to open.
Besides Madras, there were also few well-known studios in other cities; Mr. T.R.Sundaram's Modern Theatres Studio at Salem, Sreeramulu Naidu's Pakshiraja Studios, Neptune Studios & Central Studios, all in Coimbatore.
An Ad for brought out by Modern Theatres for the film Manonmani in Kalki Deepavali Malar 1942 PC: From the archives of TCRC
Prior to production of films in Madras State, some films were produced in Calcutta & Pune. M.S. Subbulakshmi starred Savithri (1941), which had as many as eighteen songs penned by Papanasam Sivan, was produced in New Theatres Studio of Calcutta.
An Ad for the film Savitri in Ananda Vikatan Deepavali Malar 1941 PC: From the archives of TCRC
As per the Film Historian Randor Guy, the Madras Electric Supply Corporation (MESC) had built a powerhouse in Kodambakkam area during the World War II times, but without many takers for the energy. The film studios were enthused to set up shops here. Kodambakkam soon saw several studios coming up such as AVM, Vijaya, Rohini, Bharani, Vikram, Paramount (later called Majestic), Golden, Vasu, and Karpagam.
Much before AVM Productions was launched, Sri Valli (1945), directed by A.V.Meyyappan himself along with A.T.Krishnaswamy, was made by AVM under the banner of Pragathi Studios. This movie catapulted A.V.Meiyappan to fame.
AVM Studios was first located at Karaikudi, before shifting to Kodambakkam. The Karaikudi studio was made of thatched roof structures and stood at Devakottai Rastha. 'Nam Iruvar', released before Indian Independence & which became a thundering success, was made in Karaikudi based AVM studios. This super hit film extensively portrayed the hopes and aspirations of a nation on the brink of independence. Only after this did AVM move his studio from Karaikudi to Kodambakkam.
AVM Studios, in its grand annals, have had many a landmark event associated with Tamil Film Industry.
National Pictures and AVM Productions jointly produced the debut film of Sivaji Ganesan 'Parasakthi', though it did not begin well for Sivaji Ganesan, who was on a princely monthly remuneration of Two Hundred Fifty Rupees for the film. In fact, at one stage, Meiyappan, dissatisfied with Ganesan's "thin" body frame wanted him replaced. But, ironically, time wanted to prove this very Ganesan as an Institution by himself. So, AVM's partner in the project, Perumal, insisted that Ganesan be retained. But the initial scenes involved many retakes with Ganesan. Rest was history, with the world acknowledging him as Nadigar Thilakam.
A plaque commemorating the 50th year of Parasakthi at AVM studios at the very spot Sivaji Ganesan said his first dialogue 'Success' . PC: http://www.rediff.com
AVM's "Vazhkai" (1949) was the first film to be shot at the new AVM Studio at Chennai. The film starred T.R. Ramachandran and Vyjayanthimala, which was the latter's debut movie in Tamil when she was a teenager. When M. V. Raman, who wrote 'Vazhkai', spotted Vyjayanthimala performing a Bharata Natyam concert at Gokhale Hall in Madras, he was impressed by her talent & beauty and recommended her to the boss Meiyappan.
V. Venkatraman (SVV) was 'found' by A.V.Meyyappa Chettiar as a man in distress at Cubbon Park, Bangalore & gave him the break in "Nanda Kumar" as Music Director. SVV became a major name in music scene & scored soul-stirring music for over two hundred films in various languages. Even MSV & TKR worked for him at some point in time.
C.N.Annadurai is said to have written the three hundred pages of screen play for the film "Oar Iravu" in a single night camping at AVM studios, for a whopping sum (at those times) of Rupees Ten Thousand!
It was only at AVM Studios the living legend S.Janaki gave her audition in 1957 before Music Directors Sudarashanam & Govardhanam.
Vijaya Studios made "Maya Bazaar" (1957) which was critically acclaimed and considered as one of the enduring classics of Indian Cinema. It was touted as a landmark achievement in Indian film's cinematography, art direction and visual effects with the technology available at the time.
The entrance to Vijaya Vauhini studios. PC : http://www.frontline.in
Gemini Studios, owned by Movie Moghul S.S.Vasan, had a history. The Veteran Film Director K. Subrahmanyam (Father of Denseuse Padma Subramanyam) who made some iconic movies including 'Thyaga Bhoomi' (1938) was having a Studio at the same premises since 1937. But owing to a major inferno the property was totally burnt down. In 1941, S.S.Vasan bought out the premises in a distress sale & built his own studio & named it Gemini Studios. It is said that Vasan, who was a fan of horse racing, named the studio after one of his favourite horses. Gemini Studios produced some of the iconic movies such as Nandanar, Mangamma Sabatham, Miss Malini, Chandralekha, Avvaiyar, Vanjikottai Valiban to name a few.
An ad for Gemini Pictures Circuit with its distinct logo (the company that bought over the studio from Subramanyam and renamed it Gemini Studios). Published in Anada Vikatan Deepavali Malar 1939. PC: From the archives of TCRC
Posted in Filmy Ripples, Tamil Cinema	/ Tagged advertisements, Ananda vikatan, AVM, AVM studios, black and white tamil films, black and white tamil songs, cinema, deepavali malar, film, film ads, film studios, films, Gemini Studios, history, Kalki, Kodambakkam, Modern Theatres studios, movie promotion, movie studios, Movies, New theatre studio, newtone studios, old tamil films, old tamil songs, Parasakthi, saligramam, SS Vasan, Subramanyam, Tamil cinema, Tamil Film, Tamil film industry, Tamil film producers, Tamil Movies, Tamil Nadu, Tamil songs, vadapalani, Vijainthimala, vijaya Studios, Vijaya Vahuni, Vijaya Vahuni Studio	/ Leave a comment
Kaasethaan Kadavulada: From Stage To Celluloid
By Karthik Bhatt
Chitralaya Gopu is one of Tamil cinema's most well-known humour writers. His association with his classmate and close friend from school, the legendary director CV Sridhar and his unit Chitralaya has been responsible for some of Tamil cinema's most memorable movies such as Then Nilavu, Nenjil Or Alayam, Policekaran Magal and the evergreen Kadhalikka Neramillai.
Unlike many of his colleagues from the film world who came from a theatre background, Gopu's association with stage came about quite by chance. "It was the time of the Chinese aggression. The Tamil Nadu Government requested Sivaji Ganesan and Sridhar to arrange for an entertainment programme involving all the top stars of that time that could be staged across all the major districts of the State for fund raising. I was asked by Sridhar to write short plays for the programme. I wrote two pieces, one a ten minute skit involving Gemini Ganesan and Savitri titled Naveena Dushyanthan Sakunthalai and the other, a multi-starrer 45 min play about a man and his attempts to get his four daughters married. This was Galatta Kalyanam, which was later made into a movie by the same name. It was my first proper attempt at stage plays", says Gopu.
"It was around this time that an amateur theatre troupe called the Unity Club was functioning in Triplicane", he continues. "Primarily comprising members who were lawyers or employed with various offices, its star attraction was Major Sundararajan. Following his exit, the troupe was on the lookout for a suitable replacement, who could help their cause with obtaining performance opportunities. Thanks to my film connections, I was roped into the troupe by my cousin who was its secretary. I managed to get Manorama to act in a script written by Ananthu, who was part of K Balachander's unit. Since I had approached her to be part of the troupe, I was given a role in the play too. It was probably a way of ensuring that I was committed to be present at all times", chuckles Gopu, who soon started writing full-fledged plays. The troupe continued its journey continued with fairly successful plays such as Sreemathy and Dhikku theriyadha veetil. Its biggest hit was however Kaasedhaan Kadavulada".
The story of Kaasedhaan Kadavulada revolved around the matriarch, the boss of a wealthy family. The second wife of a henpecked husband, her miserly ways cause great consternation with the son of the first wife and his cousin, who forever look for ways to make her part with the wealth. Taking advantage of an opportunity that arises with the news of the arrival of a Swamiji to their home, they enlist the services of a petty thief turned tea shop owner, a childhood friend to impersonate him and steal the money. The hilarious sequence of events that follow his arrival form the crux of the story.
"By this time, we had managed to rope in the likes of Muthuraman, Venniradai Moorthy and V Gopalakrishnan to act in our plays. The first three were part of Kaasedhaan Kadavulada. Muthuraman played the role of the son, while Venniradai Moorthy played his father. The role that was the biggest hit was however that of the Swamiji. It was essayed by Ramani, a popular mimicry artiste who was a colleague of K Balachander at AGS office and also a part of Ragini Recreations. Manorama played Muthuraman's love interest", remembers Gopu.
The play was a resounding success. AV Meiyappa Chettiar and his wife enjoyed it immensely and their sons watched it in succeeding shows. "Manorama told me that it was sure to be made into a movie, as the entire family had witnessed the play. Sure enough, I was soon called to AVM Studios. AV Meiyappa Chettiar was particular that I direct the movie. It marked my debut as a director. Muthuraman and Venniradai Moorthy reprised their onstage roles. As Manorama was not a regular heroine artiste, she was made the matriarch of the family, while Lakshmi was brought in to play Muthuraman's love interest. For the pivotal role of the Swamiji, the name of Thengai Srinivasan was suggested, to which I readily agreed. The onstage success of the character was replicated on celluloid. A huge hoarding of Thengai Srinivasan was put up by AVM at Pilot theatre, where the film was running to packed houses", recollects Gopu.
One of the highlights of Thengai Srinivasan's performance was the gibberish he speaks in an effort to pass it off as Sanskrit.In the video clip below, you can see him even uttering the names of all the actors in the scene as he enters!
An interesting anecdote revolving around the play which was written about in the media was the death of a man who had come to watch one of the shows. His hearty laughter apparently caused him seizures due to which he had to be hospitalised, only to pass away shortly after!
That the movie attracts a great fan following and continues to be regularly shown on television channels to this date is perhaps the greatest tribute to the genial Chitralaya Gopu and his brand of clean humour.
The play has been recently revived by YG Mahendra's UAA, with a few modifications by Gopu's son, Chitralaya Sriram.
(Special thanks to Chitralaya Gopu for his inputs and to his son Chitralaya Sriram for having facilitated the interview).
Posted in From Stage to celluloid, Tamil Cinema, Theater	/ Tagged Art, Arts and Entertainment, AV Meiyappa Chettiar, AVM, AVM studios, Chennai, Chitralaya, Chitralaya Gopu, cinema, Cinema of India, cinemas of india, film, Film Appreciation, film history, history, Indian cinema, Kaasedhaan Kadavulada, madras, Manorama, Movies, MS Vishwanathan, Sridhar, tamil, Tamil cinema, Tamil Nadu, tamil theater, TCRC, Thengai Srinivasan, Venniradai Moorthy	/ 2 Comments
Naam Iruvar : From Stage to Celluloid
Posted on June 7, 2016 by tcrcindia
The next in the series of from Stage to Celluloid we visit AVM's baby Naam Iruvar.
The AVM productions banner occupies a pride of place in Indian cinema. With movies not only in Tamil but also in other languages such as Hindi, Kannada, Telugu, Bengali and even Sinhalese, its seven decade journey has been a remarkable one, launching the career of many a star.
Born in Karaikudi in 1907, AV Meiyappa Chettiar as a teenager joined his father's general stores business, AV and Sons. In 1928, they acquired the distribution rights of gramophone records of SG Kittappa and KB Sundarambal for the southern districts and thus began AV Meiyappa Chettiar's tryst with the world of cinema. In 1932, he along with his friends started Saraswathi Stores in Madras, dealing in gramophone records. His foray into film making in 1934 had a disastrous start with a hat-trick of losses over the first few years (Alli Arjuna, Aryamala and Nandakumar). These movies were produced under various partnerships with his associates.
In 1946, AV Meiyappa Chettiar decided to strike it out on his own. Thus was born AVM Productions. This post is about its first production, Naam Iruvar.
Meiyappa Chettiar had great regard for theatre. In his autobiography Enathu Vaazhkai Anubavangal (My Experiences in Life), he writes about its importance and how a good stage circuit was essential for new actors and technicians to develop in cinema. Many of his early movies were based on stage plays.
Pa.Neelakandan, born in 1916 began his career as a journalist, working for a couple of Tamil magazines. His first play, Mullil Roja was staged by TKS Brothers in 1942 and won him instant fame. He then wrote a play called Thyaga Ullam, which was awaiting a troupe for its staging. It was around this time that NS Krishnan had been sent to jail in the sensational Lakshmikantan murder case. The responsibility of running his troupe, NSK Nataka Sabha fell on his close friend and associate SV Sahasranamam. The troupe was undergoing troubled times, with a split causing actors such as KR Ramaswamy and Sivaji Ganesan to move out. Sahasranamam was looking for a suitable script to stage when he heard of the success of Mullil Roja. He wrote to TK Shanmugam and requested to be introduced to Pa.Neelakandan.
Neelakandan met Sahasranamam the following week and narrated the script of Thyaga Ullam, which was based on the relationship between two brothers. Sahasranamam liked the script and it was decided that the troupe stage the play. He however suggested to Neelakandan that a character portraying the sister of the two brothers be included, which was agreed to. The play was renamed Naam Iruvar. In his autobiography Thirumbiparkiren, Sahasranamam says that the songs for the play were written by KP Kamakshi Sundaram, who would later go on to become a well-known lyricist. The song 'Parakkum Bharatha Manikkodiye' particularly was a hit with the masses. A few songs of Subramania Bharathi which were also used added immense value to the play. Sahasranamam also says that the concept of playback singing in a stage play was introduced in this production. The play, whose inauguration was presided over by noted journalist and author, Va.Ra was a tremendous success, with over 100 shows being staged.
AV Meiyappa Chettiar, who had watched the play nearly 10 times at the eponymous Walltax theatre decided to make it into a movie. He bought the rights from Pa.Neelakandan for a sum of Rs 3000 and also hired him as an assistant director for the movie. A few actors from the play were booked for the movie. Sahasranamam was offered the role of the hero, which he initially accepted. He later backed out owing to logistics issues of balancing the running of NSK Nataka Sabha and the shooting of the movie, which was being held in Karaikudi, where AVM Studios was then functioning. However, it would prove to be a big break for another actor who would go on to become of Tamil cinema's most popular comedian and character actors, VK Ramaswamy. Notable names in the film included TR Mahalingam (who replaced SV Sahasranamam,), BR Panthulu, who would later go on to direct and produce several colossal movies, K Sarangapani and TR Ramachandran. The role of the sister to the two brothers was played by 'Baby' Kamala, a child prodigy who would later make waves in the world of dance as Kumari Kamala.
The most interesting side story in the making of this movie is the nationalisation of Subramania Bharathi's songs. Meiyappa Chettiar decided to buy the full rights to use a few songs in the movie. The rights lay with the famous jewellers M/s Surajmals, who had bought them to reproduce in the form of gramophone records but had not used them. They demanded a sum of Rs 10000, which was paid by Meiyappa Chettiar in full. After Independence, the Premier of Madras, OP Ramaswamy Reddiar offered to buy out the rights from Meiyappa Chettiar in order to nationalise the works. A magnanimous Meiyappa Chettiar, the ardent patriot at heart he was, gifted the same to the government.
Below is a popular patriotic song from the film by Subramnia Bharathi
Posted in From Stage to celluloid, Tamil Cinema, Theater	/ Tagged A.V.Meiyappa Chettiar, archive, Arts, Arts and Entertainment, AVM, AVM studios, Baby Kamala, Barathi, Chennai, cinema, Cinema of India, cinemas of india, film, Film Appreciation, Film Criticism, film history, Filmmaking, freedom struggle, history, India, Indian cinema, Karaikudi, Kumari Kamala, madras, Meiyappa Chettiar, Movies, music, Music industry, Nationalism, Panthalu, Subramania Barathi, tamil, Tamil cinema, Tamil Nadu, TCRC, TR Mahalingam, VK Ramaswamy	/ 1 Comment
In this article of From Stage to Celluloid we look at the drama Patinapravesam which was later made into a film by K. Balachander.
The 1960s ushered in a new dawn on both Tamil stage and celluloid, with social themes gaining prominence. The 1970s and the 1980s were truly the heydays of this genre. MR Viswanathan, or Visu as he was popularly known was one of the most successful writer-directors of this era. His themes predominantly revolved around problems faced by the middle class families and most of them were commercial successes. Some of them are frequently re-aired on television channels to this day. His foray into cinema was through Tamil theatre and many of his creations on stage were made into films.
Visu's first play in the official stage circuit was "Deviyar Iruvar", written for Vani Kala Mandir in 1972. It was directed by AR Srinivasan (ARS) and had actress Sachu playing a key role. Visu was also associated as an actor with YG Parthasarathy's UAA. Much later, he started his own troupe, Viswasanthi.
Kathadi Ramamurthy, who began his career on stage at the beginning of the social era remains one of Tamil stage's most recognisable faces. Making his debut as one of the founding members of the legendary Viveka Fine Arts, he launched his own troupe, Stage Creations in 1965 with Shivaji Chaturvedi, TD Sundararajan and Bobby Raghunathan. Visu wrote four plays for Stage Creations and remarkably, all of them were remade as movies. This piece is about the most popular amongst them.
Visu's first play for Stage Creations was Dowry Kalyana Vaibhogame (Dowry Kalyanam on celluloid), which as the name suggests dwelt upon the social evil of dowry. "The play was first written for V Gopalakrishnan, who did not take it up for some reason. Visu then narrated the script to me. I agreed to stage it, provided he directed the same", says Kathadi Ramamurthy. It marked Visu's debut as a director.
Dowry Kalyana Vaibhogame was followed by Pattinapravesam. The play revolved around a family comprising five siblings (four brothers and a sister) and their aged mother who migrate to Madras from their village in search of a better living and their travails in the city. With their fortunes wildly fluctuating and problems hounding them, they finally decide to return to the village. It is interesting to note that the plot of the play bore a resemblance to Conquerors of the Golden City, an Italian movie.
The play was a remarkable success. "I remember K Balachander watched the play three or four times, each time bringing along a celluloid star. The biggest compliment I cherish was that he said that it was remarkable that the same level of performance was sustained every time he saw the play, which would have been possible only it was a movie", says Kathadi Ramamurthy. The movie was directedby K.Balachander , produced by R Venkataraman for Premalaya Films and was released in 1976. Notable actors who played roles in the movie were Sarath Babu, Jai Ganesh and Sivachandran. "Three of us from the play took up roles in the movie", continues Kathadi Ramamurthy.
Today the movie is best remembered for being the celluloid debut of one amongst the three, Delhi Ganesh, who reprised the role of the eldest brother from the play and the melodious "Vaa nilaa nilaa alla un vaalibam nilaa" set to tune by MS Viswanathan. The popular magazine Ananda Vikatan gave a rating of 52/100 for the movie, a more than average score given its reputation for being tough reviewers and a score of 60/100 to Delhi Ganesh (the highest amongst all actors).
After a hiatus of more than three decades, Visu made a comeback to Tamil stage with Konjam Yosinga Boss in 2014.
Below is the cover image of the song book of the film Pattinapravesam from our archives.
Posted in From Stage to celluloid, Tamil Cinema, Theater	/ Tagged archive, Chennai, cinema, Delhi Ganesan, film, Film Appreciation, Film Criticism, film history, K.Balachander, Kathadi Ramamoorthy, Kathadi Ramamurthy, KB, madras, Movies, Pattinapravesam, Sarath Babu, tamil, Tamil cinema, Tamil Film, Tamil Nadu, tamil theater, TCRC, The Cinemas of India, theater, Visu, Y G Mahendra	/ Leave a comment
Mourning the loss of "Film News" Anandan
We at The Cinema Resource Centre mourn the loss of legendary archivist of Tamil Cinema "Film News" Anandan.
His journey in cinema started as a Photo film journalist and later became the first Public Relation Officer for Tamil Cinema.
A walking encyclopedia of Tamil cinema, Anandan's recollection of data about films releases, cast and crew was unmatched even until his final days.
In 1991, "Film news " Anandan was conferred with the title Kalaimamani, the highest honor from the Tamil Nadu Government. He also received the 'Honorary director' title from The Cine Film Directors Association in 1989.
Tamil Cinema and Tamil Cinema History will greatly miss Mr. Anandan.
To know about him read here.
Posted in Others, Tamil Cinema	/ Tagged Anandan, Anandhan, archive, Chennai, Cinema of India, cinemas of india, film, Film Appreciation, Film Criticism, film history, film memorabilia, Film news, Film news Anandan, Filmmaking, history, India, Indian cinema, tamil, Tamil cinema, Tamil Nadu, TCRC	/ Leave a comment
Discussion with Award winning director Manohar
Posted on October 5, 2015 by tcrcindia
National award winning director Manohar, discusses his short film 'Post man' during the Shamiana short film screening with TCRC hosted by Ashvita Bistro. The film maker brings to light the issues he faced during the making of his debut film, how the film finally proved to be commercially viable and much more.
Posted in Events, Indie cinema, Short film, Tamil Cinema	/ Tagged Abhinandan, Adhiraj Bose, Arts, Arts and Entertainment, Ashvita, Ashvita Bistro, Baghdad Messe, Carlos Loscano, Chennai, cinema, cinemas of india, cinematographer, Cysrus Dastur, Deepam, film, Film Appreciation, Film Criticism, film discussion, film festival, film history, Filmmaking, fim screening, India, Indian cinema, Kerala, Kottayam, L V Prasad institute, LVP, madras, Manohar Bana, National Award, Oscar nominee, Postman, Shamiana, short film, Tamil cinema, Tamil Nadu, TCRC	/ Leave a comment
Upcoming Shamiana short film screening with TCRC
TCRC is happy to collaborate with Shamiana, Mumbai for yet another evening of short film screenings @ Ashvita Bistro.
Save the date: Thursday 24th Sept 2014, 7.30pm – 9.30pm
Movies for the evening are:
1) BAGHDAD MESSI
A heart-wrenching story of a little boy, Hamoudi in war torn Iraq around 2009 and the little struggles he goes through just to play football with his friends. Until, one day when his TV breaks down and getting it repaired changes things forever… Simply brilliant!
* Oscar Nominee 2015!
Dir : Sahim Omar Kalifa
Dur: 15 mins
2) INT. CAFE – NIGHT
When the past catches up with the present over a coffee and a bread pudding at a quaint cafe, memories come rushing back. But will they be able to make up for the times they have lost?
A beautiful, multi-award winning short film!
Dir: Adhiraj Bose
3) LEELA
Lila is a dreamy girl who can't resign to accept reality as flat as she perceives it, hence she uses her imagination and her skills to modify it.
* A Goya Awards nomination.
Dir: Carlos Lascano
Dur: 9 mins
4) POSTMAN (Tamil)
In times of emails and SMSes, the Postman still forms a very important part of rural India. A touching story of the messenger…
*National Award Winning Film.
(We'll have the filmmaker with us for discussions)
Dir : Manohar Bana Reddy
Dur : 15 mins
Followed by a short discussion.
Entry Free:
RSVP: Sms " short films" with you name and email to 9791088189 for a slot.
Posted in Events, Others, Short film	/ Tagged Arts and Entertainment, Asia, Chennai, cinema, Cinema of India, cinemas of india, film, Film Appreciation, Film Criticism, Goya award, Hindi cinema, Hindi film, India, Indian cinema, madras, Movies, Naseerudin Shah, National Award, Oscar nominee, Shamiana, short films, tamil, Tamil cinema, Tamil Nadu, TCRC	/ Leave a comment
TCRC presents an exclusive screening of ' Amma and Appa'
Posted on August 14, 2015 by tcrcindia
TCRC is bringing the popular documentary 'Amma and Appa' to Chennai on the 23rd of August 2015, Sunday at Ashvita Bistro, Alwarpet. This will be the first time that the film will be screened in Tamil Nadu. The film is in Tamil and German with subtitles in English. The film makers will be present for an interaction with the audience after the screening.
About the film:
Amma & Appa (Tamil for Mother & Father) tells the story of film makers Franziska's and Jay's parents. It is about their first meeting and of them getting acquainted. Both couples are about the same age and both have been married for more than thirty years. But they come from very different cultural backgrounds. Franziska's live in the south of Germany, Jay's parents in the south of India. They now come together because their children have fallen in love with each other and have decided to get married. For Franziska's parents it will be the first time they visit India and for Jay's parents it will be the first time they receive foreigners as guests. While Franziska's parents married out of love, the marriage of Jay's parents was traditionally arranged. It was thus a great shock for them to learn that their son wanted to marry by his own choice. And what is more: A girl from Germany. His decision challenges their traditions and beliefs.
Against this backdrop the film unfolds its story. It tells the story of two cultures coming together and raises the universal questions what makes it all work- love, affection and living together. The film makers, as a young couple, want to know the recipe for a successful relationship from their parents and aim to find out with their observation of the interaction of their parents toward and with each other.
Here is the trailer of the film:
Posted in Documentary, Indie cinema, Others, Tamil Cinema	/ Tagged Arts, Arts and Entertainment, Chennai, cinema, Cinema of India, cinemas of india, cinematographer, documentary, Documentary film, film, Film Appreciation, Film Criticism, film history, film screening, Filmmaking, Franziska, German film, India, madras, tamil, Tamil cinema, Tamil Nadu, TCRC	/ Leave a comment
Thaneer Thaneer – From Stage to Celluloid
Posted on August 3, 2015 by tcrcindia
Komal Swaminathan was one of Tamil stage's most powerful contemporary playwrights. Born in 1935, he came to Madras in 1957 and joined the Seva Stage Kalvi Nilayam, the drama school that had been established by S.V.Sahasranamam. It was here that he learnt the various aspects of drama. He had a particular interest in writing scripts, having already written a few skits during his intermediate course at the Madura College.
Having completed the drama course Swaminathan joined Seva Stage as an apprentice to S.V.Sahasranamam, learning the production aspects of staging plays. He wrote his first play, "Puthiya Paathai" in 1960, which was staged by the Gujarati Young Men Association. Thus began a journey that saw the scaling of many heights in the course of the next three decades.
Swaminathan forayed into movies in 1963. He worked as an assistant and script writer to noted director K.S.Gopalakrishnan for the next seven years. This period saw him being associated with successful movies such as Karpagam, Pesum Deivam and Kai Kodutha Deivam. He started Stage Friends in 1971, a troupe primarily comprising of members from his mentor S.V.Sahasranamam's Seva Stage. The troupe's first play was Sannadhi Theru, which dealt with the stigma attached to lady artistes and the neglect drama troupes faced. The Kalki magazine review of the play termed it a first rate production, with special mention to Surya Prabha, the actress who played the lead role. The success of Sannadhi Theru was followed by several other productions such as Nawab Naarkaali (which was also later made into a movie), Yuddha Kandam and Chekku Maadugal. His best known and most celebrated play however is the subject of this piece, Thaneer Thaneer.
Thaneer Thaneer dealt with a topic that remains very contemporary, that of water scarcity. The story was set in a drought hit village which suffers as much from official apathy as it does from the failure of rains. With powerful dialogues which were well aimed barbs at the establishment, it was inevitable that it would raise eyebrows at some level. Sure enough, the hurdle came in the form of getting the clearance from the Police before staging the play.
The Madras Dramatic Performances Act, 1954 required that the Police Commissioner had to approve a script before it could be staged. This law had been brought about as a means of censorship to ensure that the popularity of the medium was not misused to propagate ideas that had the potential to create law and order problems. It was under this law that objections were being raised to Thaneer Thaneer. That the play apart from highlighting official apathy was also viewed as being sympathetic to an ideological movement, which probably raised a red flag leading to the withholding of permission. Hectic parleying ensued, with Cho Ramaswamy coming out in support of Komal Swaminathan. The permission came through about an hour before the inauguration on the 10th of October 1980 at the Mylapore Fine Arts Club auditorium.
The play was a stupendous success. The legendary director K.Balachander who watched the play was immediately taken in by the idea and wanted to make it into a movie. Komal Swaminathan agreed, with a request that the stage artistes be used in the film too. Balachander acceded to the request and artistes such as Raj Madan, Vaadhyar Raman acted in the movie too. It was produced by Kalakendra Movies. Certain changes were made to suit the commercial medium. Saritha, Rajesh and Radha Ravi played important roles in the movie, which was both a commercial success and a critically acclaimed one. K.Balachander won the award for the best screenplay and the movie won the Best Tamil Feature Film award at the National Film Awards for 1981.
More recently in 2012, the play was staged in English as Water by the Madras Players. Thaneer Thaneer was revived in 2013 through Stage Friends which made a comeback to stage thanks to the efforts of Komal Swaminathan's daughter Ms.Lalitha Dharini.
(This author gratefully acknowledges the inputs given by Ms.Lalitha Dharini for this piece).
Posted in From Stage to celluloid	/ Tagged archive, Art, Arts, Arts and Entertainment, Asia, Chennai, cinema, Cinema of India, cinemas of india, film, Film Appreciation, Film Criticism, film history, Filmmaking, India, Indian cinema, madras, Movies, MSV, tamil, Tamil cinema, Tamil Nadu, TCRC	/ Leave a comment


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Chelsy Davy Sporting a Summer Glow and Ripped Jeans during Night-Out in London, More Details
Sporting a healthy glow, she smiled and posed with her various friends and wore her long glossy locks in a relaxed style. She was picturing laughing and making her way around the party, with her dear friend Irene Forte. As mentioned before, earlier she mainly featured a more relaxed and casual approach. However, with age, her dressing sense seems to be changing as well. Right now, she seems to be going for a more sophisticated approach. The party was dedicated to the opening of a West End dining Institution known as The Ivy. Hotel Tycoon Rocco Forte's daughter, Irene Forte was seen having fun with her, during this event.
Chelsy Davy and Irene Forte were also spotted together at Duke of Northumberland's estate Syon Park, during the weekend. It was during the wedding of property magnate Caspar-MacDonald-Hall. During the wedding, Chelsy was noted with her friend Irene Forte and her boyfriend Jacobi Anstruther-Gough-Calthorpe. Chelsy is presently single after splitting up with society jeweler Charles Goode, in January. The loving socialite had a relationship with Harry that continued for six years before the finally broke up in May 2010. Rumors indicate that they are still good friends.
Stay tuned for more updates on Chelsy Davy!
Viber: Latest Update Supports Android Wear, New Features For Call, Block and Notification, And More!
Michael Schumacher's Son Debuts in Formula Four, While He Continues To Be Serious and Critical, More Details
1 thought on "Chelsy Davy Sporting a Summer Glow and Ripped Jeans during Night-Out in London, More Details"
Love Chelsy…waiting for updates! Especially want her and Harry to end up together.

redpajama_set_name: RedPajamaCommonCrawl


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Q: Avoid an image to go outside a div? I have:

The image is bigger than 15px, so it's outside the div when you see it. How do I "crop" the image (show only the 15px port of it), only using css?

A: Try giving an overflow:hidden to the div.

A: add overflow:hidden; to your div style.

A: You need overflow:hidden see an example here:
http://www.jsfiddle.net/S8qAq/
Read about overflow: here W3Schools
Good luck!

A: Use the overflow css property:
overflow: hidden;

A: I am surprised no one has suggested object-fit: cover;

A: use
overflow:hidden;

A: *

*overlow: hidden,  object-fit: cover; and width: fit-content they come with their own hurdles. If you have more than one image, then these methods may not provide you with the best solution.

*Instead, you can define parent element size and force children to fit inside accordingly with max-height and max-width

redpajama_set_name: RedPajamaStackExchange


text:
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<class name="TriangleMesh" inherits="Reference" category="Core" version="3.2">
	<brief_description>
		Internal mesh type.
	</brief_description>
	<description>
		Mesh type used internally for collision calculations.
	</description>
	<tutorials>
	</tutorials>
	<methods>
	</methods>
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</class>

redpajama_set_name: RedPajamaGithub


Artefill is the only permanent injectable filler?
Questions & Answers / How come Artefill is the only permanent injectable filler?
Question: How come Artefill is the only permanent injectable filler? Why aren't others able to last indefinitely?
Answer: Artefill is the only "permanent filler" approved by the FDA in the United States but there are plenty of others in Europe. The reason other fillers do not last indefinitely is that they body absorbs the molecules over time but the permanent fillers cannot be easily absorbed. Rather, the body's immune system cells encapsulate the permanent filler molecules much like Tuberculosis bacteria are encapsulated by the immune system.


text:
Developers hope to revive Buchanan Street, including its history as a hub of Black culture
Natalie Neysa Alund
The line is never short at Slim & Husky's, so much so that regulars of the modern pizza shop know to call ahead for takeout.
After all, it's the business that put Buchanan Street back on the map in 2017.
Outside the fast-casual eatery, tall chain-link fences line the North Nashville road. Behind them, buildings rise steadily.
The street with a long history as a hub for Nashville's African American community may be on the brink of a new era. After years of decline and a destructive tornado this year, many cheer the new businesses and homes under construction that will join other recent additions in the Buchanan Arts District. Others are wary that long-time residents will stop feeling at home in their own neighborhood.
A variety of development is underway in the eight-block span that makes up Buchanan Street's emerging commercial strip from Ninth Avenue North to 16th Avenue North. The area lies just minutes from the gentrified neighborhoods of Germantown and Salemtown, the interstate and downtown Nashville.
Many of the businesses on the street, from modern eateries to historic funeral homes, are owned by African Americans, while some of the new projects underway include meeting and office space set aside for the community, as well as new-model affordable housing.
The developers hope changes will benefit the neighborhood as a whole while preserving its Black heritage. But some residents remain skeptical that the pitfalls of gentrification can be avoided.
Eight blocks of history
The new builds are popping up among long-standing businesses like Bud's Hardware and Key Shop (1600 Buchanan St.), Moguls Barber and Lounge and Salemtown Board (both at 1003 Buchanan St.).
"In the 1950s and 1960s Buchanan Street was just like Jefferson Street without the nightclubs and music venues," Nashville attorney and historian David Ewing said. "Buchanan Street was the second most famous African American commercial street in Nashville. It was a very popular place where African Americans shopped, ate and socialized."
Buchanan Street had restaurants, hardware stores, drug stores, dry cleaners, an H.G. Hill grocery store and a United States Post Office. Northwest Liquors, on the corner of 16th Avenue North, opened in 1941 and is one of the oldest liquor stores in Nashville. SAG Funeral Home, less than a block west, also dates back to that era.
Ewing's father, the late Richard Albert Ewing III, was a doctor with an office on the corner of 15th and Buchanan. He selected the location because it was convenient for his patients in North Nashville and to Meharry Medical Center where he graduated and was on staff.
Ewing said while the street has historically been well known in the African American community, its profile has been rising in recent years.
"Many Nashvillians did not even know about Buchanan Street until Slim & Husky's opened," he said.
About six years ago the city improved lighting in the area, and Metro Public Works also recently installed bike lanes and concrete median islands.
"I predict the area will look like 12 South in five years," Ewing said. "This once popular place for African Americans will soon be a place with businesses which mainly have started in the last five years."
When change began
The influx of commercial development began in 2015 when the fashion brand Nisolo moved its showroom to a white 9,000 square-foot multitenant space on the corner of Ninth and Buchanan where an abandoned supermarket used to be.
Not long after, Emil Erwin, a Nashville-based luxury leather business, and The Dress Theory Nashville, a boutique wedding shop, opened in the building. InnerG Juice and Yoga plans to move in soon.
In 2016, an emerging culinary scene was born when The Southern V, a vegan comfort food spot, opened at 1200 Buchanan St. A year later, Tennessee State University grads Derrick Moore, Clinton Gray and Emanuel Reed opened the flagship Slim & Husky's pizzeria at 911 Buchanan St.
Owners of the popular joint also cater to larger groups and events, and sell brand-name T-shirts, hats and other accessories at The Rollout, a former mosque at 1006 Buchanan St. The store, of course, also sells cinnamon rolls.
"The thing about North Nashville is it's a beautiful place," Moore said. "It's got a lot of culture. It's got its own identity. It speaks to the heart of African Americans, and the reason we chose to come over here is because we've always felt like we want to be a part of the change that is coming."
In 2018, the cocktail bar Minerva opened at 1002 Buchanan St.
All three restaurants are owned by African Americans who are known to hire from the surrounding neighborhood.
Another restaurant, Willie B's Kitchen & Lounge at 918 Buchanan St., owned by Christopher Jones, also Black, opened this year. It replaced the long-standing Hair World Plus.
A bakery, a cat cafe and more
The most recent development along the street is at 16th Avenue North where Crossroads Campus, a nonprofit centered around pets, is targeting groundbreaking early next year.
The space will include a bakery, a cat cafe, a pet salon and grooming school, office space and 18 affordable housing units.
Crossroads Campus has operated at 707 Monroe St. in nearby Germantown since March 2013. It offers pet retail products, pet adoptions and professional grooming, and works with area nonprofits to help young people find housing, using pets as a healing influence.
"We've never been able to have a good cat adoption space over here in Germantown because the space is so small," Executive Director Lisa Sitar said. "We're excited to become part of the community, and I think the project will really transform that corner."
Crossroads Campus acquired the 1.09-acre property for just over $1 million in January and plans an $8 million investment altogether, funded in part by the Tennessee Housing and Barnes Housing trust funds. The state fund serves low-income elderly and special needs Tennesseans while the Barnes Fund goes toward affordable housing development in Davidson County.
Phase one includes the renovation of an existing building at 1603 Buchanan St., which will be used for a coffee shop and cat cafe upstairs and a bakery and commercial kitchen in the basement.
Adjacent to it, construction of a new three-story building is slated for 1757 16th Ave. N. The first floor will include program and office space for Crossroads and meeting space that will be shared with the community. The top two floors will be affordable housing residential studios.
A final phase will include a new building at 1601 Buchanan St. where Bud's Curb Market is.
"We're super excited about coming to the neighborhood," Sitar said. "I feel like our project is aesthetically pleasing and will serve the neighborhood. We have a commitment to what's good about the Buchanan Street area and obviously cleaning up the neighborhood."
Crossroads' developments will join a newly developed one-story commercial building a few blocks down at 1204-1206 Buchanan St. Updates to that site's existing building are expected to conclude in spring 2021, said lead developer Kelly Bonadies, who is moving her Bonadies Urban Development headquarters there from its current location at 1714 10th Ave. N.
Centric Architecture and Don Hardin Group, a general contractor, are among other tenants who plan to move into the building. Both are also working on its renovation. A permit, valued at $1.4 million, has been issued to allow for the upgrade.
The building will include restaurant space as well as four office suites with separate entrances.
"Not only are we relocating our physical office, but we're excited to become investors and community partners in this amazing neighborhood," Centric Architecture posted on its website. "We're striving to be more than just another business on the street, but to also have a positive impact on where we are."
The building will also provide a subsidized space for a community-oriented organization with close ties to the neighborhood, Bonadies said. Gideon's Army is slated to take the spot.
"We've worked to offer the subsidized space at a fraction of the rest of the building's rates, and at whatever rate can be afforded by the organization," Bonadies said. "This is what we hope to do in every multi-tenant development, and hope to encourage others to do the same."
This month, the owner of Alkebu-Lan Images bookstore on nearby Jefferson Street in North Nashville bought a commercial building at 1410 Buchanan for $1.4 million, Davidson County Register of Deeds information shows.
L&P Silkscreen Printing, which has been in the 12,743 square-foot-building for decades, is closing upon the owner's retirement.
"Great to see buyers with ties to North Nashville," Bonadies said. "Looking forward to seeing what they plan, although sad to see long-time business LP leave."
Super high-end luxury homes?
On the residential front, Nashville-based development company and general contractor Jackson Builders is erecting apartments, townhomes and single-family homes.
Five three-story townhomes with rooftop decks and downtown views are going up on 12,600 square feet at 1106 Buchanan St. Nashville-based Cephas Properties LLC, whose managing partners are Jeff Gaw and Jody Roberts, purchased the lot for $500,000.
The four-bedroom, three-and-a-half bath units with two-car garages are on track to be complete by February.
A two-story mixed-use building is also planned three blocks down in an empty fenced-off lot at 1402 Buchanan St. Jackson Builders, owned by Roberto Gutierrez, paid $400,000 for the 16,000-square-foot property last year and plans to complete construction in winter 2021.
The building will offer a ground-floor restaurant, potentially fast-casual, and nine residential units on the second level with private off-street parking.
Jackson Builders also has about 30 single-family homes (most of them tall and skinnies) going up in the area and another 50 scheduled over the next two years.
The oldest homes in the area, Ewing said, date back to 1890s but most remaining ones are from the 1920s and 1940s.
Gutierrez said he likes to work in the area because some homes have been left in disrepair, which keeps land prices more affordable.
"We don't like doing super high-end luxury stuff, so that's why we try to stay over here," he said.
The homes he builds there sell for an average of around $400,000. Gutierrez said if he was building in an area such as the city's Nations neighborhood he'd have a tough time turning a profit unless he priced homes in the $700,000 range.
Gutierrez, a Nashville native who has lived on 16th Avenue North since 2016, said he'd like to get out and enjoy his neighborhood but finds himself wandering to Germantown on the weekends.
"I've seen the houses we've bought," he said. "Many are drug houses and to be able to clean up the area and get those people causing trouble out I think is something the new and old residents can see as a good thing."
"I'd love for one day that whole corridor to be vibrant. It's going to change. For sure."
'You have to learn to live with it'
Pat Thomas grew up in North Nashville, graduated from Glencliff High School and has lived on 14th Avenue North his whole life.
Over the past few years, the 56-year-old man said, he's seen builders continually tearing down historic single-family homes and putting up two new tall builds in their stead.
"It's going to turn into North Meade," said Thomas, comparing the area to the wealthier neighborhood of Belle Meade. "The only thing around here that's going to be left is the Jewish cemetery (at the corner of Clay Street and Dr. D.B. Todd Jr. Boulevard). All the new houses going up, taxes going up — it's a force-out. These people are on fixed incomes, can't afford what they're paying now — keeping up with their roofs and paying to keep their yard neat. And after they sell their house, where are they going to go?"
His fear of Black displacement is well-founded. In late 2017, The Tennessean analyzed census data and found some historic African American neighborhoods in Nashville's urban core had experienced declines of more than 20 percentage points in their black populations over the past decade.
"I don't like it, but you have to learn to live with it," Thomas said. "I'm happy that they are upgrading it and making it better, but it's driving a lot of good people from their homes. The good thing about it is it's pushing drug dealers and gang members out."
His 79-year-old mother, Margret Thomas, has also lived on 14th Avenue North since she was 19 in her home where she raised four children.
A former nurse's aide at Vanderbilt University Medical Center and Saint Thomas, she and her late husband previously owned several commercial buildings in the area. They bought the home the 1960s for about $5,000. It's since been remodeled and today it's worth close to $300,000, an online Redfin estimate shows.
"I want to see new stuff coming in the neighborhood, but I think it's too much commercialism," she said. "There's nothing wrong with the new builds going up but I would like to see more private homes than a lot of apartment buildings or condos."
The eateries, she welcomes.
"The restaurants are fine. I have to leave the neighborhood to go eat, so that would be nice. But they're not going to be attractive to everyone though. Some people are not used to eating at better restaurants."
Metro Nashville Councilman Brandon Taylor, who represents District 21, said while he welcomes growth, he hopes to also preserve the community's heritage as a hub for black life, culture and business.
"It's exciting to see the growth in North Nashville's business corridors," said Taylor, who defeated incumbent Edward Kindall in 2019.
Taylor said his constituents have reached out to him about the importance of preserving historic buildings and landmarks, which he says is possible with a responsible and thoughtful approach to development.
"We are seeing empty lots and vacant buildings as a safe haven for illegal activity, and I'm working with neighbors and property owners to develop housing, retail, such as grocery stores and restaurants, and increased green space in these areas. We are also working to add much needed infrastructure updates so we are in the position to better receive the developments coming to North Nashville."
"These developments will potentially provide jobs for neighbors and housing for families," Taylor said. "However, one of my priorities is to prioritize smart and responsible development, development that will not encroach on the character and history of our community."
Natalie Neysa Alund is based in Nashville at The Tennessean and covers breaking news across the south for the USA TODAY Network. Reach her at nalund@tennessean.com and follow her on Twitter @nataliealund.


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Irreversible decisions: Yeast, wine, coffee, chocolate, and control
Columns, Features, Wine Science
2007 Dr. Konstantin Frank Johannisberg Riesling Dry
High quality sake in post-tsunami Fukushima
W. Blake Gray
This should be a success story.
In 1990, Fukushima prefecture got zero gold medals at the Japan sake awards. This was just when Japanese consumers started to pay more for premium sake, so the local government took the embarrassing shutout seriously.
Fukushima's government started a sake academy to teach brewers to make better ginjo sake. (At least 40% of the rice grains are milled away for "ginjo"; for "daiginjo" it's 50%.) Scientist Kenji Suzuki created a "ginjo manual" for the region's breweries, re-engineering the clean, aromatic, long-finish profile that the national judges like. It wasn't anywhere near as simple as "grow good rice."
Kenji Suzuki with cultured yeast
Suzuki isolated two aromatic yeasts and recommended that everyone use them. He recommended a particular strain of koji mold for transforming rice starch into sugar, and an ideal temperature for the mashed rice at a crucial phase. He developed a Fukushima strain of rice, Yume no kaori ("dream fragrance") by crossing strains from Yamagata to the north and Hiroshima to the east.
In essence, Suzuki created a regional flavor, something like what Cistercian monks did in Burgundy when they settled on Pinot Noir for red wines. But the monks needed generations. Suzuki realized success in just 16 years.
By 2006, Fukushima won 23 gold medals at the same competition, the most of any prefecture in the country. Fukushima has since won the most gold medals five more times, including the last four years in a row.
Success! But there's one rather enormous problem. Consumers are now wary of Fukushima sakes, not because of their quality, which is impeccable, but because of the nuclear reactor meltdowns of 2011 that released radioactive material into the atmosphere.
In the immediate aftermath of the meltdowns and the devastating tsunami that caused them, Japanese consumers came to the support of local farmers.
"Right after the tsunami, the governor of Tokyo said it was a time of mourning and people shouldn't celebrate cherry-blossom viewing," said Inokichi Shinjo, chairman of the Fukushima Sake Brewers' Association. "But a brewer from (neighboring) Iwate (prefecture) did a Youtube video where he told people that if they wanted to support the region, they should buy sake. People rushed out to buy sake and brewers from Tochigi and Iwate sold out. But by the harvest of 2011, people started to worry about radiation. A grocery store in Tokyo said it would only sell Fukushima sake if it is tested for radiation."
Fukushima prefectural officials tried showing on maps how most sake comes from the west of the prefecture, separated by mountains from the nuclear plants to the east. How wind patterns kept radioactive materials away from the rice paddies. They became experts on the language of radiation: how many becquerels are considered safe in drinking water in the European Union, or the US. Which types of radioactive materials reach half-life fastest. They could, and did, talk your ear off about why their sakes are safe.
Still sake sales slumped. So they set up an extremely expensive program. Every bag of rice in Fukushima prefecture, either for consumption or for making sake, is now tested for radiation. Every one. Every bag of rice has a unique bar code and anyone can look up the radiation results online. The testing is paid for by the prefecture, which gets compensation money from Tepco, owner of the nuclear plants. None of the neighboring prefectures do this, and some were at greater risk of contamination. But in Japan, the name Fukushima, for a generation at least, will always conjure images of first the horrific tsunami and then the nuclear meltdowns. To replace those with the image of delicious sake will take some doing.
What I found, in visiting Fukushima last year, was sake that ranged from good to superb. It's easy to focus on the most expensive, most delicate sakes. What impressed me most were some of the cheapest. At dinner one night, we had a 180 ml bottle of nama (unpasteurized) sake from Suehiro that cost 400 yen (about $4 US). It sat on the table with, and emptied just as fast as, the highest-end sakes from three other brewers. Shinjo, who is also president of Suehiro, said he makes the sake from government-grown rice and hasn't raised the price in 30 years. A generation ago it was a splurge, I suppose, but now it's one of the best values you'll find.
Sprinkling koji on the rice
But even before the tsunami, Fukushima determined its path to be excelling at higher-end ginjo and daiginjo sakes. Japanese consumers don't drink as much sake as they did in the 1980s, so volume sales aren't as good a path to financial success as making expensive brews. And the string of gold medals shows that Fukushima does these as well as anyone.
Daishichi Masakura Junmai Ginjo was one of the best sakes I had last year, with lively peach character and satisfying richness. Daishichi breaks the Fukushima formula by using only the ancient kimoto method, and relying on native yeast, to make its sakes. "We get such strong deep flavors because only the strongest yeast will survive being in the environment with the other microbes," said Daishichi president Hideharu Ota.
In contrast, Niida Honke followed the formula with its Shizenshu Junmai Ginjo to win a gold not only domestically, but in the sake category at the International Wine Challenge. But I preferred the brewery's less expensive Bangai Kimoto Junmai Ginjo for its fresh melon and citrus peel flavors. Unusually for Japan, Niida Honke uses only organic rice. "We don't actually ask local farmers to grow organic," 18th generation brewer Yasuhiko Niida said. "Instead, they come to us."
Yuri Hayashi and Yoshimasa Sakai
Perhaps the best story from Fukushima is from Tsuru no E, a small brewery now run by the unusual team of brewmaster Yuri Hayashi and her husband Yoshimasa Sakai. Female brewers are still rare in Japan, but it was Hayashi's family's company.
Hayashi and Sakai met in college in Tokyo, where they studied brewing. Sakai, who went to work for a human resources company after graduating, said he chose that major because "I liked to drink sake. I didn't want to study business or the economy or politics." He said, "We weren't dating at college. We were just classmates. Then I came to work here. I realized we were always fighting." So naturally they decided to get married. Their sakes are clean, fruity and pretty: the taste of Fukushima.
Japansake
What We're Drinking – 2013 Shafer Red Shoulder Chardonnay
Hooked on Haggis
Wine writer W. Blake Gray is Chairman of the Electoral College of the Vintners Hall of Fame. Previously wine writer/editor for the San Francisco Chronicle, he has contributed articles on wine and sake to The Los Angeles Times, Food & Wine, Wine & Spirits, Wine Review Online, and a variety of other publications. He travels frequently to wine regions and enjoys coming home to San Francisco.
Helping Japan, One Glass at a Time
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02/21/2020 @ Basement Club – Talk
Basement Club
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February's Playlist
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"As an avid drum machine lover and collector I'm typically skeptical of something that claims to emulate vintage rhythm machines. I must say Heartbeat is stunning, less emulation and more making the vintage modern."
BT a.k.a Brian Transeau. American music producer, composer, technologist, audio technician, multi-instrumentalist.
"Heartbeat makes it clear that dsp drum modeling has come a long way. There's a very strong satisfying harmonic hardware like character to these drums."
"Heartbeat is deep, punchy and classic futuristic,. It's a one-stop shop for a solid drum beat."
Christoffer Berg. Programmer, mixer and producer for Depeche Mode, The Knife and Fever Ray.
Classic drum synthesis is back with a vengeance! Flexible and tweakable—Heartbeat is your source for familiar, yet unique, drum machine sounds. Use the built-in effects and the innovative Auto Layer Machine to take your beats to unexpected places. Or use Heartbeat's instrument and EQ modules in Modular.


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Rooster Day Art Exhibit opens
Published 12:48 pm Tuesday, March 27, 2018
The Rooster Day Art Exhibit is open until April 29 during operations hours of the hospital.
ABOVE: Katy Jordan, left, and Joy Gunner examine art at Rooster Day's Art Exhibit opening reception at Bryan W. Whitfield Memorial Hospital on March 18. Kirk Brooker, operations director for the Marengo County Historical Society, said, "This was the first year, but we're super excited about the work that was on exhibit, and we look forward to an even bigger exhibit next year." The exhibit is open until April 29 during operations hours of the hospital.
Lynda Tucker
RIGHT: Lynda Tucker stands next to her four photographs that are on currently on display. Tucker took all of her pictures with a Galaxy S8 cell phone camera, and she said that the only editing she did was cropping. Tucker said that she was excited to see her photographs displayed. "I like it. They look better framed."
(This article originally appeared in the Wednesday, March 21 issue of the Demopolis Times.)


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NGINX Plus R7 Brings HTTP2 Support to Servers
Wednesday Sep 16th 2015 by Sean Michael Kerner
Latest release of commercially supported web server improves security and performance.
Nginx Inc today released the second milestone update so far in 2015 of its Nginx Plux web server. The Nginx Plus R7 update follows the the R6 update that debuted in April.
The Nginx Plus web server first emerged in 2013 as a bundled enterprise package that expands on the capabilities of the open-source Nginx web server.
Among the big new features in Nginx Plus R7 is full support for the new HTTP/2 web standard. HTTP/2 is the next generation of the HTTP protocol that powers the modern web.
On February 18, Mark Nottingham, chair of the IETF HTTP Working Group, declared that HTTP/2 is done. Nginx has been supporting the Google-backed SPDY protocol for several years and is already well positioned for HTTP/2, which is based in part on SPDY.
While the commercial Nginx Plus R7 web server now has official support for HTTP/2, the open-source edition does not, yet. In a comment on the Nginx site, Nginx Digital Marketing Manger Patrick Nommensen wrote that HTTP/2 support in the open-source Nginx is coming soon.
"HTTP/2 will be released into NGINX open source following today's announcement of NGINX Plus R7," Nommensen wrote.
Thread Pool Optimization for Even Better Performance
HTTP/2 offers the promise of some incremental performance gains, but Nginx is going beyond that by supporting new thread pool optimization that could increase performance by a factor of 9x.
"Thread pools is a great feature that pushes NGINX to new levels of performance by eliminating one of its well-known and long-time enemies – blocking – especially when we are speaking about really large volumes of content," Nginx developer Valentin Bartenev wrote in a blog post.
From a security perspective, Nginx Plus R7 introduces load balancing and TCP proxy features that can enhance IP address-based access control. Nginx is now also adding NTLM authentication support to help enable connectivity to Microsoft applications.
"You can now confidently deploy NGINX as a proxy, load balancer, and HTTP/2 accelerator in front of Microsoft applications, supporting the widest possible range of client devices," Owen Garrett, head of product at Nginx, wrote in a blog post.
Nginx Plus has always been about improved monitoring and dashboard visibility, and those areas are being further improved in the R7 release. In particular, the Dashboard now has a new overview tab that provides a summary of web server activity, with an integrated tab view for additional deeper level visibility.
Sean Michael Kerner is a senior editor at ServerWatch and InternetNews.com. Follow him on Twitter @TechJournalist.
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Have you heard of Rosalind Franklin?
Following Saturday's performance, there will be a panel discussion about women's careers in the sciences past and present, inspiring the next generation of STEM talent!
A riveting and moving portrait of Rosalind Franklin, one of the great female scientists of the twentieth century, and the often overlooked role she played in the discovery of the double helix. Presented as a reader's theatre performance, Photograph 51 masterfully weaves the thriller-like twists and tension in the race to discover the structure of DNA with lyrical moments of awe and scientific wonder, while revealing the unsung achievements of this trail-blazing, fiercely independent woman.
CARYL BUTTERLEY (director) was a working producer, director, and actor in New York City for over 20 years before relocating to Jacksonville. While in New York, she spent a season with the Manhattan Theatre Club as assistant production manager, working on the Broadway production of A Small Family Business, as well as the Off-Broadway productions of Lips Together Teeth Apart, Sight Unseen, The Extra Man, and more. Her NY directing credits include Loves and Other Losses, Fall River Tragedy, Dr. Jekyll and Mr. Hyde, When Michael Died, and a concert performance of the new musical Fallen Angel at Bay Street Theatre, featuring the legendary Phoebe Snow. She also served as Artistic Director on the symphonic recording of the new musical Eagle Song, and produced and directed the cabaret series Downtime at Eighty-Eights. Caryl studied theatre at the University of Minnesota, acting with Sandy Dennis at HB Studio, musical performance with Betty Buckley, and is a former fellow with the Eugene O'Neill Theater Center. Since moving to Jacksonville, Caryl's work with the local theatre community has included directing The Sugar Bean Sisters, Once On This Island, Love, Loss, and What I Wore, and On The Verge at All Beaches Experimental Theatre, and Fahrenheit 451 and A Picasso with The 5 & Dime, of which she is a founding member.
KAREN KONZEN (Rosalind Franklin) has a long list of stage credits including lead roles in A Picasso (The 5 & Dime), On the Verge and Macbeth (Atlantic Beach Experimental Theatre), The Fox on the Fairway and Conversations After a Burial (Players by the Sea), Tea and Sympathy (Theatre Jacksonville), and House of Blue Leaves (Limelight Theatre). She is also an accomplished film actress whose credits include the lead role of Maya "Thunder" Brown in Thunder (official selection of the Sunscreen Film Festival), the principal role of Helen in Cry for the Bad Man (starring Camille Keaton), and the lead role in two of filmmaker Kendall Brunson's most recent shorts Grab This! and Box (featured in the Loft Film Festival). In addition to her acting resume, Karen has an MS in Biology from the University of Mississippi, with a background in molecular biology and genetics.
CHRISTOPHER WATSON (Maurice Watkins) has been seen as Professor Cope in The Explorer's Club, Felix Geisle in The Game's Afoot, and Robert Lambert in Boeing Boeing at Theatre Jacksonville; and as Lord of the Underworld in Eurydice and Frederick/Phillip in Noises Off! at Players by the Sea.
JOSHUA TAYLOR (Ray Gosling) is a Jacksonville native who received his theatre degree from Florida School of the Arts. He most recently portrayed Joe Farkas in Theatre Jacksonville's Last Night of Ballyhoo. Additionally, he has brought to life the iconic Captain Hook in Peter Pan, and originated the role of Checkley in the world premiere of St. George & The Dragon, both under the direction of Jason Woods. He has also worked with Jacksonville Beach's Players By The Sea in Bloody Bloody Andrew Jackson, The Merchant of Venice, A Moon for the Misbegotten, Parade, Bill W. & Dr. Bob, and A Perfect Ganesh, and premiered Hair in Amelia Island. Other past performances include roles in Twentieth Century, Night of January 16th, Dearly Beloved (Best Supporting Actor Award), Our Town, and Romeo & Juliet at Theatre Jacksonville. He is also a founding member and artistic board member of The 5 & Dime, and has appeared with them onstage in Machinal, Bent, Elegies for Angels, Punks, and Raging Queens, and 33 Variations.
CHRISTOPHER P. FARRELL (Francis Crick) has been fortunate enough in the last few years to direct Aaron Posner's Chekov deconstruction, Stupid F*cking Bird, the rock musical Hedwig and The Angry Inch, twice, and Evil Dead: The Musical!, all of which were sold out productions. This is his second recent return to the stage as an actor, and is paired again with Mr. Christopher Watson, who he worked with in the staged reading of BENT.
RICH PINTELLO (James Watson) has most recently appeared in productions of Noises Off, Mama Mia, Venus in Fur, Arsenic and Old Lace, The Crucible, and Mass.
MITCHELL WOHL (Don Caspar) was last seen in the Island Theater production of The Crucible as Reverend Hale. Other recent credits include Love's Labor's Lost (King Navarre), City of Angels (Stine), The Hot l Baltimore (Suzy's John), Into the Woods (Cinderella's Prince), Godspell (John the Baptist/Judas), The Miracle Worker (James Keller), and La Caroline at MOSH (Jean Ribault).
The Actors Collective is the brainchild of Caryl Butterley. Our mission is to partner with local organizations to present theatrical storytelling that compliments their missions and areas of focus while creating opportunities for actors to be compensated for their work. Photograph 51 is our debut performance.


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In Defamation Lawsuit, a Trump Donor Acknowledges Providing Chinese Execs "Access" in US
According to her lawyer, Cindy Yang "realized the premium attached to a picture and story that her clients would cherish."
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Cindy Yang poses with Donald Trump.Cindy Yang/Facebook
Last week, Li "Cindy" Yang, the Florida massage parlor entrepreneur and Trump donor who has been part of the recent controversy involving Donald Trump's private resort, Mar-a-Lago, filed a defamation lawsuit against the parent company of the Miami Herald. The suit focused on a Herald story that had placed Yang in the spotlight by reporting she had posed for a photo with Trump at his West Palm Beach golf club during a Super Bowl party in February and noting that Yang had founded the day spa where Robert Kraft, the owner of the New England Patriots, had been busted for allegedly soliciting prostitution. (Yang sold that particular spa years earlier.) The suit claims the newspaper published false statements about Yang and her business that suggested illegal conduct had occurred in her spas. But the suit also contained a surprising passage that acknowledged that Yang had also run a business that provided Chinese executives "access to American business and political culture"—and this included entry to events at Mar-a-Lago.
After the Herald story appeared in March, Mother Jones reported that Yang owned a firm that had offered to sell Chinese clients access to Trump and his family via visits to Mar-a-Lago. The company, GY US Investments, noted on its website—which has since been taken down—that its business consulting services addressed clients looking to make high-level connections in the United States. On a page displaying a photo of Mar-a-Lago, the firm said its "activities for clients" included offering them "the opportunity to interact with the president, the [American] Minister of Commerce and other political figures." The company boasted it had "arranged taking photos with the President" and suggested it can provide clients with access to a "White House and Capitol Hill Dinner."
Weeks after that story was posted, Yang's attorney, Evan Turk, contacted Mother Jones and threatened a lawsuit, claiming the article defamed Yang. In a letter, Turk wrote that the Mother Jones article inaccurately reported that "Cindy Yang runs an investment business that has offerred [sic] to sell Chinese clients access to Trump and his family. This is nothing but false conjecture based on her company's website that offerred [sic] business assistance in America to potential Chinese clientele; a travel package." (No lawsuit has yet been filed.)
Yet in the lawsuit Turk dropped on the Herald, he stated that Yang was in the access business. A paragraph citing her entrepreneurial talents explained how GY US Investments was founded and operated:
YANG came to the United States [from China] in search of a better life. She realized the American dream through her entrepreneurial acumen. She created GY US Investments which provided access to the American business and political culture through her understanding of opportunity. GY US Investments was a travel package for Chinese businessmen and philanthropists to travel to America. She realized the premium attached to a picture and story that her clients would cherish, while at the same time, supporting charitable causes. She had an opportunity to share her understanding of the Palm Beach charity scene and events publicly promoted at Mar-a-Lago (amongst others). YANG's business model relied upon her reputation and relationships she had painstakingly established during her time spent in the Palm Beach County area.
This complaint together with the GY US Investments website support the conclusion that Yang, who raised money for Trump, used her connections to bring Chinese executives into proximity of the president and Trump family members at his club and perhaps elsewhere.
Yang's lawsuit maintains that due to Herald article, she
is no longer able to maintain her current employment as a direct result of the defamatory statements, is no longer able to attend Mar-a-Lago [events], lost her role as an executive volunteer with the Republican Executive Committee, is undergoing psychiatric treatment to cope with the unconscionable fake allegations, suffers from significant headaches, cannot sleep and was forced to relocate as a direct result of the shame she has had to unnecessarily endure.
In the filing, Turk, a supporter of Roger Stone, the longtime Trump adviser who was indicted by Special Counsel Robert Mueller and charged with lying to Congress, asserts the Herald story was a hit job that "paints a picture that President Trump is corrupt, and YANG is one of his cronies… The article reads as if it is the playbook for the anti-President Trump manifesto."
In response, the newspaper's managing editor, Rick Hirsch, said, "We stand behind our stories, which accurately reflect publicly available documents and investigations of spas run by Cindy Yang and her family." And a lawyer for the Herald noted that the lawsuit could entail taking depositions from Trump's family members who appeared in photos Yang posted online.
The lawsuit focuses on the Herald's reporting that suggested "acts that promote prostitution" (as the filing puts it) occurred at spas associated with Yang. The complaint maintains the Herald article "implies…that YANG promoted prostitution."
Yet Yang's legal missive does not take issue with additional reporting from the Herald (which mirrored Mother Jones') regarding Yang's other line of work: offering access to Mar-a-Lago. The disclosure of this activity led to reports of others selling Chinese execs entry to Trump's private club—and a controversy that has prompted counterintelligence concerns about security at Mar-a-Lago. And Turk's filing does not address a more recent Herald article reporting that the FBI has been investigating Yang for possibly funneling money illegally from China into Trump's reelection campaign. The US attorney's office in Miami would not comment on whether there was such an investigation. Karyn Turk, Evan Turk's wife and a spokeswoman for the law firm, did not respond to a request for comment.
The Mar-a-Lago scandal is certainly bigger than whatever happens with Yang. After a Chinese woman named Yujing Zhang sneaked into Mar-a-Lago last month—perhaps with the participation of Charles Lee, a mysterious Chinese businessman—the Herald reported that federal investigators have been probing possible Chinese intelligence operations targeting Trump and Mar-a-Lago. The story triggered by Yang's photo with Trump now extends far beyond her day spa business.


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Harry potter and the cursed child book not play
Posted on 22.05.2019 by Jason H.
Your Questions Answered | Harry Potter and the Cursed Child London
Hard to judge this one, but compared to matilda or ground hog day this play was so, so The acting was patchy, some good some not so, special effects were very good, but the play dragged in parts and could easily have been shorter. We did enjoy it, and would recommend it for any potter fans; just ignore the plot holes : Biggest issue was the seats, we were in the grand circle row c; but still couldn't see all of the stage, spent a lot leaning round trying to see, the tickets were non restricted view and full price, so be warned. Food prices etc The only word to describe this play is amazing. I grew up reading all the Harry Potter books and being obsessed with the story.
File Name: harry potter and the cursed child book not play.zip
Emma Watson Burst Into Tears When She First Saw Hermione In 'Cursed Child' - Entertainment Weekly
Click here to download our Gift Certificate. Please note that we reserve the right to refuse admission to customers with tickets purchased on re-sale websites.
Subscribe Now Subscribe Now. Go see. Harry: Albus Severus, Tony and Olivier award-winner Jack Thorne. Written by BAFTA, you were named after two headmasters of Hogwar.
RowlingJohn Tiffany. The most insightful comments on all subjects will be published daily in dedicated articles. Excellent New York Times.
Behind on his paperwork, of Dark Magic, just stop. Stood in line, and all of which were thought destroyed, and went home. So. Albus: Slytherin is the House of the snake.
View offers. Polish 1. Ok, so it took a whole day online to get our tickets and 14 months until the show. Never ever would a former or proper Death Eater do that.
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Shape Created with Sketch. I didn't want more. Please also note that the appearance of any particular cast member cannot be guaranteed in the unforeseen event of illness or other circumstances beyond our control. Every week we release 40 tickets for every performance the following week, for some of the very best seats in the theatre. Already pplay.
Rowling , John Tiffany , and Thorne. The play opened on Broadway on 22 April at the Lyric Theatre , with previews starting on 16 March The play is marketed as the eighth official story in the Harry Potter series. The play received enthusiastic critical reception. At the Laurence Olivier Awards , the London production received a record-breaking eleven nominations and won another record-breaking nine awards, including Best New Play.
Feb 10, owned. Retrieved 20 November I didn't hate it. Rowling created.
The characters were utterly lifeless. Retrieved 7 March Their friendship was inspiring until the very last heartbreaking page. Retrieved 7 November .
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2 thoughts on "Good Play, not great - Review of Harry Potter and the Cursed Child, London, England - TripAdvisor"
Eneas M. on 27.05.2019 at 10:08 said:
Harry Potter and the Cursed Child book gets edition for dyslexic readers I knew the book was based on the play, what I didn't know is that it.
Carola V. on 25.05.2019 at 17:03 said:
Based on a story by J. Or the family drama between Harry and his son, Albus.
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Background: Primary total knee replacement is a common operation that is performed to provide pain relief and restore functional ability. Inpatient physiotherapy is routinely provided after surgery to enhance recovery prior to hospital discharge. However, international variation exists in the provision of outpatient physiotherapy after hospital discharge. While evidence indicates that outpatient physiotherapy can improve short-term function, the longer term benefits are unknown. The aim of this randomised controlled trial is to evaluate the long-term clinical effectiveness and cost-effectiveness of a 6-week group-based outpatient physiotherapy intervention following knee replacement. Methods/design: Two hundred and fifty-six patients waiting for knee replacement because of osteoarthritis will be recruited from two orthopaedic centres. Participants randomised to the usual-care group (n = 128) will be given a booklet about exercise and referred for physiotherapy if deemed appropriate by the clinical care team. The intervention group (n = 128) will receive the same usual care and additionally be invited to attend a group-based outpatient physiotherapy class starting 6 weeks after surgery. The 1-hour class will be run on a weekly basis over 6 weeks and will involve task-orientated and individualised exercises. The primary outcome will be the Lower Extremity Functional Scale at 12 months post-operative. Secondary outcomes include: quality of life, knee pain and function, depression, anxiety and satisfaction. Data collection will be by questionnaire prior to surgery and 3, 6 and 12 months after surgery and will include a resource-use questionnaire to enable a trial-based economic evaluation. Trial participation and satisfaction with the classes will be evaluated through structured telephone interviews. The primary statistical and economic analyses will be conducted on an intention-to-treat basis with and without imputation of missing data. The primary economic result will estimate the incremental cost per quality-adjusted life year gained from this intervention from a National Health Services (NHS) and personal social services perspective. Discussion: This research aims to benefit patients and the NHS by providing evidence on the long-term effectiveness and cost-effectiveness of outpatient physiotherapy after knee replacement. If the intervention is found to be effective and cost-effective, implementation into clinical practice could lead to improvement in patients' outcomes and improved health care resource efficiency.
This paper summarises independent research funded by the National Institute for Health Research (NIHR) under its Research for Patient Benefit Programme (Grant Reference Number PB-PG-1013-32010). The views expressed are those of the authors and not necessarily those of the NHS, the NIHR or the Department of Health. The research team acknowledges the support of the NIHR, through the Comprehensive Clinical Research Network. EM is partially supported by the National Institute for Health Research (NIHR) Collaboration for Leadership in Applied Health Research and Care West (CLAHRC West) at University Hospitals Bristol NHS Foundation Trust.
The funding body had no role in the design of the trial, the writing of the manuscript, or the decision to submit the manuscript for publication.