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Humanstein Published October 17, 2018
Women in horror is a hot topic today. While discussions of female representation in film directing has long been a topic of conversation on Film Twitter and elsewhere, an interview with horror producer du-jour Jason Blum opened a fresh dialogue on the subject this morning.
In the interview, conducted by Matt Patches, Blum states, "There are not a lot of female directors period, and even less who are inclined to do horror." On at least one of those counts, he's right, provided you mean "directors working in the top grossing films dominated by big studio pictures" when you say "directors".
The state of things when it comes to women in the director's chair is dreadful and the numbers back it up. As indicated in the Polygon piece, a study of the top 1,100 grossing films released between 2007 and 2017 found that "95.7 percent of all directors were male and 4.3 percent were female".
That's abysmally low. Anyone that pays attention to indie film knows, however, that it doesn't paint an accurate picture of who is out there actually making interesting and unique films, just of who is being allowed to make ones that get massive studio support and bring in huge swaths of money. There's not a lack of female filmmakers eager to make films, there's a lack of opportunity being provided to female filmmakers that are already doing so, and even worse a lack of opportunity for female filmmakers who haven't yet gotten their chance.
Claire Denis directing
The real issue at hand here is that studios of all sizes are less likely and less inclined to offer their projects, particularly those with guaranteed distribution and glitzy marketing budgets to women. This issue is larger than Blumhouse and its one that I feel pretty strongly about.
Put another way by Alejandra Gonzalez (@Sick__66) on Twitter, "The problem is that [women] are not even considered a majority of the time to PROVE that capability and THAT is shitty. If a man is more suitable and qualified for a job, fine. But let me show you what the fuck I can do." Blum either articulated his sentiment poorly or he's not paying quite as close of attention to the world of indie film as we'd hope.
While Blumhouse has put out three films helmed by female directors, none of them have been given a theatrical release and while each of them falls into the "genre" category, none of them can accurately be described as horror films. I'm inclined to believe Blum's claims that he's actively seeking female filmmakers to helm horror projects but I'm also inclined to believe that he's maybe not looking all that hard.
There are and have always been plenty of women working in horror and doing great work. It shouldn't surprise anyone that when given the opportunity to, as Alejandra put it, show us what the fuck they can do, female filmmakers often make stellar, memorable work.
So without any further discussion, let's take a look at a small smattering of films that absolutely prove that.
Raw (2016)
Directed by: Julia Ducournau
Julia Ducournau's directorial debut is a taut, moody coming-of-age drama. It also happens to be about cannibalism. When examined more closely this grisly and beautiful horror drama is also a nuanced and atmospheric exploration of female sexuality, similar in a way to what you'd see if you View the sexiest HQ videos at hdpornvideo.xxx. the pressures we place on children, the dizzying hedonism of the modern world, and the horrors of the occulted changes that come with the territory of growing up, particularly for young women. Coming of age is a common trope in film. It's often one of the most horrific periods of a young person's life, but rarely is it treated as such, and it's rarer still to have a story of a young woman's coming of age actually be told by a woman.
Featuring a stunning, restrained performance by Garance Marillier as Justine, Raw delivers on its promise of bloodshed and shock but also serves up social commentary and a symbolically rich tale of hunger and drive. Such a specific, peculiar, and powerful film is well-served by the strong directorial sensibilities and the authorial voice that Ducournau at turns elegantly and brutally employs.
Raw is available to stream on Netflix
American Psycho (2000)
Directed by Mary Harron
I'm not here to dither with you as to whether American Psycho is a horror film. I am, however, keen to shine a light on the film as a fascinating feminist dissection of 80s consumerism, toxic masculinity, and dissociation both by its main characters and the women that are in many ways reduced to set-dressing for Bateman's horrific shrine of male fantasy and self-gratification. Screenwriter Guinevere Turner, and in turn director Mary Harron, took Bret Easton Ellis' controversial and often protested novel and were able to turn it into a deliciously macabre and equally critical meditation on men's violence, both literal and psychological, towards women and towards one other.
In Turner's words, "I very much think it's a feminist film. It's a satire about how men compete with each other and how in this hyper-real universe we created, women are even less important than your tan or your suit or where you summer and to me, even though the women are all sort of tragic and killed, it's about how men perceive them and treat them."
American Psycho can be streamed via Shudder or with an Amazon Prime or Hulu subscription
Always Shine (2016)
Directed by Sophia Takal
One of the lesser-seen films on this list, Sophia Takal's Always Shine is none-the-less one of the most interesting. In the great tradition of Bergman's Persona and Lynch's Mulholland Drive, Always Shine is a tale of female friendship gone sour, or at least gone strange. The film follows two friends as they take a trip to Big Sur to reconnect. Both women are actresses of varying success and it has been a long time since they really connected and spent much time together. You get a distinct feeling that they used to be very close, their relationship possessing that unique intimacy that only friends who were once arguably family can muster.
Unfortunately, as is so often the case, jealousy and infighting rear their unwelcome heads and the reunion takes a turn into the horrifying and eventually into the surreal.
While stories of male ambition, and strained friendship among men, are common in film there are far fewer films that turn their eye towards female ambition or female relationships troubled by similar things. Those that do, namely the aforementioned Mulholland Drive, are most often crafted by men who do not have an innate understanding of these relationships, namely because they haven't truly been part of one. Friendship on film is something that's difficult to get right and while I cannot personally speak to its sincerity here, Takal's film feels distinctly female and distinctly honest. As a result, the depth and surreality that we are treated to also rings true and is all the more upsetting as a result.
Always Shine is a Shudder streaming exclusive
Girl Walks Home Alone At Night (2014)
Directed by Ana Lily Amanpour
Widely known as "the first Iranian vampire western", Ana Lily Amanpour's feature debut is a stylish, often terrifying horror yarn about a "lonesome vampire" in the fictional Iranian ghost town, Bad City. The film is shot like a messy, beautiful fever dream and we're treated to one hell of a soundtrack as we navigate our way through the twists that Amanpour weaves into her vampire narrative.
A young Iranian woman who feels at home on a skateboard and listens to indie rock is hardly the classic image of a vampire, and we're not that accustomed to sympathizing with the "predator", even in this post-Twilight world. A predator that preys on those that prey on others though? I can kinda get behind that. Amanpour is particularly interested in subverting your expectations and preconceptions and her film does a masterful job of it.
In Amanpour's words, "What's interesting about this girl and about people is that what you see is never what you get. You can have whatever [peaceful] bumper stickers on the back of your car, and then get out and shoot a dog," Amirpour says. "I'm interested in expectations not being met… including preconceived notions of this girl and what she looks like, but also about everyone."
A Girl Walks Home Alone At Night can be streamed on Shudder
The Slumber Party Massacre (1982)
Directed by Amy Holden Jones
The humble slasher film has a reputation and not an unearned one. Notoriously conservative, the average slasher (at least in pop culture) sees a crazed killer, usually, one with a creative or thematically appropriate mask, stalking and murdering young, nubile teenagers caught in the act of making questionable choices.
Cutting down binge drinkers, drug users, and perhaps most notably promiscuous teenagers in the throes of passion, the slasher is often interpreted as a knife in the hand of the long arm of the supposed Silent Majority. The slasher generally imparts bloody lessons steeped in traditional conservative values, acting as a modern boogeyman and scaring teens into good behavior. That the good behavior in question most often consists of keeping a tight leash on your sexuality is often discussed in horror and film circles and a casual examination of your average slasher film seems to back it up.
The other not-so-savory reputation that slasher films have earned for is for paradoxically depicting sexual behavior while punishing it on screen. Many slashers seem to have a curious propensity for striking when their female victims are topless, for example.
A film with a name like The Slumber Party Massacre seems destined to be more of the same, the name itself conjuring similar lustmord images of sexuality and death intermingling. You picture co-eds in negligees being stabbed. The poster does nothing to dissuade you of this idea, and while the film does deliver on it that delivery is couched in often hilarious and equally sly deconstruction of the male gaze that is so notoriously employed in these films.
The Slumber Party Massacre franchise is noteworthy for being exclusively helmed by women, and it's no accident. That the film turns a critical eye towards the established tropes of the genre is also no surprise, with its script being helmed by Rita Mae Brown, a novelist, activist, and noted feminist. It's direction handled by Amy Holden Jones, one of a small number of female filmmakers to work in exploitation film in the 70s and 80s.
The film lampshades the ridiculousness and wanton and aimless brutality of its killer, a motiveless mass-murderer with a penchant for power drills. The killer's decidedly phallic weapon is frequently framed as a large mock-penis held at waist level, brutalizing and maiming anyone that gets in its way for seemingly no reason other than that they were there. Sounds like someone out of a comedy porn video with the Best breasts available only at nu-bay.com. The film employs all the tropes of the slasher and the exploitation film, with blatant and abundant nudity and clumsy sexual innuendo but it does so in service of its critique.
The boys and men of the town the girls live in are positioned as predatory, spying on and staring at the girls, thinning the boundary between this blood-crazy killer and the simple gross male predation of the early 80s. The male gaze is harnessed by the filmmakers and is in turn, ridiculed and rendered inert.
This embrace and dismantling of the male gaze is shared by some of the protagonists as well. Namely, Valerie, who inverts the male gaze that dominates the film and the genre. We never see her naked, which is noteworthy in this kind of film, and we also see her casually reading pornography, turning the ever-present objectifying lens around. By inverting the male gaze she is in effect immune to it. In the end, she is the one that is able to save the day by brandishing another highly phallic weapon and saving her friends.
What's even more fascinating about the film is that it was released in a very straightforward way, no mention of this critique is included anywhere. It was released as though it were any other slasher film, and the fact that many filmgoers were exposed to a biting satire of the very thing they came to see is absolutely delicious.
The Slumber Party Massacre can be streamed via Amazon Prime
The above are just a small number of truly excellent horror films helmed by women. There are obviously dozens if not hundreds more than I have space or time to list here, but there'd be even more of them if we worked as a community, and as people, towards making sure that all people of vision that want to make films are given the same opportunity to make great work.
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Humanstein
Nathan is a film writer, an aspiring filmmaker, and a junk food enthusiast. He's also the founder of Humanstein.com and loves a good cup of coffee.
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The Walking Machine
in Life/Philosophy — by K P Sasi — 08/03/2020
Last time when I was travelling for a seminar, I was surprised at the kind of crowd in Bangalore airport. It was usual for people to stand waiting in at least 5 queues before you reach your seat. At the security, as usual I also had to place my hand bag, mobile phone, laptop and other things. These days they would demand your belt also. I removed my belt for their inspection and when I placed it on the tray, I could feel that my trousers were sliding down since the waist of the trousers was loose. Holding the trousers in one hand, I tried to have a conversation with the next person standing on the same queue: `A large section of people these days are so keen to follow the rules and some others keep themselves busy by making rules for the servitude masses who do not question. For example, why should they take my belt? In any case, the security person will be doing a physical check on us,' I told him. The passenger next to me turned to me. Obviously, an elite upper middle class face. `It is all for our own good,' he said. I did not dare to waste my time after that in a conversation with him again.
After all, we would rather be happy to be a nut or a bolt of a larger machine. The machine is supposed to be `for our own good'. The rulers are `for our own good' and the handful of corporates who walk over our dead bodies with their greed are also `for our own good'. The rules are being made to be followed. But they forget that the system in between the rulers and the ruled is a bit inadequate in this large and thickly populated country. They are as confused as the general public. By the time the executors of the rules learn about the rules and their implications, a new set of rules are declared. The dazzled public keep on running here and there and forget that they have elected a Government to serve them.
Now, whose `good' are we really talking about? We are getting trained to become robots for `their own good' and not `our own good'. The eating machine introduced by Charlie Chaplin in the film Modern Times, brings out a sharp side of irony from this perspective. Just imagine, he brought out one of the major characteristics of our civilisation today, in the year 1936. The film still remains as a major political statement on the modern times in 2000 AD. When machines take over the role of human beings, the human beings walk like machines. A robot civilisation is the soul of modernisation. You don't need a State or a corporate world or a police machinery to stand against our right to dissent or our freedom of expression and speech. People around us will do that job for them and try to make us feel that we are the problem. A large section of the servitude minds seems to be demanding in their prayers: `Give Us Our Daily Rules'. If they do not keep on getting rules to obey, they may become psychotic.
People in power need not exercise too much of energy today to do the nastiest and the dirtiest job which any civilised human being throughout history may condemn. Their robot servants in the media would praise them for their great service. Remember de-monetisation, GST, UID and Aadhar Card? Remember the daily incidents among the farmers, Dalits and women? Remember Kashmir, Gujarat and Kandhamal? And remember to count the number and per centage of people in this 130 crore population, who really chose to not remember such grave issues! If there is still a minority of people who still dissent with these memories, the walking machines in uniforms along with media robots will do a fine job to erase those memories from the brain of those who dissent. Remember FTII, JNU, Hyderabad University, Aligarh University and Jamia? And remember….!
As far as I was concerned, my loose trousers were haunting my consciousness than my social and political memories. `Why should walking machines be bothered about my nudity?' I tried to rationalise. `Can these walking machines really feel their own nudity, if they wished to cover themselves?' I wondered. Perhaps, it was my own problem that I was trying to treat machines as human beings. The walking machines are not scared of Climate Change, they are not bothered of the crude and yet organised ways through which our forests, rivers, hills, lakes, seas and the lands are looted, destroying the source of lives of these very machines who keep on walking. The cry of the child in Delhi recently along with the incidents of CAA/NRC/NPA which pierced our ears, could not be heard by their metallic ears. If there is no democracy, they would keep on pretending: `I just don't care', or still worse: `It is for our own good!'
I kept on moving in the queue, holding my trousers with one hand without talking to anybody around till I reached the security guard who had an official right to feel my body. He gestured me to raise my hands to both sides to facilitate his search for terrorism on my body. Since my loose trousers would not allow me to do the same, I raised my left hand, so that he could check that part of my body. But he was not happy. He looked at my other hand. I quickly held my trousers with my left hand and raised my right hand. He was getting irritated: `Dono Haath (Both hands)', ordered the machine in the uniform with an angry look at me. I could not suppress my irritation further. I raised my sound and told him in Hindi with the same irritation that my trousers were lose and if he could get my belt back, I could raise both my hands together. I pulled the waist of my trousers and showed him how loose it was. `I don't mind raising my both hands, but if my trousers fall down, it would be your responsibility,' I told him.
The security guard's jaw fell. He did not dare to look at me after that. He quickly pressed the seal on my boarding pass and without looking at me, he handed it to me. I walked past him like a victorious walking machine among the defeated ones.
K.P. Sasi is a film maker, cartoonist and writer
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Author: K P Sasi
K.P. Sasi is a film maker, cartoonist, writer and an activist
David Kennedy says:
I found this an enormously enjoyable article, so true to life. Thank you, K P Sasi.
I had a similar experience 12 years ago and have not travelled by air since then.
Unfortunately, we are all prisoners of 'the system' and the vast majority of us prefer to pay whatever price is demanded rather than opting out and refusing to be a part.
A monster has been created with our acquiescence that is outside of our control.
Fortunately, this monster is now locked, face to face, in battle with Mother Nature who will inevitably win. Sadly, we won't be here to see it. War always has its victims.
K.P. Sasi says:
Precisely, David Kennedy. That was why in the last line, I was looking at the element of Walking Machine within myself also. We are placed in a situation when the search for alternatives will also be within the logic of rules of the mainstream. There is always an option to opt out saying, we will not participate in this destruction. But when we drink water, eat food or even breathe today, we are already participating in the destruction. The other way of looking at it is to tell ourselves that we can not opt out completely, but we will definitely reduce our compromises. That is one sensible way. But when I am discussing this with you using laptop, that itself is a compromise and a battle against Mother Nature. Still we do it with a hope that something positive will turn out in future. Otherwise, the only way to deal with the mess without compromising is to bury ourselves with Mother Nature. It may be good way out, but a defeatist one. We can be critical of the madness of those who are on the rat race for success. But is defeatism the answer? I can only say that we must keep our options open to a certain level for future to see.
You are right, of course, life is always a compromise. Right also, this compromise can always be reduced, somewhat. As a young man, I fought a small part of the system. I survived. Nothing really changed, except to MY life.
In middle age, I fought a bigger part of the system. It seemed as if I had won. I had not. The system didn't really change, but nor did it forget.
As an old man, I fought again. The waters were disturbed, a film was made (You've been Trumped), but nothing really changed.
As a very old man, I wrote a book, about education, about Britain, about the last 1000 years, called "What's in a Name?" The answer: Eton, Harrow, Oxford, Cambridge, the privileges (power) that flourish beneath the veneer of democracy: rule by the people!
What passes, and what endures? For one thousand years of bending, transforming, disguising, and dissembling, amidst lots of changes, the privileges remain and nothing has really changed.
My hopes are now entirely with Mother Nature. Sadly, I don't think I will long enough to see the eventual victory.
Interesting. But I have a different set of experiences. As a young man I fought with ideology. Nothing changed. Except that I made more enemies than friends and a short jail term. And to my horror, I realized that I was alienating my friends, supporters and potential supporters with my ideological convictions. Later, working with the mainstream as a cartoonist brought my rough edges down. Associating with diverse people's movements made me realize my own privileges and the difficulties of struggles of the people for sheer survival. There was no other way but to become a better human being. During this period, I witnessed many successful struggles, many failures and many partially successful struggles. All of them ultimately created a cream of organic intellectuals who spent enough time on the weaknesses of the past and the way forward. A static ideology of the past was meant to be transformed within the present contexts. The blank spaces for social analysis were meant to be filled, in order to move ahead. The framework of ecological vision also bit me hard during these days. However, my humility tells me not to search for `one vision that explains everything" in this world. If it comes up in this world, it can become another religion. We are lucky that we are here in these troubled waters of ideology and practice. There is a lot to learn from this situation and pass on to the next generation. If the world really becomes beautiful, then there will be no role for people like us. Countercurrents,org will have to close down for losing its purpose.

redpajama_set_name: RedPajamaCommonCrawl


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January 28, 2014 January 11, 2021 J.R. LeMar
POLICE BEAT UP DEAF SENIOR CITIZEN
PEARL PEARSON
An Oklahoma City resident is claiming that Oklahoma Highway Patrol troopers beat him for disobeying their orders. The only problem is that 64-year-old Pearl Pearson is deaf—a fact that he says a sign in his car indicates.
According to Fox 4 News, Pearson allegedly fled the scene of a car accident before being pulled over by the Highway Patrol officers on Jan. 3. According to the affidavit, Pearson resisted the two officers and didn't respond to the commands (that he couldn't hear). This resulted in a seven-minute scuffle during which Pearson says he was hit in the face before he could show is ID. There's no reference in the affidavit as to whether the troopers knew the 64-year-old could not hear, but he was arrested and then later slapped with charges for leaving the scene of an accident and resisting arrest.
Pearson's neighbor Sacia Law does not understand how the situation came about and says that Pearson is a kind person. "He's hearing-impaired. You can't yell at him from behind his car and get a response," she said. "I know they do dangerous jobs and they put their lives on the line, but that is over the top."
Local affiliate KFOR received a statement from the patrol saying that Pearson's arrest and the officers' actions were being reviewed.
Being "reviewed", right. I'll bet ya nothing happens to those officers. This crap is really getting ridiculous. If I can get the names and pictures of the cops who did this to Mr. Pearson I will post them. Like roaches, this criminals need to be exposed in the light.
How bad is police misconduct getting these days when my first thought after reading about this is that Mr. Pearson is lucky the cops didn't beat him to death, or just shoot him dead? That seems to be their first response to everything these days. You know what? If even he wasn't deaf, if he was just a man with a bad attitude who didn't obey the first command, that still doesn't warrant a beating like this! Come on, man, that's overboard. America isn't supposed to be a frakkin' police-state. Yes, I know that it's a dangerous job, I have several former and current police officers in my family, but that doesn't give them an excuse to just start beating people whenever they feel like it. Yet, I won't be surprised if the police get away with this. They'll focus on the fact that Mr. Pearson allegedly fled the scene of an accident and just say that everything that happened as the result of that is his fault. Because that's exactly how too many idiots in this country excuse police misconduct. All they need to do is find one thing that the victim did wrong, anything at all, and that justifies any police response. It's disgusting.
"One day I'm gonna bust, blow up on this society.
Why did you lie to me?
I couldn't find a trace of equality."
-Tupac "Trapped"
Deaf Man beaten by police
Oklahoma Highway State Troopers
police beat 62-year old deaf man
Sacia Law
Previous KELLY THOMAS: MURDERED BY COPS
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Hundred Days Kokandy Productions
From Kokandy Productions - "We are so proud of the cast and creative team of Hundred Days. It is for their safety, and the safety of our patrons, that we are canceling tonight's scheduled opening, and postponing the run of Hundred Days.
We will keep updating our followers as we have more information about an official rescheduling. Those who already have tickets can contact their place of purchase for a full refund, or consider donating the amount of the ticket back to the company.
Thank you for your patience and understanding -- we look forward to seeing you soon, friends".
Wed-Sat 8p; Sun 5p
IMMEDIATE RELEASE -Kokandy Productions has announced the Chicago premiere of the bold new musical HUNDRED DAYS, featuring music and lyrics by The Bengsons, and book by The Bengsons and Sarah Gancher. Making its Chicago debut after successful runs at La Jolla Playhouse and New York Theatre Workshop, Hundred Days will be helmed by director/performer Lucky Stiff. Casting will be announced shortly. HUNDRED DAYS will play March 6 - April 12, 2020 at The Chopin Theatre, 1543 W Division St. in Chicago. Tickets will be available at www.kokandyproductions.com, or in person at The Chopin Theatre box office. The press opening is Friday, March 13 at 8 pm.
HUNDRED DAYS is an uncensored, exhilarating and heartrending true story about embracing uncertainty, taking a leap and loving as if you only had 100 days to live. With magnetic chemistry and anthemic folk-punk music, creators Abigail and Shaun Bengson explore a fundamental question: how do we make the most of the time that we have?
A New York Times Critics' Pick, HUNDRED DAYS was hailed as "a luminous musical memoir that celebrates and laments the elusive radiance of a shared life." New York Magazine called the show "a series of ecstatic songs that make the case for living and loving. Hundred Days shines a light in the darkness. There's something about that way of moving through the world-chest up, heart open, irony pushed firmly aside-that feels downright daring right now."
Comments Producing Artistic Director Derek Van Barham, "The question of time is at the heart of every relationship, every project, every gig. 'Is this worth the time I'm putting into it?' In Hundred Days, a couple reckons with an actual expiration date. But what is so beautiful about The Bengsons' creation is that the question spills off the stage into the process and production. It offers reflection for all artists and audiences involved - including the amazingly talented performer/musicians we are beginning to assemble."
book by The Bengsons and Sarah Gancher
Hundred Days will be helmed by director/performer Lucky Stiff


Janet Laurence, WAITING - A Medicinal Garden for Ailing Plants, 2010. Installation view at the Royal Botantic Gardens.
The Biennale of Sydney – which, inaugurated in 1973, is the third oldest international biennale in the world – has a pedigree and an infrastructure lacking in many of the other biennales that have appeared over the past decade. Previous directors have included Carolyn Christov-Bakargiev (currently assembling documenta 13), Lynne Cooke and Charles Merewether; for its 17th edition, the veteran British curator and museum director David Elliott took the helm, bringing to the event his extensive experience and unflagging curiosity. The paramount question in Elliott's mind when he was preparing for the exhibition was: 'Is the art any good?' – a question he was happy to let override what he saw as stereotypical oppositions such as 'power and periphery, developed and undeveloped, rich and poor, first people and colonisers, fine art and folk art'. The Biennale's title, 'The Beauty of Distance', pays homage to The Tyranny of Distance, Geoffrey Blainey's well-known 1966 study of the British colonization of Australia, yet at the same time stands his thesis on its head.
This edition of the Biennale was dedicated to the memory of Nick Waterlow, three-time director and once chair of selectors, who was murdered with his daughter last year. The opening keynote address for this and future biennales was also dedicated to Waterlow. The first of these was delivered by Hiroshi Sugimoto, whose installation, Faraday Cage (2010), a meditation on lightning fields, was installed on Cockatoo Island, one of the Biennale's seven major venues. The other artists who were showing there had to work hard to compete with this formidable former prison and shipyard in the harbour. Generally they succeeded, and there was a lot to like here, from Cameroonian artist Barthélémy Toguo's The Wet Umbrella (2004–10) to Australian artist Jemima Wyman's Combat Drag (2008), which explores what she calls 'communal skins' depicting female fighters in a jungle setting wearing masks and uniforms made from flannelette shirts, an iconic Australian material.
The Biennale included 440 major works by 67 artists from 36 countries. What could possibly link them? (This question could be asked of the hundreds of biennale directors currently trawling the world for 'themes'.) In his catalogue essay, Elliott turns frequently to the world of music. 'All music is folk music,' he argues, quoting Louis Armstrong: 'Cuz I ain't never heard no horse sing no song.' By the same token, Elliott claims, all art is folk art, and 'The Beauty of Distance' went a long way to bringing home this point in ways that stretched from high-tech sophistication to the ironically rustic. For example, Seer Bonnets: A Continuing Offence (2009–10), by American artist Angela Ellsworth, focuses on the artist's rejection of her Mormon heritage and comprises bonnets constructed from thousands of pearl-tipped corsage pins, each pointing inwards towards the skull. This deliberate, and quite chilling, homespun quality could not have been more different from the sleek, nine-channel video installation The Feast of Trimalchio (2009) by the Russian collective AES+F.
Things might have been clearer, however, if Elliot had left us with his individual passions for a large group of very disparate artists. Instead, he introduced a subtitle: 'Songs of Survival in a Precarious Age'. The musical analogy – with its suggestions of sea shanties, pirates or contemporary versions of The Raft of the Medusa – was perfectly in keeping with Elliot's curatorial temperament. Yet it led to a sometimes painful exegesis on 'the death of the Enlightenment' which Elliot claims is occurring in 2010 – a proposition many would disagree with. On the whole, though, this Biennale was a success, and the musical sub-themes grew on me as different strands were developed between venues. Peruvian-born Jota Castro's short video, Presidenzia Italiana 2/07/03 (2003), sets Italian Prime Minister Silvio Berlusconi's rant at the German socialist Martin Schulz to a score (sung by French soprano Maud Gnidzaz) reminiscent of an 18th-century comic opera. In it he tells the European parliamentarian that he would be 'perfectly cast as a Nazi concentration camp guard in a forthcoming film'.
Yet the work that stuck with me most was Richard Grayson's video The Messiah (2004), which was installed in a quarter-mile-long tunnel, lit by weak light bulbs, that snakes through the heart of Cockatoo Island. Where Castro takes inspiration from Berlusconi, Grayson (who was Artistic Director of the 2002 Biennale) looks to the Christian fundamentalism of George W. Bush. If any works support and reflect Elliott's musical/visual premises it is certainly these. Grayson makes full use of the Australian country and western band, The Midnight Amblers, who for this project sing in American accents and sample Handel's Messiah (1742) in a mash-up that brings back memories of Bush, Christian fundamentalism and the sort of faith that the Enlightenment has never been able to deal with properly because it is armed with superstition and a limitless supply of baked beans.


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Eltz Castle!
Germany, Hikes, Rheinland-Pfalz / 29. June 2020 16. September 2020
Today we visited the Castle of Eltz – one of the most spectacular medieval castles in Germany, very well known and a favourite with photographers too.
We parked at a hill to the south of the castle, where we could also stay overnight with the caravan. From here a circular route leads you to the castle and back on another route which gives you a view of the castle from every angle. (50.198596, 7.339004)
First lookout point
From the river Eltz
Tourists streaming into the castle
Eltz Castle was built at the beginning of the 12th century on a trade route between the Moselland and the fertile Maifeld on an elliptical rock spur up to 70 meters high where the river Elz flows around the castle on three sides.
Lovely waterspout
Besides the beauty of this castle there are a couple of facts which make it special.
For example, the castle is still owned by a branch of the same family (the Eltz family) that lived there in the 12th century, 33 generations ago!
The castle is a so-called Ganerbenburg, a castle divided into several parts, which belong to different branches of a family. The division of the Lords of Eltz happened before 1268 when the castle and the associated goods were divided between the three brothers Elias, Wilhelm and Theoderich belonging now to 3 families:
Eltz-Kempenich called "Eltz from the golden lion"
Eltz-Rübenach called "Eltz from the Silver Lion"
Eltz-Rodendorf called "Eltz from the buffalo horns"
The main part of the castle consists of three separate buildings, one for each family. They are up to eight stories high and fortified with strong exterior walls. About 100 members of the 3 families lived once in the over 100 rooms of the castle. At a special meeting room the leaders of the families came together to discuss collective issues.
During the Eltz Feud, the lords of Eltzer, together with other free imperial knights, opposed the territorial policy of the Archbishop and Elector Balduin von Trier. The Eltz Castle was put under siege and was bombarded with catapults by the Archbishop. A small siege castle, Trutzeltz Castle, was built on a rocky outcrop on the hillside above the castle, which can still be seen today. The siege lasted for two years, but ended only when the free imperial knights had given up their imperial freedom. Balduin reinstated the Eltz family again as burgrave, but only as his subjects and no longer as free knights.
When the visiting time is over, it is photo time! People go there to make special pictures with the castle of Eltz as background.
Like this the castle decorated the back of the 500 German Mark banknote
Last view of the castle from our hike back


text:
Being Protestant in Reformation Britain
Author: Ryrie, Alec
Acknowledged authors Ryrie, Alec wrote Being Protestant in Reformation Britain comprising 520 pages back in 2013. Textbook and eTextbook are published under ISBN 0199565724 and 9780199565726. Since then Being Protestant in Reformation Britain textbook was available to sell back to BooksRun online for the top buyback price or rent at the marketplace.
The Reformation was about ideas and power, but it was also about real human lives. Alec Ryrie provides the first comprehensive account of what it actually meant to live a Protestant life in England and Scotland between 1530 and 1640, drawing on a rich mixture of contemporary devotional works, sermons, diaries, biographies, and autobiographies to uncover the lived experience of early modern Protestantism.
Beginning from the surprisingly urgent, multifaceted emotions of Protestantism, Ryrie explores practices of prayer, of family and public worship, and of reading and writing, tracking them through the life course from childhood through conversion and vocation to the deathbed. He examines what Protestant piety drew from its Catholic predecessors and contemporaries, and grounds that piety in material realities such as posture, food, and tears.
This perspective shows us what it meant to be Protestant in the British Reformations: a meeting of intensity (a religion which sought authentic feeling above all, and which dreaded hypocrisy and hard-heartedness) with dynamism (a progressive religion, relentlessly pursuing sanctification and dreading idleness). That combination, for good or ill, gave the Protestant experience its particular quality of restless, creative zeal.
The Protestant devotional experience also shows us that this was a broad-based religion: for all the differences across time, between two countries, between men and women, and between puritans and conformists, this was recognisably a unified culture, in which common experiences and practices cut across supposed divides. Alec Ryrie shows us Protestantism, not as the preachers on all sides imagined it, but as it was really lived.


In honor of the final mission of the space shuttle, which began successfully on Friday1, here's a 1983 Tang recipe pamphlet from General Foods Corporation.
"Ready, set, lift off, for a nutritious breakfast every school day morning. With these fun-filled breakfast ideas, you can prepare quick and easy breakfasts for the kids to enjoy. Greet them with Blast-Off Breakfast Nog on Monday and continue through the week with Crater Eggs, Lunar Parfaits and more recipes created especially for the junior set."
The other recipes include Coconut Moon Toast, Moonwalk Cereal (made with Post Grape-Nuts), Orbital Fruit Milk, and Spaceship French Toast.
To serve hot: Heat milk and honey in saucepan to just below boiling point. Combine instant breakfast drink and egg in blender container. Blend, adding hot milk mixture gradually. Then blend about 15 seconds, until smooth and frothy. Serve at once. Makes 1 serving.
To serve cold: Combine all ingredients in blender container; blend well.
Spoon half of the yogurt into dish, add the cereal and top with remaining yogurt. Then add fruit and serve at once. Makes 1 serving.
The tri-fold pamphlet also includes a special offer (pictured below) in which you can get a 24-inch inflatable space shuttle for $1.75, plus one Tang proof of purchase.
While the space shuttle program is being retired after this final mission, we can still dream of the stars. There's even a perfect spot right here in Pennsylvania. Check out this recent Philadelphia Inquirer article on Cherry Springs State Park in Potter County. For stargazers, the spot in the northern Pennsylvania woods is one of the darkest places in the eastern United States. The International Dark-Sky Association terms it one of just a handful of "international dark sky parks" in the nation.
"At 11:07 a.m. EDT, Commander Chris Ferguson guided space shuttle Atlantis into pressurized mating adapter #2 on the International Space Station's Harmony node. The two spacecraft were flying about 240 miles high, east of New Zealand, at the time they docked.
"This was the 12th and final time Atlantis docked to the space station. It was the 46th shuttle docking to a space station, nine to the Russian Mir station and 37 to the International Space Station. Atlantis performed seven of the nine Mir dockings. This was the 86th space shuttle rendezvous operation and the 164th "proximity operation" in the history of the Space Shuttle Program, where a shuttle conducted operations in close proximity to another spacecraft.
"The shuttle and station crews will open hatches and hold the traditional welcome ceremony at about 1:19 p.m. Atlantis' crew of Ferguson, Pilot Doug Hurley, and Mission Specialists Sandy Magnus and Rex Walheim will join Expedition 28 Commander Andrey Borisenko and Flight Engineers Alexander Samokutyaev and Sergei Volkov of Russia, Satoshi Furukawa from Japan, and NASA's Ron Garan and Mike Fossum.
"The combined crew of 10 begins more than a week of docked operations, transferring vital supplies and equipment to sustain station operations once the shuttles are retired."
2. That cereal is now called Golden Crisp. According to Wikipedia, it "has undergone drastic changes in marketing over the years, including changing the name from Sugar Crisp to Super Sugar Crisp to Super Golden Crisp (during a time when many cereals dropped the word 'Sugar' from their titles) to the current name."
"Real Kiddie-Kars Are Made Only By White"


text:
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Thank you from the State Library of NC.
Select ratingGive Alleghany County 1/5Give Alleghany County 2/5Give Alleghany County 3/5Give Alleghany County 4/5Give Alleghany County 5/5
Alleghany County
ALLEGHANY COUNTY GOVERNMENT:
http://www.alleghanycounty-nc.gov/
COUNTY SEAT: Sparta
FORMED FROM: Ashe
LAND AREA: 235.06 square miles
2018 POPULATION ESTIMATE: 11,161
White: 95.2%
Black/African American: 1.9%
American Indian: 0.6%
Asian: 0.8%
Pacific Islander: <.1%
Two or more races: 1.5%
Hispanic/Latino: 9.7% (of any race)
From State & County QuickFacts, US Census Bureau, 2018.
CONGRESSIONAL DISTRICT: 5TH
BIOGRAPHIES FOR
WILDLIFE PROFILES FOR
Mountain region
REGION: Mountain
RIVER BASIN: New River, Map
NEIGHBORING COUNTIES: Ashe, Surry, Wilkes
See also: North Carolina Counties (to access links to NCpedia articles for all 100 counties)
by Bernadette Rider, 2006
Alleghany County, located in the Blue Ridge Mountains of northwestern North Carolina and bordering Virginia, was formed in 1859 from Ashe County through an act of the North Carolina legislature. Its earliest peoples were Cherokee and Shawnee Indians; English, German, and Scotch-Irish settlers subsequently arrived in the area. The county name comes from either the Allegewi Indian tribe or the Delaware Indian word "oolikhanna" (beautiful stream). The county seat, Sparta, was established in 1825, with the original name of Bower's Store. Its name was changed to Gap Civil (1846) before becoming Sparta in 1879, named for the Greek city. Other important communities located in Alleghany County are Piney Creek, Glade Valley, Laurel Springs, Roaring Gap, Twin Oaks, and Stratford. In addition to the mountains of the Blue Ridge, the county's other significant physical features include the New River (one of the world's oldest rivers), the Little River, and a part of the Eastern Continental Divide.
The construction of the Blue Ridge Parkway in the 1930s-made possible by the political efforts of longtime U.S. Congressman and Alleghany County native Robert Lee Doughton-brought increased tourism and growth to Alleghany County. However, the county remains North Carolina's fifth-smallest in land area (233 square miles) and its sixth-smallest in population (about 11,000 residents in 2004). Christmas trees make up a large portion of the agricultural goods produced by Alleghany County, generating an annual income in excess of $17 million. The production of dairy and beef cattle and other livestock is also a multimillion-dollar industry in Alleghany County.
Alleghany County hosts several annual cultural festivals and events rooted in the region's mountain heritage, including the Blue Ridge Mountain Fair, the Mountain Heritage Festival, the Blue Ridge Mountains Crafts Fair, and Choose and Cut Day (for Christmas tree buyers).
Annotated history of Alleghany County's formation:
For an annotated history of the county's formation, with the laws affecting the county, boundary lines and changes, and other origin information, visit these references in The Formation of the North Carolina Counties (Corbitt, 2000), available online at North Carolina Digital Collections (note, there may be additional items of interest for the county not listed here):
County formation history: http://digital.ncdcr.gov/cdm/ref/collection/p16062coll9/id/289777
Index entry for the county: http://digital.ncdcr.gov/cdm/ref/collection/p16062coll9/id/290073
Alleghany Historical-Genealogical Society, Alleghany County Heritage (1983).
Corbitt, David Leroy. 2000. The formation of the North Carolina counties, 1663-1943. https://digital.ncdcr.gov/digital/collection/p16062coll9/id/290103 (accessed June 20, 2017).
Alleghany County Government: http://www.alleghanycounty-nc.gov/
Alleghany County Chamber of Commerce: https://alleghanycountychamber.com/
DigitalNC, Alleghany County: https://www.digitalnc.org/counties/alleghany-county/
North Carolina Digital Collections (explore by place, time period, format): https://digital.ncdcr.gov/
Rudersdorf, Amy. 2010. "NC County Maps." Government & Heritage Library, State Library of North Carolina.
UNC Press
Encyclopedia of North Carolina, University of North Carolina Press.
Rider, Bernadette
Origin - location:
1 January 2006 | Rider, Bernadette
I am a board member of the
Permalink Submitted by Jeff Halsey (not verified) on Wed, 04/08/2020 - 09:08
I am a board member of the Alleghany Historical - Genealogical Society, Inc. The Historical Society website is: ahgs.org
My daughter, Claire Halsey Brooks, is current president.
The Alleghany County Public Library is part of the Northwest Regionl Library and their web site is: nwrlibrary.org/alleghany/
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I'm one of the site's moderators, and I've been doing this kind of work somewhat on and off for a few years now. It's something I enjoy doing a lot. If you ever need a question answered or a problem addressed, I'm one of your go-to folks!
Outside of moderation, I work a full week's worth in good ol' retail, in a shoe department! "Shoenanigans" are often at play there.
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text:
Introduction to the File and Directory Entries API
File and Directory Entries API
Select your preferred language English (US)日本語Русский中文 (简体)
Big concepts
This feature is non-standard and is not on a standards track. Do not use it on production sites facing the Web: it will not work for every user. There may also be large incompatibilities between implementations and the behavior may change in the future.
The File and Directory Entries API simulates a local file system that web apps can navigate around. You can develop apps that can read, write, and create files and directories in a sandboxed, virtual file system.
The File and Directory Entries API interacts with other related APIs. It was built on the File Writer API, which, in turn, was built on File API. Each of the APIs adds different functionality. These APIs are a giant evolutionary leap for web apps, which can now cache and process large amounts of data.
This introduction discusses essential concepts and terminology in the File and Directory Entries API. It gives you the big picture and orients you to key concepts. It also describes restrictions that raise security errors if you ignore them. To learn more about terminology used in this API, see the Definitions section.
For the reference documentation on the File and Directory Entries API, see the reference landing page and its subpages.
The specification is still being defined and is subject to change.
The File and Directory Entries API includes both asynchronous and synchronous versions of the interfaces. The asynchronous API can be used in cases where you don't want an outstanding operation to block the UI. The synchronous API, on the other hand, allows for simpler programming model, but it must be used with WebWorkers.
Usefulness of the API
The File and Directory Entries API is an important API for the following reasons:
It lets apps have offline and storage features that involve large binary blobs.
It can improve performance by letting an app pre-fetch assets in the background and cache locally.
It lets users of your web app directly edit a binary file that's in their local file directory.
It provides a storage API that is already familiar to your users, who are used to working with file systems.
For examples of features you can create with this app, see the Sample use cases section.
The File and Directory Entries API and other storage APIs
The File and Directory Entries API is an alternative to other storage APIs like IndexedDB, WebSQL (which has been deprecated since November18, 2010), and AppCache. The API is a better choice for apps that deal with blobs for the following reasons:
The File and Directory Entries API offers client-side storage for use cases that are not addressed by databases. If you want to have large mutable chunks of data, the File and Directory Entries API is a much more efficient storage solution than a database.
While Firefox supports blob storage for IndexedDB, Chrome currently does not (Chrome is still implementing support for blob storage in IndexedDB). If you are targeting Chrome for your app and you want to store blobs, the File and Directory Entries API and App Cache are your only choices. However, AppCache storage isn't locally mutable, and doesn't allow for fine-grained client-side management.
In Chrome, you can use the File and Directory Entries API with the Quota Management API, which lets you ask for more storage and manage your storage quota.
Sample use cases
The following are just a few examples of how you can use the File and Directory Entries API:
Apps with persistent uploader
When a file or directory is selected for upload, you can copy the file into a local sandbox and upload a chunk at a time.
The app can restart uploads after an interruption, such as the browser being closed or crashing, connectivity getting interrupted, or the computer getting shut down.
Video game or other apps with lots of media assets
The app downloads one or several large tarballs and expands them locally into a directory structure.
The app pre-fetches assets in the background, so the user can go to the next task or game level without waiting for a download.
Audio or photo editor with offline access or local cache (great for performance and speed)
The app can write to files in place (for example, overwriting just the ID3/EXIF tags and not the entire file).
Offline video viewer
The app can download large files (>1GB) for later viewing.
The app can access partially downloaded files (so that you can watch the first chapter of your DVD, even if the app is still downloading the rest of the content or if the app didn't complete the download because you had to run to catch a train).
Offline web mail client
The client downloads attachments and stores them locally.
The client caches attachments for later upload.
Before you start using the File and Directory Entries API, you need to understand a few concepts:
The File and Directory Entries API is a virtual representation of a file system
The File and Directory Entries API can use different storage types
Browsers impose storage quota
The File and Directory Entries API has asynchronous and synchronous versions
When using the asynchronous API, always use the error callbacks
The File and Directory Entries API interacts with other APIs
The File and Directory Entries API is case-sensitive
The API doesn't give you access to the local file system, nor is the sandbox really a section of the file system. Instead, it is a virtualized file system that looks like a full-fledged file system to the web app. It does not necessarily have a relationship to the local file system outside the browser.
What this means is that a web app and a desktop app cannot share the same file at the same time. The API does not let your web app reach outside the browser to files that desktop apps can also work on. You can, however, export a file from a web app to a desktop app. For example, you can use the File API, create a blob, redirect an iframe to the blob, and invoke the download manager.
An application can request temporary or persistent storage. Temporary storage is easier to get, because the browser just gives it to you, but it is limited and can be deleted by the browser when it runs out of space. Persistent storage, on the other hand, might offer you larger space that can only be deleted by the user, but it requires the user to grant you permission.
Use temporary storage for caching and persistent storage for data that you want your app to keep—such as user-generated or unique data.
Browsers impose storage quotas
To prevent a web app from using up the entire disk, browsers might impose a quota for each app and allocate storage among web apps.
How storage space is granted or allocated and how you can manage storage are idiosyncratic to the browser, so you need to check the respective documentation of the browser. Google Chrome, for example, allows temporary storage beyond the 5 MB required in the specifications and supports the Quota Management API. To learn more about the Chrome-specific implementation, see Managing HTML5 Offline Storage.
The File and Directory Entries API comes with asynchronous and synchronous versions. Both versions of the API offer the same capabilities and features. In fact, they are almost alike, except for a few differences.
WebWorkers. The asynchronous API can be used in either the document or WebWorkers context, while the synchronous API is for use with WebWorkers only.
Callbacks. The asynchronous API doesn't give you data by returning values; instead, you have to pass a callback function. You send requests for operations to happen, and get notified by callbacks. In contrast, the synchronous API does not use callbacks because the API methods return values.
Global methods of the asynchronous and synchronous APIs. The asynchronous API has the following global methods: requestFileSystem() and resolveLocalFileSystemURL(). These methods are members of both the window object and the worker global scope. The synchronous API, on the other hand, uses the following methods: requestFileSystemSync() and resolveLocalFileSystemSyncURL(). These synchronous methods are members of the worker's global scope only, not the window object.
The synchronous API can be simpler for some tasks. Its direct, in-order programming model can make code easier to read. The drawback of synchronous API has to do with its interactions with Web Workers, which has some limitations.
When using the asynchronous API, always use the error callbacks. Although the error callbacks for the methods are optional parameters, they are not optional for your sanity. You want to know why your calls failed. At minimum, handle the errors to provide error messages, so you'll have an idea of what's going on.
The File and Directory Entries API is designed to be used with other APIs and elements on the web platform. For example, you are likely to use one of the following:
XMLHttpRequest (such as the send() method for file and blob objects)
Drag and Drop API
Web Workers (for the synchronous version of the File and Directory Entries API)
The input element (to programmatically obtain a list of files from the element)
The File and Directory Entries API is case sensitive
The filesystem API is case-sensitive, and case-preserving.
For security reasons, browsers impose restrictions on file access. If you ignore them, you will get security errors.
The File and Directory Entries API adheres to the same-origin policy
The File and Directory Entries API does not let you create and rename executable files
The file system is sandboxed
You cannot run your app from file://
An origin is the domain, application layer protocol, and port of a URL of the document where the script is being executed. Each origin has its own associated set of file systems.
The security boundary imposed on file system prevents applications from accessing data with a different origin. This protects private data by preventing access and deletion. For example, while an app or a page in http://www.example.com/app/ can access files from http://www.example.com/dir/, because they have the same origin, it cannot retrieve files from http://www.example.com:8080/dir/ (different port) or https://www.example.com/dir/ (different protocol).
To prevent malicious apps from running hostile executables, you cannot create executable files within the sandbox of the File and Directory Entries API.
Because the file system is sandboxed, a web app cannot access another app's files. You also cannot read or write files to an arbitrary folder (for example, My Pictures and My Documents) on the user's hard drive.
You cannot run your app locally from file://. If you do so, the browser throws errors or your app fails silently. This restriction also applies to many of the file APIs, including BlobBuilder and FileReader.
For testing purposes, you can bypass the restriction on Chrome by starting the browser with the --allow-file-access-from-files flag. Use this flag only for this purpose.
This section defines and explains terms used in the File and Directory Entries API.
Stands for binary large object. A blob is a set of binary data that is stored as a single object. It is a general-purpose way to reference binary data in web applications. A blob can be an image or an audio file.
Blob—with a capital B—is a data structure that is immutable, which means that binary data referenced by a Blob cannot be modified directly. This makes Blobs act predictably when they are passed to asynchronous APIs.
Persistent storage is storage that stays in the browser unless the user expunges it or the app deletes it.
Transient storage is available to any web app. It is automatic and does not need to be requested, but the browser can delete the storage without warning.
File and Directory Entries API Draft Draft of proposed API
This API has no official W3C or WHATWG specification.
FileSystemSync property
The compatibility table on this page is generated from structured data. If you'd like to contribute to the data, please check out https://github.com/mdn/browser-compat-data and send us a pull request.
Exploring the FileSystem APIs (HTML5 Rocks)
File and Directory Entries API support in Firefox
FileException
FileRequest
FileSystemDirectoryEntry
FileSystemDirectoryEntrySync
FileSystemDirectoryReader
FileSystemDirectoryReaderSync
FileSystemEntry
FileSystemEntrySync
FileSystemFileEntry
FileSystemFileEntrySync
FileSystemFlags
FileSystemSync
HTMLInputElement
LocalFileSystem
LocalFileSystemSync
LockedFile
Window.requestFileSystem()
Window.resolveLocalFileSystemURL()
WorkerGlobalScope.requestFileSystemSync()
Last modified: Dec 21, 2020 , by MDN contributors


Cadets at 192 Heston detachment of Middlesex and NW London ACF hosted BBC reporter Poonam Taneja this week. Poonam was interviewing the cadets for programmes being broadcast on the BBC Asian Network tomorrow (Friday 9 November 2012) about Remembrance.
The cadets were asked about how they were preparing for Remembrance this weekend, what they would be doing on the day and how they felt about Remembrance. Heston is a particularly diverse Army Cadet Force detachment, with 16 Muslim cadets, 20 Sikhs, 7 Hindus, 1 Buddhist, 4 Catholics and 5 Atheists. They all talked about their different family faiths and backgrounds and the fact that Remembrance is about honouring all bravery, sacrifice and the securing of the freedoms enjoyed today.
The cadets also talked about their experience of the ACF as an inclusive and diverse organisation, with 15-year-old cadet Manjeet Jaswal even telling Poonam about the Sikh ration packs that are available.
Listen to the interviews online at 1300-1330 and 1700-1730 tomorrow (Friday) on the BBC Asian Network.


Polygon broke the news that the OUYA microconsole will be sold at all Target locations throughout the United States later this month. A nationwide ad campaign will be launched alongside it, and those who purchase the system at Target will also get $10 to spend in the system's Discover storefront. This is outstanding news for the company, the console, and its fans. We've had the system since May thanks to backing it on Kickstarter, and have seen the ups and downs in real-time. After losing some faith amongst the community for the Free the Games fund going awry, a bold move like this was needed to show that there is hope for this system to be viable commercially.
With the launch of more Android systems like the GameStick and MOJO, competition is going to be more fierce and with a $100 price point, the OUYA can trumpet its low price-tag and exclusive games during a crowded holiday season for gaming. Unfortunately, the kiosks won't be nationwide before the holidays, because that would be a perfect chance to showcase games like TowerFall, Hero of Many, Maldita Castilla, Boost 2, and MirrorMoon EP that can't be found on other consoles. The console is far from perfect and has an uphill battle to climb, but with things like this going on, it shows that there is hope for the system yet.


text:
Waterbeach New Town
Waterbeach New Town Cambridgeshire
RLW Estates
Planning Consultancy Development Consultancy Strategic Land
Partner - Head of Strategic Land
020 7016 0734 email me about Robert
Robert is based in our London head office and heads up the national development team. He has over 20 years of experience as a developer and consultant advising private, corporate and public sector bodies on how to extract value from strategic property assets.
I can provide advice on:
Find me on Linkedin
Waterbeach New Town is a proposal for an exemplar new settlement located north of Cambridge on land owned by both the private and public sectors.
Robert Smith, who heads up the Carter Jonas National Strategic Land Team, is a key member of the team promoting Waterbeach New Town.
Alongside a full promotional team, Carter Jonas has provided commercial, economic, and delivery advice.
South Cambridgeshire District Council has proposed a new town at Waterbeach, as part of its Local Plan for the area. This site forms a key part of the Council's proposals to meet the housing needs in support of the growth of Cambridge.
The scheme encompasses land extending to circa 1200 acres and will provide over 10,000 new homes and associated commercial space in addition to community/leisure facilities, new schools, and open space. Key to the scheme is the provision of high quality public transport links to Cambridge, including a relocated railway station, pedestrian, and cycle links.
At Carter Jonas, we recognise that achieving planning permission is more than just being policy compliant. It is about understanding a wider range of factors and applying them to reach a favourable outcome.
Explore service
Our high-quality design capability is uniquely informed by the full range of property and planning expertise available across the Carter Jonas network. Embedded within the Planning & Development team, our masterplanners accelerate the design process by drawing on planning insight, market intelligence, architectural expertise and delivery specialisms across the firm at every stage.


text:
Limitations to Film in Pedagogy: Bar Bahar as a Case Study
Posted by MESPI Editors | Dec 19, 2017 | Articles | 0 |
By: The Tadween Editors
Bar Bahar (or its English title, In Between), has been increasingly gaining attention across the international film circuit since its 2016 release in Israel. The film won prizes at the Toronto International Film Festival, Haifa International Film Festival, Cinetopia, and the San Sebastian Film Festival.
This is director Maysaloun Hamoud's first full-length feature film. The film follows the lives of three '48 Palestinians (or Palestinians with Israeli citizenship), living in Tel Aviv. Viewers watch Selma, Leila, and Nour navigate sexuality, patriarchy, racism, and sexism in their daily lives. Aside from its entertainment value, the film can serve as a phenomenal pedagogical resource. However, there are several caveats to its use as a teaching tool that must be considered as one looks at its educational value and how it would be incorporated into a lesson plan. This article identifies four limitations that could impact the reception of the film's message by an English speaking audience. These four limitations are the translations, linguistic shifts, knowledge of the represented community, and the initial target audience.
Translating is incredibly difficult work, and it takes immense skill to convey the emotional and cultural meaning behind a sentence or phrase while also providing a coherent translation of the actual words used. In making the film accessible to an English speaking audience, subtitles were necessary. However, there were multiple instances something was missing in the translation. For example, in a scene with a male extra moving to kiss Leila, the subtitle to her response was, "Are you kidding me?", whereas, "What? A performance for your mother?", would be a more literal translation. While the former conveys the absurdity of the man's move, it eclipses and removes a theme of family that comes back into play multiple times in the film. Audiences relying on the translations, thus, only have access to a segment of the dialogues' complexity.
Continuing with the focus on translations, they also have a difficult time denoting language shifts. '48 Palestinians, generally, are fluent in both Arabic and Hebrew and often shift between the two languages within a single sentence. This language fluctuation, and the mixing in and of itself, has importance in understanding how '48 Palestinians understand their place within a larger Israeli society, and the specific words changed from Arabic to Hebrew also hint at notions of control and power. One scene elucidates this point very well. As the restaurant supervisor (an Ashkenazi Jew) scolds Selma for speaking Arabic in the kitchen, he punctuates his reprimand with "khalas!" (Arabic for "enough"). Here, the supervisor reiterates a significant power disparity between himself and Selma. Speaking Arabic is punishable for Palestinians, yet simultaneously appropriate when it is coming from the mouth of an Ashkenazi Jew. In a film that focuses on internal dynamics of the '48 Palestinian community, this moment discussing Israeli hypocrisy and racism loses an aspect of complexity for those who do not know Hebrew or Arabic. Granted, there is no clean way to show non-Hebrew/Arabic speakers these language shifts, especially when they happen on a word-by-word basis. However, it would be remiss to ignore these shifts when discussing about the film.
Just as there are implied messages behind certain phrases and choosing to say something in Hebrew versus Arabic, there are also unspoken references that could be lost if someone is not familiar with the '48 Palestinian community. When Nour is first introduced, Selma comments, "You're not from Haifa like Rafif [a former roommate]?" Asking such a question not only situates Tel Aviv as a space where '48 Palestinians from across Israel converge upon for a variety of reasons, but it also touches on perspectives of a liberal-conservative spectrum and illuminates where different cities fall on such a gradient. In this case, the liberalness of Haifa is juxtaposed to the conservativeness of Umm el-Fahm, where Nour is from. Not having an awareness about the reputations of different cities may allow the characters storylines to stand apart from the societal context. But, it also brings into question the intentions of Hamoud as the director. Did she, as someone living amongst and part of the community, rely on that knowledge to illuminate backgrounded points of contention within '48 society? And, how did she use awareness of the community to subtly challenge the monolithic conceptions of cities and how they sit on the liberal-conservative scale?
As we unpack the educational limitations and prospects for this film, though, we must also remember and consider the expectations we have as viewers versus Hamoud's intentions as the producer and director. Target audience is a major factor in conversations about what is and is not lost in the nuances of translation, language changes, and allusions to the community. Hamoud has made it clear that first and foremost, '48 Palestinians are her intended audience. Wanting to engage her own community, the film serves as a mirror, forcing '48 Palestinians to confront some of their internal issues. For this audience, all of the problems listed above are irrelevant. '48 Palestinians know the references, they know the languages and the "hidden" meanings. The storylines may resonate beyond the '48 Palestinian community, but that does not mean everything about the film must cross those same lines. While we can take art and apply it to an educational framework, the creator's aim for their work may be something entirely different. We cannot hold these limitations for pedagogy against Bar Bahar or Hamoud, as it would be placing undue expectations on the work. Rather, we must take these critiques and use them to adequately adjust teaching practices and strategies developed when using this film, and any film, in a class.
[This article was published originally Tadween`s Al-Diwan blog by Diwan`s editor, Mekarem Eljamal.]
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Tag: glam rock
CONFESS: DETAILS OF 'BURN 'EM ALL' UNVEILED
Posted on January 23, 2020 by AmadeuS
Street Symphonies Records & Burning Minds Music Group are excited to announce all the details of "Burn 'em All", the new album by Swedish hard/sleaze rockers, Confess.
After several years of touring, writing and pledging their legion to rock 'n' roll music, the Swedish five pieces combo took some time off to write the hits for their third official studio album. It's for sure their most honest and well crafted release so far. Some would say it's the perfect mix between their debut album "Jail" and the follow-up "Haunters".
"Burn 'em All" is scheduled for release on February 28, 2020 via Street Symphonies Records / Burning Minds Music Group and is available for pre-orders now: https://www.plastichead.com/item.aspx?catno=SSR037CD.
A special personalized edition has been created by Outward Styles in a very limited quantity of 30 copies, and will be available exclusively on the label's online shop. A vinyl version will follow-up through German label Diabolic Might Records (http://www.diabolicmightrecords.com); more details will follow in the forthcoming weeks.
The album cover art has been designed by Gisel Ippoliti.
01. So What?
02. Malleus
03. Welcome Insanity
04. A Beautiful Mind
05. Heresy
06. Burn 'em All
07. Is It Love
08. My Vicious Way
10. Prominence
11. One For The Road
Confess is:
John Elliot: Lead vocals
Blomman: Guitar
Pontus: Guitar
Ludwig: Bass
Sam Samael: Drums
Web/Social Links:
https://www.facebook.com/confessofsweden
http://www.confess.se
https://www.instagram.com/confessofsweden
http://www.burningmindsgroup.com/street-symphonies
https://www.facebook.com/streetsymphonies
http://www.diabolicmightrecords.com
Tagged burn em all, Burning Minds Music Group, confess, glam rock, Music, news, Sleaze
WILDSTREET Announce US Tour Dates + South America Shows with CRASHDÏET
US glam rockers WILDSTREET will kick-off Part 1 'Kings Of The World Tour 2020' of US tour dates since 2012 on February 20th at The Knitting Factory, Brooklyn, NY. This is the release party for their upcoming single, 'Born To Be', wich will be out on February 21th on all digital platforms. WILDSTREET has also announced tour dates in Colombia & Mexico in April with Sweden's CRASHDÏET.
Tour dates as follow:
FEB 20 – The Knitting Factory, Brooklyn, NY, USA
FEB 21 – Harrisburg Midtown Arts Center, Harrisburg, PA, USA
FEB 22 – Bar None, Uniontown, PA, USA
FEB 23 – The Outpost, Kent, OH, USA
FEB 25 – Sly Grog Lounge, Asheville, NC, USA
FEB 26 – 529 Bar, Atlanta, GA, USA
FEB 27 – Slim's Downtown, Raleigh, NC, USA
FEB 28 – Blue Fox Billiards, Winchester, VA, USA
FEB 29 – The Tusk, Philadelphia, PA, USA
APR 01 – Sleaze 'N Hardfest IV, Ace of Spades, Bogotá, CO w/ CRASHDÏET, Sunset Street
APR 03 – Foro Independencia, Guadalajara, MX w/ CRASHDÏET
APR 04 – MDX Circus Bar, Mexico City, MX w/ CRASHDÏET
Armed with big choruses, blazing guitar solos, and powerful melodies, WILDSTREET is a sex-fueled rock n roll explosion beckoning the glory days of 80s arena rock.
WILDSTREET is:
Eric Jayk – Vocals, Guitars
Jimmie Marlowe – Guitars, Vocals
Jonny D – Bass, Vocals
Dom – Lead Guitars, Vocals
Lock – Drums, Vocals
Tagged glam rock, Music, Rock 'n' Growl, Sleaze, wildstreet
WILDSTREET – New video single released….
Posted on November 23, 2019 by AmadeuS
US glam rockers WILDSTREET have released their official music video for the new single 'Three Way Ride', which is available today November 15th on all digital platforms.
Wildstreet began in 2006 and released their self-titled debut album in 2009 with Retrospect Records. The band spent the next 4 years touring nonstop and performing at US festivals including: Rocklahoma (5 consecutive years), SXSW and M3 Rock Festival. Wildstreet rocked alongside Black Veil Brides, Vains of Jenna, The Bouncing Souls, The Last Vegas, Twisted Sister, Michael Monroe, Crashdiet, Diemonds, Kix, LA Guns and more. The band won the Best Buy/Ernie Ball Battle of the Bands for Rockstar Energy's Uproar Festival and opened for Avenged Sevenfold, Sevendust and Three Days Grace in Camden, NJ.
In 2011, the band released Wildstreet II..Faster..Louder! to widespread critical acclaim. They made an appearance on "The Jimmy Fallon Show" (https://www.youtube.com/watch?v=mT2Wpp7NkK8) and their songs were licensed to TV shows on E!, MTV, VH1, Oxygen, TBS and in a THQ video game. Later that year, the band released the official music video for "Poison Kiss," which included a cameo by Don Jameson of "That Metal Show." Wildstreet now had the attention of rock fans worldwide. In 2012, the band released the single "Easy Does It," and it's official music video. The video went viral on YouTube. (Wildstreet has well-over 4 million views and nearly 8,000 subscribers on that platform).
After taking a 2 1/2 year break off and dodging rumors of a band breakup, Wildstreet exploded back onto the NYC scene in 2016, headlining Gramercy Theatre with new lineup. In early 2017, the band rocked NYC with Faster Pussycat and The Biters, while also heading to Rocklahoma for the 6th time.
The band began work on their single "Raise Hell" shortly after Rocklahoma. Released in December of 2017, it ushered in a new period for the band. They headlined Irving Plaza for their release party and were handpicked by Dorothy to open for her New York City tour date at The Bowery Ballroom. In February of 2018, the band released a lyric/concert video for "Raise Hell." Wildstreet spent the remainder of 2018 in the studio recording, Wildstreet III. They performed regional tour dates/festival dates. Highlights include opening for Sebastian Bach and Escape The Fate. In March, the band sold out The Knitting Factory Brooklyn and then headed out on their first tour in Europe, playing 10 shows in Belgium, The Netherlands and Germany, including Sleaze Fest 2019 in Bochum, Germany. Upon returning to NYC, Wildstreet filmed the official music video for "Tennessee Cocaine." In July, they headlined a sold out NYC show at Saint Vitus and headed out for a short West Coast tour which included stops at The Whisky-agogo and Great American Music Hall. The official music video and single for "Tennessee Cocaine" was released on all major digital and streaming platforms on August 23rd. It has 120,000 spotify streams and over 100,000 Youtube views.
Eric Jayk – Vocals, Guitar
Jimmie Marlowe – Guitar, Vocals
Dom – Lead Guitar, Vocals
Tagged glam rock, Melodic Rock, Music, news, Rock, three way ride, wildstreet
MIDNITE CITY – "There goes the neighbourhood" (9/10)
Posted on September 11, 2018 September 11, 2018 by AmadeuS
Following on from their explosive self-titled debut album last year, MIDNITE CITY return all guns blazing on 19th of October 2018 with their sophomore release 'THERE GOES THE NEIGHBOURHOOD' – eleven tracks of fist pumping, high energy, feel-good, hair metal of the highest order!
1. Here Comes The Party, 2. Give Me Love, 3. You Don't Understand, 4. Life Ain't Like This On The Radio, 5. We're Gonna Make It, 6. Tonight You're All I Need, 7. Hard To Get Over, 8. Takes One To Know One, 9. Heaven's Falling, 10. Gave Up Giving Up, 11. Until The End
The lush melodies, huge choruses and gargantuan hooks found on their debut album are all here in abundance alongside some true modern day glam anthems, fun commercial party rock, moody mid-paced hard rockers and heart wrenching power ballads big enough to light up an entire arena.
As with the first album, the winning formula has remained – all songs have been written by Rob Wylde, whilst Pete Newdeck has once again taken control of production, engineering and mixing duties. With 'THERE GOES THE NEIGHBOURHOOD' the band has literally stepped everything up several notches to unbridled, head splitting proportions. The guitars are big, the drums are huge, there are walls and walls of harmonies and more synths than you'd find this side of a classic Bon Jovi album. In a nutshell, this album has everything but the kitchen sink!
With shows all over the UK and Europe in 2017/ 2018, MIDNITE CITY's sound is tighter than ever before.
So if you long for a band that still look, sound and perform like those long lost million selling forgotten bands of the late 80's/ early 90's, MIDNITE CITY and 'THERE GOES THE NEIGHBOURHOOD' is the album for you. Don't forget to catch MIDNITE CITY tearing it up live all over the UK, Europe and beyond in their own inimitable, arena rock style in 2018/ 2019…
'HERE COMES WEEKEND…HERE COMES THE PARTY!'
AMRS APPROVED 9/10
Tagged Aor, aor heaven, glam rock, hair metal, Melodic Hard Rock, Melodic Rock, Midnite city, Music, new album, New Releases, news, pete newdeck, rob wylde, there goes the neighbourhod
AERODYNE – Debut album details….
"Breaking Free", first full-length of swedish hard rockers Aerodyne, is set for release on December 15, 2017 via Street Symphonies Records / Burning Minds Music Group, distributed by Sound Trek in Italy, AnderStein Music in Japan and Plastic Head in the rest of the World. With their first EP and music video "Old Flames Die Hard", Aerodyne got the attention of rock fans all over the world, taking the decision of entering the studio in early 2017 in order to record their first full-length. The result is finally available in the ten outstanding tracks of "Breaking Free", in which they show a powerful and dangerous mix of Scandi Glam and Sleaze Rock, driven by a big and unquestionable attitude. Frontman Daniel Almqvist says: "With 'Breaking Free', we wanted to do something honest. Most new albums I come across tend to be very well produced and slick as though with no heart in it, so we wanted our album to be the opposite – raw and genuine, as we think rock n' roll should be all about – and I think we did a pretty good job". Very welcome guest in the album is Crazy Lixx's frontman Danny Rexon, who provides his anthemic backing vocals on the track "Run Away". The first official single, "Comin' For You", will be launched next week for streamig, accompanied by an official video on Youtube.
"Breaking Free" Tracklist:
01. As Above, So Below
02. Comin' For You
03. Breaking Free
04. Aerodynamic
05. Pedal To The Floor
06. We All Live A Lie
07. Until You're Gone
08. Setting Hell On Fire
09. Run Away
10. Back To Back
Aerodyne is:
Daniel Almqvist: Vocals, Guitar
Timmy Kan: Bass
Johan Bergman: Lead Guitar
Christoffer Almqvist: Drums
Web / Social Links:
https://www.facebook.com/aerodyneofficial
https://www.burningmindsgroup.com/street-symphonies
Tagged aerodyne, Burning Minds Music Group, glam rock, hard rock, Melodic Rock, Music, Sleaze
Midnight City – New promo clip & Debut out on Oct.20th….
New promo clip is available from Midnight City out of their debut self titled album which is set for release on October 20th from AOR Heaven.
MIDNITE CITY were formed in January 2017 by current Tigertailz front-man (and former Vega, Steevi Jaimz and Teenage Casket Company member and songwriter) Rob Wylde.
Armed with an album's worth of material written under the working title of MIDNITE CITY, Wylde approached friend Pete Newdeck (Newman/ Eden's Curse, Blood Red Saints) to produce three songs forhim to shop to record labels.
Wylde sang, played guitar and bass on the recordings whilst Newdeck played drums, provided backing vocals and took care of the production. Wylde also brought in newcomer guitarist Miles Meakin who played guitar solos on the recordings and former band mate James Martin (Vega) who laid down keyboards on the tracks. After being mixed by Newdeck, the songs were sent to Harry Hess (Harem Scarem) who mastered them at his studio in Canada.
The songs 'Nothing's Like Losing You', 'Summer Of Our Lives' and 'Think About You' were then sent out to labels and garnered considerable interest across the board, resulting in a deal being inked with German label AOR Heaven.
With a record deal in place, Newdeck officially joined the band as drummer in the Spring of 2017, alongside Miles Meakin on guitar and Shawn Charvette on keyboards.With the line up now in place, the band began work on their debut album at PNP Productions in Tewkesbury UK, completing the recordings in June 2017.
With a sound that the band describes as 'Timeless, melodic rock/ hair metal', MIDNITE CITY cover all bases when it comes to this much loved genre of music. From ultimate feel good, party rock anthems, to brooding melodic rock monsters, to spine tingling power ballads, they are all here in abundance, and then some.
With an album release being planned for October 20th, 2017, MIDNITE CITY will be taking their explosive live show out on the road throughout the UK, Europe and the USA in late 2017/ 2018.
https://www.facebook.com/midnitecityuk/
Tagged glam rock, hair metal, Melodic Rock, midnight city, Music, tigertailz
VAN ARX – New album out
Perris Records is proud to announce the worldwide release of VAN ARX – Stand Together For Rock and Roll CD.
VAN ARX a unmistakable Hard Rock 80s style with everything you'd expect to see on stage during those wild and crazy times. Powerful original songs with a deliberate nod to icons like Kiss, Mötley Crüe, AC/DC and many more. With three lead vocalists, VAN ARX covers the entire spectrum of the genre and guarantees a diverse performance. VAN ARX also means a visual flashback into the 80s: four strong personalities carry the audience off into a time of glam rockers with long manes, platform boots and spandex. The musicians shed their identities and become Tyler String, Jake Fake, Brewster Kickass and Sticky Martin. Expect to be part of an exciting show with attitude, pyrotechnics, smoke and lights as the central elements of this collaborative work of art. 1984, the heyday of Hard Rock and Heavy Metal and the birth year of the Swiss band VAN ARX. After achieving considerable local success, the first chapter in the band's history ended in the early 90s when the band members decided to pursue different musical avenues. But those formative years were never forgotten. 2014, a VAN ARX reunion. The joy was immense. A melding of musical maturity, old friendships and a passion for Hard Rock and Metal gave the band its direction. After a short warmup period, VAN ARX is set to relaunch in its original lineup with a solid live concept and a brand new album. For fans of KISS, Mötley Crüe, AC/DC and STEEL PANTHER.
Stand Together For Rock and Roll
Stay Tonight
Rock and Roll Master
Rock Battle
Bang Your Head
I Want Some Girls
She Did Anyway
Send The Devil to Hell
It Is Over
You Like To Party (We Love To Rock)
CD is available for purchase direct from label:
http://perrisrecords.com/new_releases/van_arx___stand_together_for_rock_and_roll/
Tagged glam rock, hard rock, Melodic Hard Rock, Melodic Rock, Music, perris records, van arx