#martin cantor

[forgetmeepnot]

Martin tallyhall part: ii

[iekeejkeek]

another raining night bar🥃💞✨

[brieucgwalder]

The Blue Lagoon, the end.

Previously on “The Blue Lagoon”: The narrator’s car breaks down on a lonely road in Yucatán, Mexico. He finds a hotel along the road bordering an immense lagoon where dolphins come and play. The hotel owner, Clara is a mysterious woman who loves dolphins… If you haven’t read the first part click here: The Blue Lagoon …The next few days, I saw very little of Clara. She would leave early on one…

[ambi-kiko]

tma music tma music tma music

please reblog with your own! i need it (:

also im more than willing to elaborate on any of em, just ask! (i have much to yell about)

for bitchard, we have:

kiss me, son of god (they might be giants)

i'm gonna win (rob cantor)

blood & money (the orion experience, orion, linda XO)

ruler of everything (tally hall)

BlackBoxWarrior - OKULTRA (will wood)

community gardens (the scary jokes, louie zong)

the main character (will wood)

your body, my temple (will wood)

laplace's angel (hurt people? hurt people!) (will wood)

saint bernard (lincoln)

welcome to the internet (bo burnham)

all eyes on me (or3o)

my ordinary life (the living tombstone)

cabinet man (lemon demon)

peter x elias (for my frenchies out there <33)

marine marchande (les cowboys fringants)

ok dont judge me too much i had to have smth for them ((: plus its not that unrelated

next! martin

a better son/daughter (rilo kiley)

12 feet deep (the front bottoms)

things to do (alex g)

be nice to me (the front bottoms)

step on me (the cardigans)

heart for brains (roar)

mama (my chemical romance)

summer child (conan gray)

hello my old heart (the oh hellos)

i cant handle change (roar)

against the kitchen floor (will wood)

least favorite only child (leanna firestone)

sharpener (cavetown)

empty bed (cavetown)

life's a beach (bears in trees)

jmart ((:

no children (the mountain goats)

the moon will sing (the crane wives)

euthanasia (will wood)

as the world caves in (matt maltese)

the truth (the front bottoms)

balade à toronto (jean leloup)

doctor (jack stauber)

apocalypse (cigarettes after sex)

talk to you (ricky Montgomery)

cabo (ricky montgomery)

meteor shower (cavetown)

juliet (cavetown)

feel better (penelope scott)

would you be so kind (dodie)

two birds (regina spektor)

line without a hook (ricky Montgomery)

and jon, ofc <3 i rly dont have enough for him ):

body terror song (AJJ)

downhill (Lincoln)

montreal (penelope scott)

ramblings of a lunatic (bears in trees)

its called: freefall (rainbow kitten surprise)

chin music for the unsuspecting hero (foster the people)

love, me normally (will wood)

dinner is not over (jack stauber's micropop)

also melanie! dont have that many but she deserves the mention (:

saturn suv (fredo disco)

brave as a noun (AJJ)

tongues & teeth (the crane wives)

wreaking ball (mother mother)

we fell in love in october (girl in red)

and just random songs with tma vibes (other characters, ships, dread powers, etc)

underground (cody fry)

hand me my shovel, i'm going in! (will wood)

terry's taxidermy (teddy hyde)

cotard's solution (will wood and the tapeworms)

amnesia was her name (lemon demon)

memento mori: the most important thing in life is death (will wood)

skeleton appreciation day in vestal, n.y. (will wood)

icicles (the scary jokes)

puppet boy (devo)

oh ana (mother mother)

i dont smoke (mitski)

choke (I DONT KNOW HOW BUT THEY FOUND ME)

thermodynamic lawyer esq, G.F.D (will wood and the tapeworms)

sorry haha i fell asleep (egg)

despair (leo)

stuff is way (they might be giants)

baby teeth (baby bugs)

king park (la dispute)

i/me/myself (will wood)

dr. sunshine is dead (will wood and the tapeworms)

amygdala's rag doll (ghost and pals)

little pistol (mother mother)

burning pile (mother mother)

this is home (cavetown)

body (mother mother)

turn the lights off (tally hall)

like real people do (hozier)

im going insane

[eddieredmayneargentinablog]

Amazing!!!

#Repost Make up Artist Richard Martin on Facebook : "Now #thedayofthejackal is out in America, I can finally start showing the work we did on the series I can't explain how proud I am of the work we did on this and will be forever greatfull for the opportunity to be Prosthetic Designer to Mr Redmayne for this show.

In episode 1, I was tasked with creating Ralph Becker. A heavy smoking down and out janitor. Director Brian Kirk explained it was to be the opening scene, and he wanted Eddie to be completely unrecognisable. He also had to face the real Ralph Becker who he had killed, so we had to create a full Becker dummy which was very exciting.

Here's Eddie in his Becker disguise without his aged contact lenses. I'll post more behind the scenes on how we created the make up and the body next week.

Prosthetic designer: Richard Martin

3d digital artist: Adam Edwards

Mouldmaker: Tim Quinton

Sculptor: Richard Martin

Silicone runner :Richard Martin

Wigs and facial hair: Andrew Whiteoak

Teeth: Fangs FX

Contact Lenses: Cantor Barnard

[cursedreverie1945]

03/18/1945-Germany: PFC.Abraham Mirmelstein, Newport News,VA., holds the Torah as Capt. Manuel M.Poliakoff, Baltimore, MD., and CPL. Martin Willen, cantor, of Baltimore, MD., conduct services in Rheydt Castle, former residence of Dr. Joseph Paul Goebbels, Nazi propaganda minister, in Muenchen-Gladbach, Germany.

The Jewish services held against a backdrop of a swastika-covered wall, were the first conducted east of the Roer River and were offered in memory of boys of the faith who lost their lives in the drive. The castle is now occupied by troops of the 29th division, U.S. Ninth Army.

I hope Goebbels knew, was pissed off and pissing in his pants.

[jrmilazzo]

There is one name, however, that the student of nature could afford to misremember: Homo sapiens. In 2008, the political nonprofit Responsible Policies for Animals (RPA) sent a petition to the ICZN, with a simple demand: change the epithet sapiens, which “promotes and perpetuates an attitude in human beings of their own exceptionalism and superiority.” They suggested an alternative, Homo complexus, which recognizes “hyper-complexity” rather than wisdom as our distinguishing trait. The ICZN never acknowledged receipt and media outlets were unimpressed. “No one responded to the news release of the petition’s submission,” said David Cantor, the founder and director of RPA. But others would soon issue parallel calls.

“An animal that imperils its own future and that of most other life forms and ecosystems does not merit a single ‘sapiens’, let alone the two we now bear,” argued the science writer Julian Cribb in a 2011 letter to Nature. He is referring to Homo sapiens sapiens: our subspecies name in trinomial nomenclature, historically used by paleontologists and anthropologists to distinguish modern humans from extinct precursors. A useful specification or not, the trinomen “sapiens” blows coarser salt into the taxonomic wound, making us not only wise, but the wisest of the wise. “Repeating sapiens doesn’t get us any closer to wisdom,” writes the physician Warren Martin Hern. “It is a meaningless chant.” Cribb concludes his letter with a call for humans to receive a new epithet, one that more accurately describes our collective impact on Earth. In 2015, The Ecologist published a letter addressed to Linnaeus, written by conservation biologist Gianlucca Serra, urging him to rename our species for similar reasons: “That name you gave us 256 years ago sounds frankly ridiculous in the light of the current situation, dear Carl. Do not take it personally, at your time you could have hardly imagined.” Oceanographer Michael P. Belanger repeated this sentiment in 2018, relaying how he sees “no adaptation to a changing environment that would show evidence of human intelligence.” In 2023, Hern offered his own redefinition of humans as Homo ecophagus (the man who devours the ecosystem).

[guardianreadersofthegalaxy]

My 2024 film ranking:

Thelma [AKA ‘Not That Martin Luther King Film’] [Comedy] A 93-year-old sets out to recover the $10,000 she lost in a scam. This is so up my street. I love gently comedic dramas with thoughtful direction and beautiful music. ‘Thelma’ could so easily have fallen into realm of lazy straight-to-streaming improv, so I’m glad writer/director Josh Margolin didn’t let that happen. I’d describe the combination of action-comedy with A24-style indie pathos as a sort of Edgar Wright/Greta Gerwig mashup… if you can imagine such a thing.

Dune: Part Two [AKA ‘He’s Not The Messiah…’] [Sci-fi/fantasy] The young Paul Atreides learns the ways of the desert-dwelling Fremen. I hope the Dune series proves to be this generation’s ‘Lord Of The Rings’. Director Denis Villeneuve complements the superb visuals with a screenplay that explores the corrupting effect of power and exploitation of faith. While it’s far from standalone, DV wisely centres this instalment around a self-contained love story, which makes for a compelling and coherent throughline.

Wallace & Gromit: Vengeance Most Fowl [AKA ‘An Aardman Is Good To Find’] [Family animation] When naive inventor Wallace creates a ‘smart gnome’, a jewel-thieving penguin sees his chance for revenge. I’m so glad a children’s sequel finally stuck the landing this year. This has all the thrills, heart, and hilarious sight gags of ‘The Wrong Trousers’, plus some decent verbal jokes from the now expanded voice cast. It’s also surprising scary for a family film! Sure, Aardman gave me nightmares as a kid, but I didn’t expect the Norbots to give the entity from ‘Smile 2’ a run for its money. If it turns a generation against AI, then that can only be a good thing.

Anatomie D’Une Chute (Anatomy Of A Fall) [AKA ‘Fall Out (The Window) Boy’] – [Drama] A novelist is investigated for murder following the suspicious death of her husband. A masterclass in when and how to reveal information to the viewer. The scenes run long, like in a play, but each one builds on the last and informs the momentum of the next. I usually dislike ‘talking-in-rooms’ films, but with actors as great as Sandra Hüller and the young Milo Machado Graner, talking in rooms is fine by me.

Conclave [AKA ‘Ralph Fiennes A Pope’] – [Drama] A Vatican cardinal oversees the election of a new pope. Another primo example of the ‘talking in rooms’ genre. Ralph Fiennes leads an excellent cast of old geezers in robes, and while the endless dialogue could have left this feeling like a TV series, director Edward Berger keeps things cinematic with some flashy directorial choices. After an admittedly slow start, the plot’s riveting, though I was unsure what to make of the slightly random final reveal. Lose the last five minutes and you’d have had a perfect ending.

Between The Temples [AKA ‘Mitzvah Wonderful Life] – [Comedy] An awkward synagogue cantor finds new purpose when he reconnects with his elementary school music teacher. Not a huge amount to say about this one, just a sweet oddball comedy about finding unlikely love amid midlife depression. The constant shaky-cam gave me motion sickness, but the jokes made up for that.

Blitz [AKA ‘Goodnight Mr. Bomb’] – [War] A mix-raced Blitz-evacuee jumps off the train and returns to London to find his mother. I’ll start by praising James Harrison’s merciless sound design that greatly contributes to the film’s sense of danger. The plot’s pretty bare, more a series of episodic vignettes our hero encounters as he ‘Finding Nemo’s his way back to mum. But McQueen’s direction puts you right in George’s little shoes. It’s a brutal experience, but with just enough hope and kindness to keep you from despair.

Poor Things [AKA ‘FrankenStone’] ­– [Black comedy] A woman with a child’s brain ventures out into the world for the first time. The best I can say is that it made me think and it made me laugh. Amid the weird and nasty elements, there’s an interesting coming-of-age story about a child discovering philosophy, society, and sex. Cut 15 minutes off either end and it would have been tighter, plus you’d lose the headache-inducing black and white.

Rebel Ridge [AKA ‘Boys In Blue Ruined’] – [Thriller] A former marine vows revenge on a small town police department after they confiscate his cousin’s bail money. Director Jeremy Saulnier’s (arguable) crossover to the mainstream lacks some of the indie trappings of the grittier ‘Blue Ruin’ and ‘Green Room’, but that’s fine by me. ‘Rebel Ridge’ swaps moral ambiguity for perfectly gauged good vs evil. Challenging the world’s worst police department is Aaron Pierre’s Terry, a badass with the fighting skills of John Wick and the morals/politeness of Paddington. The final showdown’s a bit limp and bloodless, but satisfying all the same.

The Imaginary [AKA ‘From Rudger With Love’] [Family animation] A child’s imaginary friend confronts the fact he will one day be forgotten. I had my reservations during the mid-point lore-dump, but The Imaginary manages to sidestep potential pitfalls, provided you watch it with your heart more than your brain ie. ‘Tenet mode’. Unlike say most Pixar films there’s no obvious thesis, just lots of themes and images, so it’s pretty subjective. But while it took a while to win me over, by the end I was in tears and not quite sure why… the gorgeous music and animation can’t have hurt.

Challengers [AKA ‘Throuple’s Tennis’] – [Drama] A retired tennis player coaches her husband in a match against her ex. I’m impressed how, for a film with only 3 characters to bounce off one another, its non-stop sexual mind games were able to hold my attention for (nearly!) the full 130 minutes. It’s intense, full of slow motion, aggressive sound design, and abrupt blasts of Trent Reznor’s Work Out/ Make Out Mix.

How To Make Millions Before Grandma Dies [AKA ‘If King Lear Were An Old Thai Lady’] – [Drama] A young man cynically plans to get in his grandmother’s good books in the hope of inheriting her house. Arguably a bit predictable, but well executed all the same. I liked the humour, Jaithep Raroengjai’s gentle score and Usha Seamkhum’s performance.

The End We Start From [AKA ‘A Wet Place’] – [Drama] A new mother cares for her baby in the aftermath of a catastrophic flood. You can tell this was based on a book from the many long, pensive pauses that imply unheard internal monologues. Both plot and dialogue are bare bones and leave much to the imagination, so there’s plenty of room for stunning, drizzly nature shots and Anna Meredith’s beautiful score. My only gripe was the irritatingly quirky presence of Katherine Waterston.

Inside Out 2 [AKA ‘Peep Show… For Kids!’] – [Family animation] A thirteen-year-old has to cope with an influx of anxiety and other new emotions. 2015’s ‘Inside Out’ was probably the best possible version of its own concept. Now Pixar have opted (admirably) for a flawed variation rather than try to recreate perfection. It still looks as great as ever, though I mourn the absence of composer Michael Giacchino. Suffice it to say I laughed a lot, but didn’t end up needing any tissues.

The Holdovers [AKA ‘Teacher Movie’] – [Drama] A teacher, a student, and a cook at a 1970s boarding school are forced to spend the holidays together. This is what I call a ‘plane film’ in that it’s reasonably good but also totally forgettable. My gripes were that the characters got too familiar with one another too soon, leaving no room for growth, and that Da’Vine Joy Randolph’s Mary lacked any flaws or development.

Furiosa: A Mad Max Saga [AKA ‘Cars’] – [Action] In a post-apocalyptic wasteland, the young Furiosa seeks revenge on the warlord Dementus. A less focused, less satisfying follow up to ‘Fury Road’, but still miles ahead of most modern action. ‘FR’s frenetic editing has been subbed out for carefully choreographed long takes, but the practical effects and thesaurus-reliant dialogue remain. Anya Taylor Joy’s not given much to work with, but Chris Hemsworth shines as the cruel but pitiful Dementus. I can’t wait for him to be upstaged by a co-star in his own prequel.

Woman Of The Hour [AKA ‘You Plonker, Rodney!’] – [Thriller] The true story of serial killer Rodney Alcala’s 1978 appearance on a dating game show. If actor-director Anna Kendrick’s main goal was to portray the sickening anxiety of living as woman, then mission accomplished. I hated it, but do now feel very lucky. Given the horrific nature of the real events depicted, it feels petty to complain that it doesn’t totally fit into a satisfying narrative. Even with some flashing back and forth to create a stronger beat to finish on, the ending still took me a bit by surprise. I feel restricting the thriller to Sheryl’s encounter with Alcala would have kept it more focussed, and would have eschewed the arguably exploitative scenes of violence.

The Wild Robot [AKA ‘Crying Gosling’] – [Family animation] A robot washes up on a remote island and raises a baby goose. Best watched on Mother’s Day. A bit of a let-down for most of the runtime, but it won me over in the last half hour and I really got invested. A lot of the emotional beats felt forced, with heavy-handed music – it’s telling that the one moment that did nearly make me cry was silent. The constant rush of colours and movement often made me nauseous, but I can’t deny the beauty of the faux hand-drawn animation.

Paddington In Peru [AKA ‘Mrs Brown’s Bears’] – [Adventure] Paddington follows his aunt Lucy on a quest through the Amazon. New director Dougal Wilson makes a fair attempt to recreate the charm of the first two Paul King films, sometimes successfully. Sadly, the script’s just not as tight, nor are the visuals as imaginative. And the ending briefly flirts with going in a terrible direction for the sake of a manufactured tear-jerk and fakeout. Still, it’s unmistakeably Paddington, and I did have fun, especially when Olivia Colman was on screen.

Smile 2 [AKA ‘Smiley Virus’] – [Horror] A troubled pop star becomes the latest tormentee of a malevolent smiling entity. Giving this three stars, one for each of its brilliant set pieces: the cold open long take, the horrific conclusion, and the bit with the dancers. That said, the problem with unrelenting nightmares is that they can be a bit unrelenting. Writer/director Parker Finn doubles down on the hopeless tone of the first ‘Smile’ to create a flat rollercoaster of misery. Probably the scariest horror film I’ve ever seen, but far from the best.

Sous La Seine (Under Paris) [AKA ‘Swim Away!’] – [Thriller] A team of attractive boat cops search for a monstrous shark in the river Seine. Sous La Seine toes the line between so-bad-it’s-good and actually good. It’s full of cheesy music moments of cringe and soap opera-level characterisation, but blends those with genuine tension and looks good doing it. And I loved the delightfully evil mayor, who gives the ‘Jaws’ mayor a run for his money. Or should I say, ‘a swim for his money’! Haha.

Wicked [AKA ‘Glin Da Heights’] – [Musical] A green woman who’s known only racism has the profound realisation that the government… is racist. A mixed (and very long) bag. Most of my criticisms stem from the source material – I found the songs generic, and can’t tell why Elphaba’s so shocked by the Wizard’s heel turn, making the extremely milked ending fall flat for me. The real wizard is John M. Chu, who can direct a hell of musical set piece. I also never knew Ariana Grande was so funny, and her enemies-to-friends ‘womance’ with Cynthia Erivo’s Elphaba was the peak of the film. Shame there was a whole hour left after that.

La Passion De Dodin Bouffant (The Taste Of Things) [AKA ‘Yum And Yummer’] – [Drama] Love, life, and cooking in 19th Century France. Before this I didn’t realise it was possible for a cinema full of people to audibly salivate. On top of all the fetishy food-shots, I like the ‘Van Gogh’ aesthetic – cicadas, absinthe, art nouveau… but found the film lacking in emotion. The absence of music may have enhanced the immersive sound design but it didn’t do the bare-bones narrative any favours.

El Cuco (The Cuckoo’s Curse) [AKA ‘Womb/Off’] ­– [Horror] A pregnant woman and her husband swap homes with an elderly German couple. Very much a tale of two halves. It starts off as an unfocused mess of disconnected themes and imagery, but greatly improves when it gives up on being an A24 knockoff and turns into Face/Off. More modern horror would benefit from abandoning ‘prestige’ and leaning more into camp.

Longlegs [AKA ‘Cage Fright’] – [Horror] A psychic FBI detective investigates a series of murder-suicides with links to her own past. For me, this worked better as a horror than as a police procedural. The many research montages had me yawning, but the creepier sequences fared better, mostly thanks to Osgood Perkins’ competent direction. Acting-wise, Maika Monroe and Nicholas Cage do okay yin/yang performances as The Subdued Detective and The Crrrazy Serial Killer.

Godzilla Minus One [AKA ‘I’m Burning Japanese, I Really Think So’] [Disaster] A failed kamikaze pilot confronts his survivor’s guilt in the form of the monstrous ‘Godzilla’. I can’t believe it’s not Marvel. Everything from the decent dialogue, to the competent characterisation, sufficient special effects, mediocre music, and acceptable action left me thoroughly ‘whelmed’. Its only points of divergence from bog-standard Hollywood fare were some nice colour grading, a more serious tone, and a genuinely cool heat-ray effect.

Civil War [AKA ‘Snapped In America’] – [War] A team of reporters brave the front lines on their way to interview a besieged US President. Decent execution but zero points for originality. The spectacle’s well done, but the often-corny screenplay is full of tropes and scenes cribbed from older (if not necessarily better) films. It’s a shame, the images of war-torn Americana could have made for a fascinating photography exhibition.

Hit Man [AKA ‘Ten Stings I Hate About You’] – ­[Crime/romance] A undercover fake hit man falls for the woman he’s trying to entrap. Maybe the reason this seems so generic is, ironically, that it’s a formula you don’t see much any more ie. two attractive leads + some jokes + mild peril = total plane film. It’s passably entertaining, but I disliked the lazy use of voiceover, boring direction, missed opportunities for tension, and Glen Powell being simply too handsome for me to root for.

Deadpool & Wolverine [AKA ‘Terrence & Phillip’] – [Comedy] It’s Deadpool 3… and Hugh Jackman’s in it… and they’re in the MCU now, okay? Is this what 12-year-old boys see when they watch ‘Rick & Morty’? All the sex jokes and none of the Douglas Adams? For better or worse, Reynolds has taken his schtick to the MCU, with all that entails: bloated runtimes, cameos, scripts that feel like a first draft but also like they’ve been picked to shreds. It’s mainly rubbish, but it did make me laugh. And I like that it normalises same-sex flirtation for what could otherwise be quite a macho character, albeit in the crudest way possible.

Jackdaw [AKA ‘Yorvik Biking Centre’] – [Crime] A dirt biking army vet must rescue his brother from a gang boss. A product of the ‘take x subculture and set a thriller in it’ formula, the subculture this time being Newcastle ravers. There was a strong aesthetic, with more drizzly streets and blaring tail lights than you can shake a The Batman at, but it suffered whenever things went indoors. I found it hard to care about its stock characters, its Darth Vader-reveal, or its Kill Bill Vol. 2-anticlimax.

The Critic [AKA ‘The Wicked Wizard Of The West (End)] – [Drama] In 1930s London, a gay theatre critic hatches a fiendish plan to get his job back. Halfway through this, one character says “why be so predictable?” and another replies “why be so cheap?” They’d have written my review for me if they’d also said “why use so many ultra-closeups?”, “why cast Gemma Arterton?”, or “why do that cliché thing where a character yells in frustration while shaking a steering wheel?”. One star each for the subtle/sassy (respectively) acting of Mark Strong and Ian McKellen.

Kill [AKA ‘The Shit Train Robbery] – [Action] An Indian commando fights to save his in-laws from a family of train robbers. People comparing this to ‘The Raid’ need to get that masterpiece’s name out of their fucking mouths. They’re both bloody, but the similarities end there. I think the train setting was a mistake, as it didn’t provide enough variety of locations. Claustrophobic action is hard to shoot with a clear sense of geography, and in ‘Kill’ it is not shot with a clear sense of geography. Also, the ultraviolent revenge kills might have been satisfying had the baddies (aside from the brilliantly odious Fani) not been such a bunch of wusses.

[pargolettasworld]

https://www.youtube.com/watch?v=HQeQ0MyAjDs

This was originally recorded a few days ago in honor of Martin Luther King, Jr. Shabbat (18 January 2025).  It’s Moshe Stern’s piece, arranged by Raymond Goldstein, performed by Cantor Netanel Hershtik and the Hampton Synagogue Choir.  The topic is the Ge’ulah, the redemption from Egypt -- we just began the book of Shemot (Exodus), so we’re at the beginning of this story, and we’ll catch up to the Main Event in a few weeks.

But please, please, please let this song of liberation apply not only to the federal holiday, but to the hostages as well!

[accuratepicuresofanthropologists]

Edward Sapir

Edward Sapir, left, and his brother Max, via Darnell’s biography Edward Sapir.

Edwards Sapir was born in 1884 in what is now Lebork Poland, the son of a Jewish cantor whose dreams of being an opera star were never realized. The family often traveled for his work -- in essence, Sapir had no home town. He grew up speaking Yiddish and received a thorough training in Hebrew. In 1890 his father took a position in Richmond, Virginia and then another position in New York. Sapir was almost as mobile as his father, taking American citizenship, then Canadian, then American again in the course of his career. At the end of the day, he felt he was not really American, or Polish, or Jewish, but a New Yorker.

Sapir's incredibly intellectual gifts manifested themselves early. He attended Stuyvesant, the legendary elite public school in New York that has provided generations of poor, gifted students a pathway to success. When he was fourteen he won a city-wide academic competition and used the money to attend Columbia, where he received his BA in three years. Sapir was musical, and studied piano and composition with the composer Edward MacDowell. But his speciality was language: Competent in Hebrew, Yiddish, and English, he studied Latin and Greek in school, as well as French and Spanish. His undergraduate training was in German philology, where he studied the then-new approach of historical linguistics.

It was at Columbia that he encountered Franz Boas, who exposed him to American Indian languages. The experience was mind-blowing: a continent full of ways of thinking and expressing one's self radically different than Indo-European languages. The process of eliciting language and grammar from informants was also fascinating to Sapir. He was quickly converted. Boas was delighted with Sapir. He, like everyone else, would consider Sapir one of this best students. Sapir did his first fieldwork in the Pacific Northwest on Chinook -- a notoriously complex language. He earned his Ph.D. in 1909 and immediately landed a plum job: to direct ethnographic research in Canada.

Edward Sapir around 1913. Via Takelma Texts and Grammar

It was an amazing opportunity: Sapir would be able to shape the direction of research for an entire country, but it also came with drawbacks. Sapir moved to Ottawa and took Canadian citizenship. But Ottawa was not like Sapir's beloved New York. He missed the lack of cultural institutions and intellectual ferment. Ottawa was also very homogenous, and Sapir had trouble fitting in with the waspy Canadian upper-crust the way he was supposed to. He had hoped the job would let him do fieldwork as he pleased, but the government wanted him to be an administrator who sent other people out to do fieldwork.

Throughout this period Sapir not only produced linguistics and anthrpology, he also grew pensive. He wrote essays on culture and identity. He experimented with poetry. Partially his adventurousness was due to his boredom in Ottawa. But it also had deeper roots: His wife Florence was slowly dying. It was a long and excruciating process. For her treatments, Sapir often came to New York for extended periods. It was at this point, in the mid-1920s, that he met and fell in love with Ruth Benedict. They corresponded, and sent each other poetry. When he was in New York, she would take care of his children -- something that Benedict, who could not have children herself, especially valued. He also met Boas's new student Margaret Mead, and struck up a relationship with her which was not entirely platonic. Eventually he asked Benedict to marry him, but she refused: Sapir was a traditionalist who wanted her to become a stay at home mother and abandon her career.

From left: John Blackburne, Paul Martin, and professor Edward Sapir and Fay Cooper Cole at the University of Chicago in August 1926. Sapir has his hands behind his back. Via the UC Photo Archive

After Sapir's wife passed away, he decided it was time for a change. Luckily, one was available: The University of Chicago was looking for someone to hold up the anthropology section of its sociology department (anthropology was a part of sociology at that time). It was a young, wealthy university with a commitment to pure research. Sapir was promised that he could do whatever he liked there -- it was a place where stars were given room to be themselves. So he went. It was a good move: For most of the 20th century Chicago was the center of social sciences (_all_ of them) in the US and perhaps globally.  Sapir remarried in Chicago and trained several students, including Leslie White. But it was not to last.

In 1931 Sapir left Chicago. He had been poached by Yale. Chicago had offered him freedom, but Yale offered him something even bigger: A whole institution, dedicated to his work. He could have freedom to work as well as train up students and develop new curriculum: His new interest in culture and personality. It was also in Connecticut, a convenient train ride away from New York. At Yale the now-middle-aged Sapir would not have to put up with the brutal Chicago winters. So he went.

Yale did give Sapir the opportunities it promised. He developed close relationships with other scholars interested in culture and personality. But Yale also had its drawbacks. The university was wealthy and prestigious, but it was also a haven of white privilege: "Pale, male, Yale" as the saying goes. As a Jew, Sapir was discriminated against. He was initially rejected from membership in the faculty club. He founded the sociology department, but was constantly at war with George Murdock, the protegé of William Graham Sumner, the social darwinist Sapir had replaced.

Sapir's health also began failing. He had a heart condition. It was the middle of the depression, and there was no medicare or unemployment insurance -- he had to keep teaching or else he would not support his family. He withdrew more and more from his responsibilities, but the need to earn money meant he could never get the rest that he needed to recover. Finally, he died of a heart attack in 1939.

[ianmamedio]

Foto/reprodução: Internet

Britney Spears: jornada da 'princesa do pop' à liberdade

03/01/2024 Por Ian Mamédio

Apesar de ter sua vida exposta ao público desde a infância, muitos não sabem sobre a vida de Britney Spears desde seus anos na Disney, os terríveis anos 2000 até hoje.

Dona de uma voz única, desde muito pequena Britney sempre chamou atenção por se portar como uma verdadeira popstar tendo uma de suas primeiras aparições no Clube do Mickey, um programa de TV norte americano da Disney.

Foi em 28 de setembro de 1998 que o mundo conheceu a cantora através de um de seus maiores hits, o lead-single "...Baby, One More Time" escrito por Max Martin e produzido por Martin e Rami.

O sucesso de seu primeiro single foi seguido de recordes e dezenas de outros hits como "Oops! I Did It Again", "Womanizer", "Lucky", "Break The Ice" e muitos outros.

Mas muito se engana quem pensa que a vida de Britney era feita apenas de glamour e tapetes vermelhos. Alvo de diversas controvérsias, como a suposta traição noticiada após o término de seu relacionamento com o cantor Justin Timberlake, Britney conviveu por anos com rumores e informações tendenciosas que a pintavam como uma mãe desleixada e uma mulher descontrolada.

2008 e a conservadoria

Se o início dos anos 2000 já foram difíceis para Spears, nada se compara com o período entre junho de 2008 e 2009. Mãe de primeira viagem, Britney teve que conviver com paparazzis a perseguindo para todos os lados apenas esperando um deslize para provar com um único clique a sua incapacidade em criar uma criança.

Toda essa pressão foi o suficiente para levá-la ao famoso episódio do "surto", onde Britney aparece em um salão de beleza raspando seus cabelos e atacando paparazzis com um guarda-chuva.

Após esse episódio a vida pessoal de Britney entrou em uma espiral de declínios que anos mais tarde descobriu-se ter sido orquestrada por seu pai, Jamie Spears, com objetivo de colocá-la como incapaz e conseguir passar um pedido de conservadoria, que consiste em passar todas as responsabilidades de uma pessoa para um responsável legal que vai agir como seu representante e cuidador.

Com o pedido de conservadoria aprovado, Britney não perdeu o direito de dirigir, se casar, ter filhos e cuidar do seu próprio dinheiro, todas essas as decisões passaram a ser tomadas por seu pai.

O movimento #FreeBritney

Logo que a informação veio a público vários fãs se mobilizaram

(Reportagem incompleta)

[pedroofthronesblog]

Você acha que os Tully conseguiram recuperar Correiro?Eu realmente sinto medo por Edmure no próximo principalmente se Roslin tiver um filho,pq mesmo que Jaime diga que eles vão estar seguros acho que ele está sendo ingênuo.Gosto de Jaime mas ele não tem metade da inteligência de Tywin ou Tyrion.

Eu acredito que sim!

Creio que Lady SH e a irmandade vão conseguir libertar Edmure no prólogo (GRRM confirmou que Jeyne Westerling estará nele, e ela foi com Edmure para o Oeste).

Junto da irmandade, acredito eu, estará Brynden Tully.

Quais motivos me levam a acreditar em tudo isso? O fato de que Tom Sete-Cordas está infiltrado em Correrrio, como foi mostrado no último ppv do Jaime no Festim:

"— Tom de Seterrios, se aprouver ao senhor. — O cantor tirou o chapéu.

— Mas a maior parte das pessoas chama-me Tom das Sete.

— Canta bem, Tom das Sete."

Antes de aceitar entregar Correrrio, Edmure estava irredutível em entregar o Castelo, mesmo com a ameaça de Jaime ao seu filho... Entretanto, ele mudou de ideia após o cantor ficar a sós com ele.

Isto me leva a crer que o cantor (que ironicamente era odiado por Edmure) falou sobre os planos da irmandade para Edmure, que contou ao tio Brynden.

Muitos acreditam que Peixe Negro está indo para o Vale, mas acho bem difícil um homem sozinho (mesmo para o porte de alguém como Brynden) conseguir atravessar sozinho uma leva tão grande terra, no inverno, durante a guerra, enquanto é procurado --e ainda teria que lidar com os clãs do Vale. Creio que Brynden foi de encontro a irmandade.

Assim, após libertar Edmure, acredito que Lady SH pode usar Brienne e Jaime para se infiltrar nas gêmeas e concretizar uma das grandes teorias do fandom: O Casamento Vermelho 2.0.

Bem, tal teoria tem capacidade de um texto próprio (que eu pretendo postar um dia), mas após isso, eu diria que Edmure e Roslin poderão ficar unidos novamente.

Lady SH deve ser morta por Arya, e Brynden deve ser morto em alguma batalha (talvez na longa noite). Quanto a Edmure? Sinceramente, acredito que o bom lorde Edmure tem uma boa chance de sobreviver e ficar como governante das Terras Fluviais. Caso morra em algum momento, acredito que seu filho ficará com esse cargo (embora com algum regente, obviamente).

No fim de tudo, acredito que os Tully serão importantes nos próximos livros (mesmo que não no nível como outras casas que Martin dá destaque), e vão manter suas terras e título.

[brieucgwalder]

The watch

1 Oh watch, stop your ticking Make this night infinite… May dawn never come (Roberto Cantoral) It all started with a watch… Very similar to this one. A Tissot I’d had for years. It had never failed me before. Once in a while I’d change the battery, the strap. A very reliable watch… Until that day. A Tuesday if I recall. The watch just stopped. I asked a colleague what Time it was. She…

[weimarhaus]

Rahel Szalit-Marcus, "The Street Sneezes," from "Motl, Peysi the Cantor’s Son," 1922.

(Lithograph; 13 x 11-1/2 in.[33 x 29.2 cm.])

Before 1924, Szalit-Marcus completed illustrations to works by Sholem Aleichem, Martin Buber, Charles Dickens, Fyodor Dostoyevsky, Heinrich Heine, Mendele Moykher Sforim, and Israel Zangwill.

[yessadirichards]

Carol Kane on working with Jason Schwartzman and her dream of being in a Martin Scorsese film

PARK CITY, Utah

Carol Kane really wanted to work with Jason Schwartzman, but the opportunity would require her to step a little outside of her comfort zone.

Filmmaker Nathan Silver came to her with an idea for “Between the Temples,” about a widow and a widower who become friends one winter. Her character, Carla, is a retired music teacher who wants to get her bat mitzvah. Schwartzman’s Ben is her former student, and currently a cantor, who agrees to help (reluctantly at first). Silver and his co-writer C. Mason Wells didn’t have a script, not in any traditional sense. It was something in between a script and a treatment, a novella of sorts with some written lines and lots of opportunity for creativity and character development.

“The idea sounded pretty fascinating,” Kane, 71, said in a recent phone interview. “But I was a little trepidatious about working in a way that I never had before.”

She was willing to take the leap with her collaborators, however. It helped that she felt like she knew Carla in a way.

“The story of Carla is somewhat similar to my mom’s story. She moved to France and started an entirely new life at 55. She just changed her life,” said Kane, with her 97-year-old mother nearby. “I think that there are a lot of very brave women out there sort of trying to reinvent themselves at a certain age when certain responsibilities have freed them to make that choice.”

The film premiered this week at the Sundance Film Festival in Park City, Utah, where it is seeking distribution. And working with Schwartzman on the complex, loving relationship between Carla and Ben was as good as she hoped.

“It was like having a great dancing partner,” Kane said. “He’s just a great actor and he’s a great human being. I certainly hope that we will get to do this again sooner rather than later.”

Kane considers herself extremely lucky for all the great filmmakers she’s gotten to work with over the years. Her first film, “Carnal Knowledge,” was with Mike Nichols after all. She’d go on to work with Hal Ashby (“The Last Detail”), Joan Micklin Silver (“Hester Street,” for which Kane got an Oscar nomination), Sidney Lumet (“Dog Day Afternoon”), Woody Allen (“Annie Hall”), Elaine May (“Ishtar”) and Rob Reiner (“The Princess Bride”), and act in the much-loved series “Taxi.”

More recently she’s gained new fans through “The Unbreakable Kimmy Schmidt” and her current series “Star Trek: Strange New Worlds.” But there’s at least one dream collaborator on her list that she hasn’t gotten to work with yet.

“I hope to one day get a chance to work with Marty Scorsese,” Kane said. “That’s been my lifelong dream.”

Recently Kane was watching an interview with Emma Stone on “CBS Sunday Morning.” She was a big fan of Stone’s Oscar-nominated performance in “Poor Things” and was interested in what she had to say.

“She’s a genius in that movie. She’s just brilliant,” Kane said. “And (in the interview) she goes on and on about how every time she gets a new part, she feels she won’t be able to execute it, that she won’t be able to do it and that fear just reverberates on a constant basis. I have to say, that’s how I feel.”

Kane continued: “For me, at my age, it was kind of jarring, but also kind of moving to hear someone who’s as young and beautiful and as big a movie star as Emma Stone is having the exact same feelings I have.”