#(there's also an additional six artists for Floyd though so... I may have made it unbalanced again :/ )

[krenenbaker]

Octavinelle Character Songs and Associations

Moving onto our third dorm, Octavinelle, we have a variety of different genres, but also a common theme throughout. After all, these three are distinctly different, but work together beautifully.

There are rather a lot of songs in this entry; you'll see why, but also, these boys truly deserve it!

Notes: Every song is from my liked songs playlist (so feel free to judge me for my taste, haha!) and I only allowed myself to use an artist once for this project. There is also some strong language and mature themes in some of the songs, so be aware if you choose to listen to them. I've included: - A song that represents them - A song they'd listen to - and (for some) an additional song, depending on the character and circumstance

The full Spotify playlist for ALL songs and characters is linked at the end of the post.

Heartslabyul | Savanaclaw | Scarabia | Pomefiore | Ignihyde | Diasomnia

Azul Ashengrotto

Represented by: There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet - Panic! At The Disco

Azul has a mindset of changing himself, and proving himself to others. This often manifests in a rather showy manner, as he aims to present himself as not just worthy of respect, but worthy of more. And most importantly, he plans and then works towards this goal. He is also dramatic, yet well-put together and somewhat formal, much like the narrative setting of this song.

Listens to: Almost Human - Voltaire

Again, Azul is ~dramatic~ so he would like the theatricality and classiness of Voltaire's "dark cabaret"-style music. He would also at least somewhat relate to the lyrical themes of being powerful, but also feeling powerless, out-of-place, and insecure, while still presenting as dignified and confident. He almost certainly cried the first time he heard this song.

Bonus - Suggested for Trio: One O'Clock Jump - Count Basie

Since Azul, Jade, and Floyd had a trio in middle school with piano, bass, and a drum kit, I assume it was a jazz trio. As such, Azul would have likely suggested jazz standards for them to play, including One O'Clock Jump. This piece would showcase his piano skills as well as the musical abilities of the Leech twins, allowing him to perform what he was good at, and at a fairly comfortable level that would still be impressive for the audience. As always, working to maximize the output, while mitigating risk!

Jade Leech

Represented by: Mack the Knife - Bobby Darin

Look in my eyes and tell me that this song does not represent Jade Leech. Jade is reserved and dignified, seemingly a perfect gentleman. But he's also calculating, careful, and violent. He knows how to have his... uh... "fun" with it rarely being traced back to him; "He keeps it out of sight" :) The swing jazz performance and translation of Darin's version of this song also just suits Jade's personality marvellously.

Listens to: Woodland - The Paper Kites

However, I strongly believe Jade would like soft music, mostly indie pop and maybe folk or country ballads. That is, if it had lyrics that interested him. They could be either related to nature - as in this song - or of a shocking or dark subject material (like with murder ballads, such as Down in the Willow Garden). Jade would definitely listen to Woodland while arranging terrariums or getting ready to go on a hike :)

Bonus - Suggested for Trio: Billie's Bounce - Dexter Gordon

Like Azul, Jade would suggest a jazz standard for their trio, but not one with simple melodies or rhythms. Syncopation and interesting modes would provide the chaos he so craves. Billie's Bounce is also LENGTHY, at a whopping 17 minutes, 8 seconds; Jade seems the type to like to focus on a single piece, and this one is additionally varied enough to keep his interest. However, he would find it equally as interesting if the length caused his brother's attention to waver, leading to an even more chaotic play-through than may otherwise occur.

Floyd Leech

Represented by: I Can't Decide - Scissor Sisters

I know that everyone assigns I Can't Decide to Floyd, but it just fits him so well! He has some very violent tendencies, but is usually incredibly upbeat and positive about it. Plus, the instrumentation of this song completely suits Floyd's energy! There's a reason people give this song to him.

Listens to (Good mood): Loser - Beck

Like everything to do with Floyd, his music taste changes based on his mood.  If he were in a good mood, he'd look for something that's easy to dance to, a bit lyrically silly, but still clever and with a good backstory or media references. Loser fits those criteria, and is also something he would just vibe with. It's fun, it's offbeat, it's sarcastic, it's perfect for Floyd.

Listens to (Bad mood): HURT - 1 800 PAIN

But if he were in a bad mood... his music choice would be a lot darker and more aggressive. If you ever come across Floyd listening to this, any horrorcore (Gravediggaz, ICP, (early) Eminem, etc.), any grindcore (Cattle Decapitation, Lock Up, Carcass, etc.) or anything similar in tone... RUN. NOW.

Bonus - Suggested for Trio: Five Foot Two Eyes Of Blue - Spike Jones

Like Jade, Floyd would suggest a slightly unusual piece for their trio to play.  But unlike his brother, Floyd would like something rhythmically consistent and uptempo, mostly since it's easier to dance to. But he'd still want something otherwise unpredictable. And since he can play basically any instrument necessary, this song is a perfect fit. But honestly, as long as it's fun and interesting, Floyd would want to play it!

[swanlake1998]

Dance Magazine Article: PNB’s Amanda Morgan Is Raising Her Voice Against Injustice

Date: June 15, 2020

By: Lydia Murray

On June 4, Pacific Northwest Ballet corps member Amanda Morgan posted an Instagram video of her impassioned speech at a Seattle protest in response to George Floyd's death.

After introducing herself to the cheering crowd as the only Black ballerina in her company—an accomplishment, yet an indictment of ballet's progress in increasing diversity—she championed accountability for action and inaction.

"Society may have tried to silence the voices of the marginalized, but you will never silence me," she finished, fist raised.

The clip has received over 14,000 views.

Dance Magazine spoke with Morgan about her activism; her hopes for diversity, equity and inclusion in ballet; and her advice for other dancers who want to speak out against injustice.

You're the only Black female dancer at PNB. What has that been like?

I started in the school when I was 15 and didn't see anyone in the company who looked like me. I remember feeling down at times, because other students would say, "I'm like this dancer," when we were watching the company. I would think, Oh, I'm not like anyone. That was hard, and I didn't think I'd get into the company because of it. But I really wanted to get in, not just for myself, but so that other little boys and girls wouldn't have to experience that.

What led to that change in your mindset?

I've always been very determined, gone after what I wanted and stood up for what I believed was right. But I had a teacher at PNB named Le Yin who pushed us to do the kinds of turns and jumps that guys did, and didn't talk to us like we were students. It gave me that confidence to say, "I shouldn't hold myself back because of what I look like, even though it may be harder."

You've been very vocal about racial injustice, especially in recent weeks, and you've protested against racism and police brutality.

In the dance world, we're realizing that there are injustices within ballet, but it's so much bigger than ballet. It's bleeding into every part of Black and brown lives and the Black and brown experience. Part of it was, "I want my ballet company and the ballet world to realize that this is important," but I also need the world, my government and my country to listen, and realize that we clearly have a system that is not benefiting all communities. It never has. We need a way to dismantle that, because we have the capacity to do so now.

Being the only Black ballerina at PNB, I've always been talking about race. I feel like it comes with the job.

On Instagram, you recently posted a video of yourself speaking at a protest, sharing words you'd written in response to George Floyd's death. And you thanked your arts family for protesting alongside you. Were the artists from PNB?

Some of the artists were from PNB, but the other people came from Seattle Opera, Seattle Symphony and other small arts organizations in the area.

I've gone to the protests every day except for about two or three days. The protests and protesters have been peaceful, but the police have not been peaceful. As someone who grew up in Washington state, it's upsetting to me that the police are not really protecting us.

Another reason I'm protesting is that the brother of the only other Black girl at my old dance studio was murdered by the police in March. His name was Manuel Ellis. It really hit me that anyone that I know could get murdered in that way. So I'm marching for him as well, and hoping that he gets justice.

It's so important to use our platforms to let people know what is actually happening.

You've directly called on leaders in the ballet world to be more vocal about addressing racial injustice. Can you talk about your decision to do that and what you want to happen as a result?

I think a lot of people need to realize that everyone wants to say the right thing, but at the end of the day, you need to just get it out there.

I know that people are doing things outside of social media and behind the scenes. I don't want to discredit that. But I'm paying attention to who is speaking out and who isn't, who is highlighting other Black artists and who isn't and who is using their platform to educate their followers, rather than doing it as a performative act, like just putting up a black box and saying "Blackout Tuesday" with no additional resources.

In an Instagram post, you recommended Ta-Nehisi Coates' Between the World and Me. At one point in the book, Coates writes that he wishes for his son to "feel no need to constrict" himself "to make other people feel comfortable." That reminded me of your speech, when you said, "I hope for a world in which I will not have to explain to my children how to act in public around police for fear of their lives being taken away."

As a Black woman in ballet, have you felt a need to constrict yourself?

Before all of this happened, I was working on a piece for Seattle Dance Collective with another Black woman named Nia-Amina Minor. We were making a piece about spatial injustice, and the Black female voice and perspective in the city and in dance. Working on that piece made me realize that, a lot of times, I've felt myself shrinking. I'm not just a Black woman, I'm a very tall Black woman. I also have a unique quality of movement, in addition to being able to do ballet.

I didn't necessarily have my voice shrink, but I felt my dancing shrink. I tried to fit in with the corps, I tried to dance smaller, I tried not to move as big because I didn't want to stand out as much. I think my body naturally adapted to that environment, and shrank.

Ballet is restrictive, but I realized that you can be expansive within these restrictions. I'm looking forward to eventually dancing again and playing around with that idea.

I've been choreographing with a contemporary style, but it's a little bit softer in the way that it's danced. I've never been able to do things that are more soft and vulnerable and elegant, so I want people to do that in my pieces.

We have to base casting on more than how someone fits into a mold. We want to push people to be the best artists they can be, and make a part their own. If we hold onto that idea, then maybe race or gender will not stick as much in people's minds.

I haven't been used in a lot of things that choreographers have come and staged, because they've already made the piece on another company. They say, "She doesn't really fit into any of these parts," but there's barely anyone I look like in the dance world. That doesn't mean that I can't do it just as well, and make it fully my own.

Shortly after you debuted as a choreographer, you wrote on Instagram, "Life has shown me that if you don't see what you want to see around you, create it." Was there a relationship between creating what you want to see through choreography, and pursuing social change as an activist?

Yeah, I think there's a direct relation. As a choreographer, I don't want to use my art to deflect, but to reflect on the world around me.

I've only had a dance career for four years, but I decided to start choreographing early in my career because of visibility. Even though I stand out due to being the only Black woman, having my voice or narrative heard was not a thing. I had to assert myself in these spaces in a different way. And I realized a way to do that was by being the person at the front of the room, making the piece.

What do you think ballet organizations should do going forward to continue the work of diversity, equity and inclusion?

To create more connectivity within organizations, because that can lead to conversation about more difficult things to talk about, like race or gender.

During the pandemic, I started a mentorship program at PNB with Cecilia Iliesiu, where we spent six hours each week speaking with dancers in the school. The students were all talking about what's going on in the world. A lot of them are white, but they wanted to know what I was feeling. Everyone at PNB is talking about how we're going to implement things differently. I'm hoping that happens in other companies.

Organizations need to think critically about, What are we showing as a ballet company? What are we saying, visually, and who are we leaving out? Whose story isn't being told? In most of our ads, it's always white people. Black dancers could see that and think, I don't really want to audition there. It's the same thing with audience members. We need to serve not just one community, but all communities.

For so long, ballet has just given a white narrative. We need to give different types of people the opportunity to choreograph in ballet companies, because then you're going to see different stories.

A lot of people say that we need to hire more Black dancers, and yes, that's important. But we also need to have more Black artistic directors, and Black female executive directors or Black board members. I also think we need to have racial equity coordinators or managers, so that if an institution does step out of bounds or something is a little iffy, that person can speak up about it.

I recently met with over 70 Black dancers from professional companies all over the world via Zoom, which really gave me a sense of our power as Black artists. Even though we can feel so tokenized and alone in our own companies, we're not alone in this, and we never have been. So many people have paved the way for us, and we're just continuing that work. We have to pay homage to that as well.

I've always stuck by the Nina Simone quote that says it's an artist's duty to reflect the times. I think if we do that, like with what's happening right now, people are going to be more inclined to see ballet, and that's how we'll keep our relevancy going into the future.

Do you have any advice for other dancers who want to speak out against injustice?

I've been reading Audre Lorde lately, and she said that we think of silence as protection, as a way to shelter ourselves from pain. You're still going to feel that pain and anger regardless of whether you speak out. I hope that people speak out in a constructive way, of course. I don't think rehashing the past continuously is the best way to do it without having action items in that conversation.

This is a global movement and a pivotal moment that's happening. If you're not talking now, but you have in the past, I don't understand the reason. This is the most important time to do it. Before, some people were paying attention, but now, everyone is. There are no distractions. People have the time to sit down at home and think. So get their attention and say what you need to say now, especially if you have a platform. And vote!

[rewritingtrauma]

Permaculture Design Course

We dialled in from living rooms, bedrooms, caravans and gardens across 11 different time zones, from Abu Dhabi to California (with Brazil and Berlin somewhere in between). Our reasons for being here were all unique and yet all similar; concerns for the future; for the mass extinction event and loss of natural habitats; hoping to learn how to live sustainably; how to grow food naturally; how to produce more than we consume; how to change career; how to live without doing harm; and how to co-create a better world for our children and future generations to grow up in. In the context of one of the biggest worldwide pandemics in living history, this group of strangers met in the timeless hinterland of the online meeting room to explore, share, and learn about positive solutions both now and for our futures... 

I stumbled across The Permaculture Design Course quite by accident (as I was looking for ways to make my struggling garden thrive rather than merely survive) but, over the course of a month, this unexpected experience changed my life completely... For the first time in 35 years I feel that I have been given access to a toolkit for living - a set of frameworks, processes and principles which speak entirely to what I feel and know to be real and right - for how to be and live in the world in deeply connected, holistic and sustainable ways... At a moment when I was feeling incredibly helpless and overwhelmed by global and personal circumstances, the PDC and this group of wonderful, disparate strangers, appeared “as if by magic” and turned around the whole way I understand myself, my power, and my place in the world. On my ‘rewriting trauma’ journey the PDC has been an invaluable turning point and has provided me with the maps and materials I most need (though may not have been looking for) for going forwards... 

Since finishing the course I have been asked numerous times by friends, family and neighbours “What IS Permaculture, exactly...?” And I have responded with numerous answers (according to who was asking, their reasons for asking and the context in which the question was asked) but I would like to take this opportunity to address that question, in the best way I know how, through the precious and manifold ideas and conversations which came up throughout the course. I want to respond to the question “What is Permaculture?” in this way (rather than offer a singular narrative) because I believe this embodies and reflects much more of the essence of what Permaculture is : a set of principles, processes and frameworks for living which can be tailored to the particular and specific answers and solutions each one of us seeks in our own, unique context. 

Word bubble formed from the PDC reactions to the question “How do you define Permaculture?” 2nd June 2020

“You can’t have sustainable food production without sustainable everything else.”

                                                                                                           Graham Bell,                                                                                            Online PDC, June 2020

June 2020 was an astonishing and deeply challenging month in so many ways… Personally, I was forced to face the vulnerability of my own situation; my reliance on shop bought food and uncertain income streams when, at the very outset of lockdown, literally all of my work dried up, my partner was made redundant and access to food was scarce and difficult. Then there was worse to come. In the late hours of the 16th of June, my cousin Beth died. The news arrived during one of our PDC sessions. She had been battling secondary and primary breast cancer. This is a heartbreak and a loss I am still trying to understand and process (but one which, had I not been held by this group and this experience, would have been so much harder to deal with). 

Meanwhile, on the international stage, people were facing so many additional threats and challenges posed by the Coronavirus Pandemic. The death statistics highlighted the social and economic inequalities, both at home and abroad, particularly along lines of race - with a disproportionate number of deaths and redundancies in people from BBIPOC (Black, Brown, Indigenous, People of Colour) backgrounds. We saw deaths in refugee camps sky rocketing. These statistics were a bitter salt in the wounds of exhaustive and institutional racism which we saw enacted again and again from the refugee crisis in Syria and Yemen to the police murders of George Floyd in Texas, Israel Berry in Oregon, Tracy Downe in Florida and many more besides… Some of us white folx, in waking up to the scale and pervasiveness of institutional and embedded violence towards our African, Asian and South East Asian Diaspora friends, that we (I) started to understand our (my) own white fragility and the systems of dis/advantage which many of us have been complicit in. And it was amidst this context of great uncertainty and upheaval that the PDC took place... 

Over the course of the month of June, with three day-long zoom meetings a week and a handful of break out/additional sessions in between, we explored (amongst many things); the ideas and inspirations behind Permaculture; the centrality of Observation; Non Violent Communication; Patterns; Input & Output Analysis; Wild Design; Trees and Soil; Guilds - what they are, how they work, making our own; Arts and Culture(s); Landscape; Climate; Planning for the future; Alternative Exchange Economies; Food and Water; Six Coloured Thinking Hats; Plant Families and Nomenclature; Sociocracy; Healing; Cooperation vs Competition; Zones and Sectors; Needs, Wants and Offers… And many more things besides and between. 

Though I was not aware of it at the time (though I might have been, had I read the curriculum and course handbook in advance!) almost the entire first half of the PDC was taken up with the co-creation of a safe and productive learning space and culture.  

One of the first questions posed to the participants was from Kate Everett who asked “What makes learning work for you?”

I struggled to identify what had worked for me in the past but could instantly conjure what made learning not work: I thought of GCSE revision, 20 cups of tea a day, desperately cramming information into my head… I thought back to how long it had taken me to learn how to tie shoe laces or to put up a tent because of how much heat and anger there was from my father and his father that I couldn’t just do it… I thought of those feelings of shame, humiliation, stress and of shutting down when I was told I was an idiot and a failure… But then, interestingly, so many others in the group articulated similar experiences - “stress, school, competition”…Some people described themselves as lone wolves, others learnt better in groups, some benefited from working together over a problem or by sharing what they were learning… But what all of us agreed upon was the inhibiting effects of stress on learning and the need to enfold experimentation, play, overview and failure in order to make our learning journeys productive and engaging...

                                                 “Learning is love”

                                                                                                           Graham Bell 

Little did we know it at the time but all this information about our individual learning experiences was being observed, gathered and harvested… as we learnt about ourselves and one another we were also learning how to create the best learning (and hence growing) conditions for us as individuals and as a collective. Though we may not have fully realised it as it was happening, we are all in the “inverted classroom” : we had all become the teachers, as well as the students and would learn more from the collective than any single teacher or pedagogy could ever bestow...

Quotes and prompts I collected throughout the course 

“A person who doesn’t make a mistake probably doesn’t make anything” 

                                                                                                            Graham Bell

Mark Shiperlee introduced us to the concept of the Culture Board and we begin brain storming what factors are important to measure our course culture against. The factors we decided were of most importance to integrate into, and develop throughout, the course were;

Positive Solutions

Long & Short Breaks

Gift Economy

Time Keeping

Mutual Respect

Fun

Creativity

Task Setting & Reporting

Inclusion

Group Work

Connect With Nature

Throughout the course we would check in on the Culture Board regularly to determine what stage these various factors were at i.e. Seed; Sprout; Leaf; Flower; or Fruit. For me this was a valuable tool in understanding where the group felt our learning journey was at - which areas were working and which were not. It made this an easy, fluid and almost anonymised process and helped to address both the successes and the failures as we went along, understanding where energy needed focusing. This was one of many visual tools, along with The Life Ethics venn diagram, Six Thinking Hats, OBREDIMET, Looby’s Design Web, Input & Output Analysis, PMI (Plus, Minus, Interesting) Analysis, Importance/Urgency Matrix, and Relative Location which I have continued to use in my own Permaculture Life/Design Processes…  

My LIfe Ethics Venn Diagram - i.e. the three main ethics of permaculture”Earth Care”, “People Care” and “Fair Shares” Where they all intersect is the core of Life Ethics 

During the course we were also given our own break out Guild groups with whom we had to develop ad present a Permaculture Design Project with (below is ‘an artist’s impression’ of our Guild The Four Acorns - Lynn, Siobhan, Lucy and myself.

“Though the problems of the world are increasingly complex, the solutions remain embarrassingly simple” 

                                                                                                             Bill Mollison

By the third week of the course, with each one of our guild feeling exhausted by various life stresses (illness, work, family, bereavement, etc) we decided the best and most effective design we could work on was one for supporting each other as a guild whilst we embarked upon our permaculture journeys (the one thing which united all of us was that we wished to continue beyond the course). 

We started applying some of the tools and processes we acquired throughout the course to our own visions for the future. We started off with Holmgren’s Permaculture Design Principles;

Principle 1. Observe & Interact

We began our guild process by gradually getting to know one another, developing  & discussing  project ideas that would tap into all of our needs & aspirations. 

Principle 2.Catch & Store Energy

As we were all feeling a bit burnout we realised we needed to do something that would hold space and energy for us as individuals and a collective i.e. catch and store energy by making and holding space for one another. We wanted to encourage each other to feel safe enough to start exploring with new eyes and to assist each other’s courage in the face of major life changes.

Principle 3.Obtain a yield

We all wanted to carry on our development beyond the course and to share permaculture with others - so we asked the questions “How could we support one another in this?” But, in addition “What renewable resources and services did we have that we could use, share and apply?” and “What could we create - the main yield - within this guild?” We decided that the yield we could create in the present, but carrying into the future, was a space full of loving-support, inspiration, challenge and abundance.

Principle 4. Apply Self-regulation & accept feedback & Principle 5. Use & Value Renewable Resources and Services

As we began using permaculture tools to explore our individual designs, these processes enabled us to support and affirm one another; to share wisdom; tell stories; hear, value and integrate one another as individuals in a guild; become energised and strengthened by our diverse experiences, perspectives, knowledge(s), points of view; and to be challenged and strengthened by processes and making compassionate space for learning through failure too... And believe me, we did fail... 

Mind Map at the outset of my own Permaculture Life Design exploring my assets, helps/opportunities, limitations, needs, aims and potential tools & processes to employ

                         “It takes shit... literal shit... but then you get humus”

                                                                                                                   Siobhan

On the last day of the course all of the individual guilds presented their design projects and it was amazing to see the wealth, depth and diversity of those ideas and the tools and processes (which we had been given throughout the course) put into action. There were design solutions that addressed; food scarcity; social isolation; mental health issues; segregation; alienation; loss of habitat and species; water shortages; poor health; access to education; job losses; seed sharing; community spaces; and so many more big issues. It was staggering.

In such a short space of time this small group of strangers had come together and, with the support of our guides and course leaders, co-created a network of support from across the world, positively enriching one another and the larger ecosystems each of us are a part of. It was a little island of paradise which cultivated an abundance of new perspectives, hope and courage. By showing us what might be possible and - rather than getting too mired in the negative/things we cannot control - looking to appreciate what we have, what we can be and what we can create together, the PDC taught us how diversity and collaboration can help us, both as individuals and a society, develop resilience in the face of the overwhelming challenges of our times.

It was an experience I will never forget and which I hope to keep alive as I go into the future (remembering to regularly use, sharpen and adapt those valuable tools)... 

[makeover-blog1]

William Shatner, Leonard Nimoy, Star Trek TOS, “The City on the Edge of Forever,” 1967

Star Trek (The Original Series) Season 1, Episode 28, "The City on the Edge of Forever" Original U.S. broadcast date: April 6, 1967

Synopsis, via Wikipedia: In the episode, after Doctor Leonard McCoy (DeForest Kelley) travels back in time and changes history, Kirk (William Shatner) and Spock (Leonard Nimoy) follow him to correct the timeline. In doing so, Kirk falls in love with Edith Keeler (Joan Collins), but realizes that in order to save his future, he must allow her to die.

Guest stars in this episode included British actress Joan Collins.

Some bio info about Collins, via Wikipedia: Dame Joan Henrietta Collins, DBE (b. 23 May 1933) is an English actress, author and columnist. Born in Paddington, west London, and brought up in Maida Vale, Collins grew up during the Second World War. After making her stage debut in "A Doll’s House" at the age of nine, she trained as an actress at the Royal Academy of Dramatic Art (RADA) in London. She then signed an exclusive contract with the Rank Organisation and appeared in various British films.   At the age of 22, Collins headed to Hollywood and landed sultry roles in several popular films, including "The Girl in the Red Velvet Swing" (1955) and "Rally Round the Flag, Boys!" (1958). While she continued to make films in the US and the UK throughout the 1960s, she also guest starred in an episode of Star Trek in 1967 named "The City on the Edge of Forever", as Edith Keeler. Her career languished in the 1970s, when she appeared in a number of horror flicks. Near the end of the decade, she starred in two softcore pornographic films based on best-selling novels by her younger sister Jackie Collins: "The Stud" (1978) and its sequel "The Bitch" (1979).   She began appearing on stage, playing the title role in the 1980 British revival of "The Last of Mrs. Cheyney," and later had a lead role in the 1990 revival of Noël Coward’s "Private Lives." In 1981, she landed the role of Alexis Carrington Colby, the vengeful ex-wife of John Forsythe’s character, in the 1980s television soap opera "Dynasty," winning a Golden Globe Award for Best Actress in 1982; she is credited for the success around "Dynasty," which was the most-watched television show in the US during the 1984-85 broadcast season. Collins also received a star on the Hollywood Walk of Fame in 1983 for career achievement. In 2015, Collins was made a Dame by Queen Elizabeth II for services to charity.

Trivia from this episode, via IMDb: Harlan Ellison’s original script was extensively rewritten by D.C. Fontana at Gene Roddenberry’s behest. Ellison was very unhappy about this, even though the episode won numerous awards (including Hugo Award for Best Dramatic Presentation) and is regarded as one of the classics. Gene L. Coon is mainly responsible for the small comical elements of the story, including the famous "rice picker" scene, which Harlan Ellison reportedly hated.   Widely considered by both fans and critics to be the best episode of the series and is listed as one of the "Ten Essential Episodes" of Star Trek (1966) in the 2008 reference book "Star Trek 101," by Paula M. Block and Terry J. Erdmann.   This was the most expensive episode produced during the first season, with a budget of $245,316, and also the most expensive episode of the entire series, except the two pilots. The average cost of a first season episode was around $190,000. Also, production went one and half days over schedule, resulting in eight shooting days instead of the usual six.   Desilu Stage 11, usually not a Star Trek (1966) stage, was used for filming the mission interiors. The stage was occupied by My Three Sons (1960) previously, but as that series was moved to another location, it became available for the crew to film. Director Joseph Pevney couldn’t complete all scenes scheduled to be filmed at 40 Acres on schedule. However, the backlot was already booked for filming by The Andy Griffith Show (1960), so the arrival of McCoy to the past and Rodent’s death had to be filmed on a studio alleyway behind Desilu Stage 10.   One of only two times in the original series a "curse word" is heard, when Kirk says, "Let’s get the hell out of here" at the very end. The second is in Star Trek: The Doomsday Machine (1967), when Kirk sees the Enterprise being drawn into combat, he says; "[What] the hell’s going on?".   When William Shatner and Joan Collins are walking together on the street, they pass in front of a shop with the name Floyd’s Barber Shop clearly painted on the window. This is the same Floyd’s Barber Shop which is often seen on The Andy Griffith Show (1960), adjacent to the sheriff’s office, in the town of Mayberry.   The footage seen through the time portal is, for the most part, lifted from old Paramount films.   The alley in which Kirk steals the clothing from the fire-escape is the same alley seen in Star Trek: Miri (1966), in which Spock and the guards have debris dumped on them by the children.   Spock refers to the technology of the time as "stone knives and bearskin". The same phrase would be later used by Captain Janeway in Star Trek: Voyager: Future’s End (1996).   In one scene in this episode, a poster can be seen advertising a boxing event at Madison Square Garden featuring "Kid McCook" vs. "Mike Mason". For Star Trek: Deep Space Nine: Past Tense: Part II (1995), scenic artists Doug Drexler and Michael Okuda created a near replica of this boxing poster for a scene set in 1930 San Francisco; the DS9 poster features the same boxers, and says that it is "their first rematch since Madison Square Garden".   With regards to this episode, Joan Collins has stated, "To this day, people still want to talk about that episode – some remember me for that more than anything else I’ve done. I am amazed at the enduring popularity of Star Trek and particularly of that episode." Collins adds, "At the time, none of us would have predicted the longevity of the show. I couldn’t be more pleased – or more honoured – to be part of Star Trek history." Ms. Collins’ memory of her Trek experience seems hazy, however. In her 1985 autobiography, "Past Imperfect" (p. 248), she makes a few errors regarding the episode: for example, in addition to the common mistake of referring to Mr. Spock as Dr. Spock, she identifies her character as Edith Cleaver instead of Edith Keeler, and she also claims that Spock, not Kirk, allowed her character to be killed – a plot point that was not in the version of the script that was actually shot. Most significantly, she claims Edith tried to "prove to the world that Hitler was a nice guy."   Double-exposures allowed Kirk and Spock to leap out of brick walls in this episode.   The Guardian of Forever was designed by Art Director Rolland M. Brooks. Normally, set design was the purview of his colleague Matthew Jeffreys, but due to illness, Brooks took over his chores for the Guardian. When Jefferies returned to his duties and saw the donut-shaped set piece for the first time, he reportedly exclaimed, "What the hell is this?!", according to D.C. Fontana. Special effects artist Jim Rugg was responsible for the light effects for the Guardian.   When asked in February 26, 1992 interview whether the makers of this episode consciously intended it to have the contemporaneous anti-Vietnam-war movement as subtext, associate producer Robert H. Justman replied, "Of course we did."   This is the first mention of Nazi Germany in Star Trek. A race which adopted a Nazi-style regime also appears in Star Trek: Patterns of Force (1968). The theme is reprised in later shows: on Star Trek: Voyager: The Killing Game (1998) and Star Trek: Voyager: The Killing Game: Part II (1998), where Hirogen take over USS Voyager and use the holodeck to recreate Nazi Germany, and then in Star Trek: Enterprise: Zero Hour (2004), and Star Trek: Enterprise: Storm Front (2004) and Star Trek: Enterprise: Storm Front (2004), when agents from the Temporal Cold War send Captain Archer and the Enterprise NX-01 back to the Second World War.

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Posted by classic_film on 2018-03-05 19:10:03

Tagged: , William Shatner , Leonard Nimoy , Star Trek , television , actor , 1960s , sixties , 1967 , science fiction , sci-fi , TV , nostalgic , nostalgia , acteur , akteur , man , vintage , retro , classic , color , entertainment , America , United States , Hollywood , American , USA , añejo , época , aktor , celebrity , ephemeral , old , clásico , ropa , kleidung , clothing , clothes , fashion , technology , jahrgang , alt , oll

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5 Industries That Have Strange and Specific Rules for Social Media

Social media can be a great space for boundary-pushing brands to experiment with innovative messaging. But there’s a reason you haven’t seen Family Guy’s bong-toting Brian the dog pop up in your feeds in a sponsored weed-vertisement.

In highly regulated industries, like marijuana, alcohol, and others, marketers need to understand special rules apply to their campaigns. Though some may seem strange (like who wouldn’t allow an ad featuring a canna-smoking canine?) platform operators have been known to crack down on users and brands who violate law or platform policies. In some cases, rule-breaking can mean getting banned, fined—and even sent to jail.

You’ll want to become familiar with guidelines for what is currently acceptable on social media channels. Rules vary across industries, and those rules often change. Below are some examples of what you can and can’t do, with highlights to help keep you out of trouble.

Bonus: Get the step-by-step social media strategy guide with pro tips on how to grow your social media presence.

1. Marijuana: Don’t say what you’re selling.

Perhaps unsurprisingly, advertising and marketing rules in the sin-dustries (tobacco, alcohol, and gambling) are strict—and the rules regarding marijuana marketing are as well.

In Canada, Bill C-45 the Cannabis Act includes strict proposed advertising rules that prohibit brands from promoting:

Information about cannabis price or distribution;

in a way that appeals to minors;

using celebrity testimonials or endorsements;

featuring cartoons or other real or fictional characters;

by associating the brand with “a positive or negative emotion;”

by associating the brand with “a way of life such as one that includes glamour, recreation, excitement, vitality, risk or daring.”

In the U.S., where marijuana is legal in some form (medical, recreational, or both) in 30 states and in the District of Columbia, advertising regulations differ from state to state. Similarly, Canadian provinces may soon follow suit with their own additional ad regulations.

A central difference between promoting beer and boosting bud relates to the use of imagery: marijuana marketers can use very little, despite the efforts of advocates who lobbied for laws regulating its promotion like those applying to alcohol instead of tobacco.  Penalties for breaking these laws are heavy, ranging between $1,000 to $5 million fines, and six month to three-year jail terms.

Taking their cue from regulators, operators banned ads on Google and Twitter. On Facebook and Instagram, marijuana advocacy is allowed (or so Facebook claims), but not the sale or use of the drug. There, guidelines state ads are prohibited:

that “promote the sale or use of illegal, prescription, or recreational drugs;”

that depict bongs, rolling papers, vapes and anything else implying recreational and medical marijuana use.

In response, crafty-preneurs are now busy perfecting the art of marketing their brand without actually showcasing their product.

Producer MedReleaf launched its own beer line to advertise its brand while cannabis rules were being finalized. Available in Ontario, their “cannabis-inspired” San Rafael ’71 4:20 Pale Ale contains 4.20 percent alcohol content but no cannabis. The beer brand uses cheeky taglines including “grassfed” and “here today, bong tomorrow” that speaks to the company’s roots and aims.

Similarly, you won’t find any toking in Tweed’s “Hi” campaign, which can be found online, on video and out-of-home. The company launched the tongue in cheek promotion to introduce and entice new audiences to its brand—and eventually, its product.

Some cannabis activists link Health Canada’s regulations to a seeming shift in YouTube’s approach to marijuana-related materials. The platform recently made headlines for clamping down on canna-content. Videos were removed and channels of prominent marijuana vloggers and content creators were shuttered—some of whom had spent years building up a loyal cadre of followers, millions of views, and hundreds of hours of video.

The platform’s community guidelines have been less than helpful for those trying to figure out why content was flagged. The sections on “child safety” and “harmful and dangerous content” may have been the basis, particularly since the  latter guide against videos that depict “hard drug use, or other acts where serious injury may result.” But the guidelines also state that videos may be allowed if videos are intended to be “educational, documentary, scientific, or artistic” and aren’t “gratuitously graphic.” – leaving some perplexed.

As a result of YouTube’s enhanced policing, many cannabis content creators have moved their content to friendlier video-sharing platforms like Vimeo—and the recently launched WeedTube.

Puff, puff, press play.

2. Alcohol: All about age-gating

For many people, drinking and socializing go hand-in- hand. So, it makes sense alcohol brands are spending billions to engage their customers on their favorite social networks. And studies show that they’re gaining traction.

The main issue with digital marketing for alcohol brands is ensuring it reaches the right age groups—industry oversight bodies have specified that at least 71.6 percent of the targeted audience should be of legal drinking age in the U.S. and at least 70 percent in Canada.

In the past, such  restrictions led alcohol brands away from marketing on digital platforms; now more sophisticated age-gating tools exist on social media platforms like Facebook, Instagram, Twitter and YouTube, allowing them a way in.

The gates work a little differently on each platform:

Twitter restricts access to content based on the birth date provided when a user signs up.

Similarly, Google bases its YouTube restrictions on the age users enter on their Google Plus profile.

On Instagram age-gating is optional. Brands can activate it by contacting platform representatives. Despite these permissive guidelines, beer and spirit brands still have legal obligations to follow, which means many do activate.

Owned by Facebook, Instagram users are able to connect their account with their Facebook account. Facebook requires a birth date when users first set up their accounts. If a user isn’t logged in or connected to their Facebook account, an age gate will appear.

On Facebook you can add age restrictions to your Page so that only visitors that meet the requirements can view it.

In addition to age-gating features, most brands on social media include additional disclaimers in their profiles discouraging under aged users from following or viewing their content, even though this means using up precious few characters available for profile bios.

Bonus: Get the step-by-step social media strategy guide with pro tips on how to grow your social media presence.

Get the free guide right now!

3. Cryptocurrency: Scammers beware

The frenzy around Bitcoin and blockchain-based currencies led to the creation of super strange coinage (RIP Fonziecoin and Pizzacoin) and a rush of advertising on social media designed to drive consumer interest in Initial Coin Offerings. Some suspect ICOs relied on celebrity endorsements (including by Floyd Mayfield, Evander Holyfield and Paris Hilton), and were later tagged by the U.S. Securities and Exchange Commission as scams.

Boxing legend and Hall of Famer Evander Holyfield has officially endorsed @AriseBank @BitShares Join the biggest fight in history. #arisebank $BTS #BTS pic.twitter.com/MFNCpZ5OJf

— Evander Holyfield (@holyfield) January 5, 2018

In an effort to curtail manipulative ads for fraudulent ICOs, Facebook, Twitter, and Google banned all cryptocurrency advertising. Twitter also cracked down on cryptocurrency scammers by banning bots and fake accounts.

For instance, using lookalike accounts (ex. @elonmuskik and @VitalikButerjm), scammers impersonating tech star Elon Musk and Ethereum co-founder Vitalik Buterin, attempted to deceive users by asking them to trade small amounts of Ether for larger amounts they would never receive—prompting Buterin to tweet out his real social media account links.

Here is a VCR (Vitalik Curated Registry) of all of my active social media accounts:https://t.co/oDWViPcy3hhttps://t.co/VRy3MjICIjhttps://t.co/owiClvuf42

There may be a few smaller ones but nothing mainstream. Everything else I either don't use or is a scam.

— Vitalik Non-giver of Ether (@VitalikButerin) July 5, 2018

Six months after it initially banned ads, crypto marketers rejoiced when Facebook (sort of) backpedalled on its initial ban. The company released a new policy. Potential advertisers would now have to fill out a “cryptocurrency products and services onboarding request” to get ads approved. Whether that’ll be enough to discourage crypto scammers remains to be seen.

Otherwise, trying to generate legit buzz and attract positive press is a challenge in an increasingly crowded market of crypto startups. Some more credible ways startups are promoting projects include:

Sharing their stories on Medium and Steemit (a blogging platform for crypto enthusiasts)

Paying influencers on platforms like YouTube

Incentivizing users on Telegram (a messaging app for the crypto community).

4. Olympics: Avoid the “O” word

Not just anyone can launch a gold-winning social media campaign during the Olympic Games. Non-sponsoring businesses and brands have to tread carefully to avoid getting sued. Together with the International Olympic Committee, local organizing committees in each host country, control the Olympic brand in their jurisdictions.

The Olympic brand includes words, phrases, logos and designs related to the Olympic Movement. WIthout appropriate consent, don’t even think of trying to use:

Olympic

Olympian/d

Paralympic

Paralympian/d

Pan-American

The symbol of five interlocking rings (no, not even with onion rings)

And in the run up to each Olympics, using turns of phrase that reference the Games, like “the big event,” “let the games begin,” or “go for the gold” can be problematic. Even cute coinings, like “Snow-lympics,” are out too.

Non-sponsoring brands can’t use related branded hashtags like:

#TeamCanada

#TeamUSA

#Tokyo2020

#Beijing2022

In fact, seemingly innocuous gestures like cheering on athletes, posting results, sharing photos from the Games or social media posts from official Olympics accounts (including retweeting) could also result in a first-place headache. Instead, you can leverage on timing—sharing posts and tweeting about an Olympic sporting event when it’s happening is fine. Users can also share and engage with social media posts by Olympic sponsors.

The IOC is aggressive, keeping up with their guidelines is an Olympic-sized challenge—particularly for smaller brands with limited budgets who may be tempted to go rogue. But bending the rules and engaging in ambush marketing is not only frowned upon by IOC, it may also result in the wrong kind of publicity.

Vancouver yoga brand Lululemon Athletica quickly found that out when, ahead of the 2010 Vancouver Winter Olympics, it launched a limited clothing line called “Cool Sporting Event That Takes Place in British Columbia Between 2009 & 2011 Edition”. The name not only upset the local organizing committee, but also generated bad press for Lululemon’s allegedly unsportsmanlike marketing efforts.

But athletes themselves have also pushed back against the IOC’s marketing restrictions. Following a Twitter campaign launched by frustrated athletes during the 2012 London Olympics, the IOC relaxed a rule which precluded them from being featured in any kind of advertising by non-official sponsors—including even simple “congratulatory” social media posts—during the Olympic window. Now, these brands can apply for an advance exception, permitting pre-approved advertising during that period.

Gatorade, for example, was able to produce videos featuring tennis star Serena Williams and sprinter Usain Bolt, even though it wasn’t an official Olympic sponsor at the time.

5. Gambling: Know when to fold ‘em

It’s illegal for private companies to host or operate an online gambling business in the U.S. and Canada—and, don’t even think of advertising one.

In 2007, Microsoft, Google and Yahoo, then the three largest Internet companies, settled with the U.S. Justice Department for a whopping $31.5 million for accepting illegal online gambling ads between 1997 and 2007.

Canada has similar regulations, but their enforcement is another matter. Though the Criminal Code includes sections prohibiting gambling promotion, enforcing gambling ad standards has largely been left up to provincial efforts. Yet, unlicensed online sports and poker sites reportedly contribute “significant” advertising revenues to Canadian sports broadcasts and online.

In an effort to curtail illegal gambling adverts, the B.C. government recently proposed filing a multi-province complaint against the industry’s self-regulator, The Advertising Standards Council.

Platform rules for advertising on social media are not much clearer. Gambling-related advertising is treated as restricted content: ad policies outlined on Google, Facebook, Twitter and Instagram state they’ll allow it on a case by case basis. Interested operators must obtain advanced “written permission” or be “certified.” Authorized ads must then only target audiences of legal age residing in approved countries.

In short, it’s a confusing landscape for gambling ad sales.

Still, there are plenty of ways for legal gambling operators to engage audiences on social media. Licensed casino operators are becoming savvier in attracting customers using traditional digital marketing techniques such as video marketing campaigns on YouTube, and providing customer service through Twitter.

Social games are also increasingly popular marketing vehicles. Found on social networking sites like Facebook, they do not involve the gambling of real money, but do allow in-game purchases of tokens and other playing benefits. For gambling operations, developing social games on Facebook not only helps bring in customers but also provides an alternate revenue stream. Worldwide revenues for the social casino market reportedly hit $4.2 billion in 2016.

International Game Technology (IGT) is a major investor in social games. If you’ve ever played a slot-based game or video poker in Canada or the U.S. it was likely created by IGT. It’s app DoubleDown Casino is the world’s largest free-to-play social casino and a top-ranking app on Facebook. The Vegas-style game operates with virtual chips, and provides players with loyalty rewards within the flow of the game; its associated fan page (currently, 7.6 million fans) helps create dialogue to engage customers.Conclusion

As laws and codes regulating regulated industries shift and evolve, social platform operators adapt their own policies in effort to keep up. Brands and social media managers should be prepared to consult guidelines—and in certain cases, legal counsel—before investing in significant campaigns, as rules can vary depending on the country, province or state. Incomplete, or altogether ignored due diligence efforts can be a high stakes gamble.

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