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[lamaisongaga]

FASHION CREDITS: ARTRAVE, THE ARTPOP BALL TOUR

As promised, today I’m kicking off the fashion credits for Lady Gaga’s fourth world tour “ArtRAVE: The ARTPOP Ball”. We looked at the fashion from the visuals yesterday. Today, we’re discussing what the songstress wore during the show!

For the opening number Gaga rocked a custom Atelier Versace crystal-embellished heavy shoulder bodysuit with gazing ball on the chest. 

Her gold feathered wings are bespoke by Living Art of Armando. The wings feature a gold metallic silver shoulder harness. Designer Jacob Muehlhausen helped creating these.

She wore black leather lace-up ankle boots with small platforms custom-made by Andre No. 1

For the Las Vegas date, Gaga changed her traditional opening look for a more Raver-inspired one.

She donned a custom Perry Meek bedazzled pink crop top with a blue gazing ball (made from a giant Christmas ornament!), matching panties with pink latex  garters and fluffy white fur boot covers. 

Her white cropped fur jacket is custom Gabriela Ostolaza and the pink seashell shoulder pieces by Living Art of Armando.

For ‘Fashion!’ at Madison Square Garden, she added a Haute Couture clear vinyl cape embellished with hundreds of crystals in different sizes by Atelier Versace.

Also a Madison Square Garden exclusive: custom Glen Hanson paper doll costumes for the dancers. You should definitely see them in movement. Truly enchanting!

The dancers wore PAIGE white denim jeans and vests that were custom hand-painted by the team behind Jeff Fender Studio.

For “Venus”, the singer sported a crystal-embellished multi-color seashell bra top and flower “garden” panties custom-created by her tailor Perry Meek.

For her show in Dubai, the singer had to wear a more covered version of this outfit. So Perry Meek crafted her a strapless white seashell bodysuit showered in crystals and flowers.

Her dancers wear bespoke costumes, designed by Jochen Kronier and constructed by Russell Barslou from Shokra, both of them designers and performers, based in Berlin and Los Angeles respectively.

Jochen is known for his set creations and stage costumes, but above all for his extravagantly extreme shoe designs, he’s been creating since early 90s and considers “the most interesting part of creating something to wear”.

Russell‘s dream has always been to create costume inspired clothing. The opportunity to express his emerging aesthetic came with the “Nightlife” of West Hollywood, where he presented his artistic vision in the form of jaw-dropping “wearable art”, he created for himself and other performers. His continuing work as a performer contributed to his insight of creating costumes that accommodate the unique needs of the performer.

The Italian-American singer wore a crystal-embellished bodysuit, cropped wrap jacked and detachable wrap mini skirt in white or purple, all custom-made for her by J & M Costumers, Inc. in collaboration with costume designer Rachelle Appelle and Haus of Gaga, featuring a “Paws up” sign on the back.

Gaga revealed a third outfit during her show in Edmonton, which resembled none of her other ones.

This baby blue & pink crystal-bedazzled bodysuit with open-front skirt (which was turned into a short little peplum situation) and strap detail is custom-made by Shokra in collaboration with Jochen Kronier as well!

One of the most memorable looks of the tour is definitely the spotted tentacle costume that Gaga donned during ‘Partynauseous’, ‘Paparazzi’ and ‘Do What U Want’. 

Vex Clothing was commissioned to create three different versions of spotted halter neck bodysuits with inflatable tentacle trains and matching headpieces in collaboration with Dayne Henderson.

The first version was baby blue with blush pink spots.

The second version, which features inflatable spiked balls scattered around the tentacle train, was created in black.

Gaga debuted the final version in Tokyo. This one, held in baby pink & black, came with a sleeveless strong-shoulder bolero top and single tentacle hat.

Of course, all of her dancers rocked bespoke Vex Clothing inflated latex pieces as well. Look at all those shapes and colors!

Let’s get to the fourth act of the show where Gaga changed her look throughout the tour the most. Gaga sang “Judas”, “Aura”, “Mary Jane Holland”, “Alejandro” and “Bang Bang” dressed in latex.

The first version of the look comprised a black latex racer back crop tank with matching high-waisted pants created by Perry Meek.

During one date the singer swapped the crop top for a black crystal-embellished cone bra top also custom-made by Perry Meek.

The next version, which remained until the end, is a strappy bandeau vinyl bodysuit custom-made by Perry Meek.

All of her dancers wear black latex pieces by Honour.

For ‘Judas’ and ‘Bang Bang’ the singer sported two jackets. Both are vintage treasures which were re-worked and customized by the Haus of Gaga with studs and paint.

The prize for the most iconic and memorable look would be this raver girl ensemble Gaga wore during ‘Bad Romance’, ‘Applause’ and ‘Swine’.

Gaga sported a custom clear plastic corset top with neon-colored stripes and straps by Muto-Little Costumes, who also made her dancers’ plastic jackets which they paired with neon-colored tights, sports bras, boy shorts and leotards by We Love Colors.

Her white flared mini skirt with neon green PVC over layer and iridescent tutu underneath is custom BCALLA and hand-painted by Vincent Tiley with various elements from the ‘ARTPOP’ era such as the swan from, the ‘Applause’ video, the ‘ARTPOP’ cover Jeff Koons statue and the gazing ball.

She accessorized the look with her custom pink pavéd pacifier by a-morir (worn as a necklace)…

…and silver holographic LA Lights sneakers by LA Gear. The shoes stay true to their name by featuring a light-up sole.

Finally, Gaga ended each show with ‘Gypsy’ while looking stunning in a custom Atelier Versace look, composed of a long-sleeve top entirely embroidered with silver Swarovski crystals (two versions), and a gorgeous matching crystal and zipper-covered skirt, tiered in the front, with full sweeping train.

She completed her look perfectly with a wide silver chain belt with Medusa head buckle at the front covered in sparkling Swarovski crystals, as seen on the Haute Couture Fall/Winter 2013 runway.

[nsula]

40th Folk Festival spotlights rich, diverse culture of Louisiana

By Dr. Shane Rasmussen

Photos by Chris Reich, NSU Photo Services

 NATCHITOCHES – The audience at the 40th annual Natchitoches-Northwestern State University Folk Festival held on July 26-27 was entertained and educated about the rich and diverse cultural offerings of the state. The Festival featured traditional Louisiana foods, Kidfest activities, music, traditional crafts, narrative sessions, musical informances, and cultural exhibits. This year’s Festival theme “Vive la Louisiane!” was a great success, with a very happy audience.

 The Festival opened with a rousing dance, beginning with Cajun dance lessons, followed by Gal Holiday and the Honky Tonk Revue, and the night closed out with Bruce Daigrepont Cajun Band. Side stage performances included Natchitoches gospel group Joyful Sounds, 50 Man Machine, which includes NSU faculty Paul Forsyth, Collier Hyams, and Oliver Molina, and an open jam with Max & Marcy, Ed Huey, and Cane Mutiny.

 Saturday’s events included performances in Prather Coliseum by 50 Man Machine, Creole la la with Goldman Thibodeaux and the Lawtell Playboys, the Louisiane Vintage Dancers, Brandy Roberts, the Rayo Brothers, Tab Benoit, Jamie Berzas & the Cajun Tradition Band, the Stewart Family and Friends Bluegrass Band, line dance lessons by the Cajun French Music Association Dance Troupe, the Canneci N’de Band of Lipan Apache, zydeco dance lessons by Avila Kahey, Wayne & Same Ol’ 2 Step, Hardrick Rivers and the Rivers Revue Band, Celtic Music with the Kitchen Session of Baton Rouge and a jam session with Max and Marcy.

 In addition to stage performances there were narrative sessions and music informances, including conversations about American songwriting, culture & costumes of 19th century Louisiana, Tab Benoit’s The Voice of the Wetlands Fondoution, and the musical journey of Vanessa Niemann (aka Gal Holiday). Also featured was a music informance by Tab Benoit. Outdoor activities included demonstrations by the Central Louisiana Dutch Oven Cookers, the Red River Smiths, the Southern Stock Dog Association, and Wash Day, presented by the West Baton Rouge Museum. This year the Festival continued a series of free workshops for Festival attendees. Festival goers attended a Cajun accordion workshop by Jamie Berzas and Bruce Daigrepont.

 The annual Louisiana State Fiddle Championship was also held on Saturday in the Magale Recital Hall as part of the Festival. Fiddle Championship judges included Steve Birdwell, Steve Harper, Henry Hemple, and Clancey Stewart. The new Louisiana Grand Champion is Ron Yule of DeRidder. Second place winner was Joe Suchanek of Merryville, with Owen Meche of Arnauldville placing third. Meche also took first place in the 21 and under championship division.

Suchanek took first in the 60 and up championship division, with Yule coming in second, Birgit Murphy of Opelousas in third, Mark Young of Balise in fourth, Wilfred Luttrell of DeRidder in fifth, and Ron Pace of Alexandria in sixth. Luttrell and Yule also took first place in the twin fiddles competition.

 As the new Louisiana State Fiddle champion, Yule also performed on the main stage in Prather Coliseum. Dr. Lisa Abney managed the fiddle championship. Dr. Susan Roach from Louisiana Tech University emceed the championship.

 Four musicians and a renowned filé maker were inducted into the Louisiana Folklife Center’s Hall of Master Folk Artists. Inductees included Louisiana Music Hall of Famer Tab Benoit, who also served as honorary Festival Chair, Cajun musicians Jamie Berzas and Bruce Daigrepont, filé maker John Oswald Colson, and country singer Vanessa Niemann.

Dr. Shane Rasmussen, director of the Louisiana Folklife Center, led the induction ceremony, assisted by State Representative Kenny Cox and Dustin Fuqua, Chief of Resource Management at Cane River Creole National Historical Park. In addition, the honorary award of Folklife Angel was given to long-time Festival crew chief James Christopher Callahan, an NSU alumnus.

In addition to 4 book signings and 8 exhibits by such groups as state parks and archives, over 70 craftspeople displayed their traditional work on Saturday. These craftspeople demonstrated and discussed their work with the Festival patrons. Craftspeople displayed accordion making, beadwork, baskets, Czech Pysanky eggs, filé making, flintknapping, folk art, knives, music instruments, quilting, pottery, spinning & weaving, tatting, walking sticks, whittling and needlework, wood carving, and more. 8 food vendors provided a cornucopia of traditional Louisiana foods to the Festival audience.

 Support for the Louisiana State Fiddle Championship and the Natchitoches-NSU Folk Festival was provided by grants from the Cane River National Heritage Area, Inc., the Louisiana Division of the Arts Decentralized Arts Fund Program, the Louisiana Office of Tourism, the Natchitoches Historic District Development Commission, the National Endowment for the Arts, the New Orleans Jazz and Heritage Foundation, and the Shreveport Regional Arts Council.

Much needed support also came from generous sponsorships from Acme Refrigeration of Baton Rouge, C&H Precision Machining, Chili’s, City Bank & Trust, the City of Natchitoches, Cleco, John Clifton Conine, Atty; CP-Tel, Domino’s Pizza, the Donut Hole, El Patron, Family Medical Clinic, Grayson’s Barbecue, Hardee’s, the Harrington Law Firm, D. Michael Hayes, Atty; JB & M Enterprises, Jeanne’s Country Garden, La Capitol Federal Credit Union, McCain Auto Supply, Jason O. Methvin, Atty; Morning Star Donuts, the Natchitoches Area Convention & Visitors Bureau, Natchitoches Regional Medical Center, NSU Men’s Basketball, the Pioneer Pub, Pizza Hut, Raising Cane’s, Ronnie’s Auto Glass, Save A Lot, Sonny’s Donuts, Southern Classic Chicken, Natchitoches Super 1 Foods 604 and 613, TOTO, Inc; Trailboss, UniFirst, Walmart, Waste Connections, and Weaver Brothers Land & Timber. In addition, numerous newspapers, online venues, and radio and TV stations assisted the Festival by generously printing articles, airing interviews, free promotional PSAs, and/or participating in on-air ticket giveaways.

 The success of the Festival was made possible due to the many volunteers from NSU’s faculty and staff, who gave generously of their time and talents. The Louisiana Folklife Center is grateful to Phyllis Allison, David Antilley, Kay Cavanaugh, Corieana Ceasar, Jason Church, Sherrie Davis, Matt DeFord, Christine Dorribo, Michael Doty, Bruce Dyjack, Alexis Finnie, Ashlee Grayson, Charlotte Grayson, Dr. Hiram F. “Pete” Gregory, Dr. Greg Handel, Wesley Harrell, Jackie Hawkins, Diana Hill, Kristie Hilton, Carla Howell, Leah Jackson, Dr. J. Ereck Jarvis, Melissa Kelly, Suzanne Kucera, Dr. Chris Maggio, Barbara Marr, Terri Marshall, Coach Mike McConathy, Byron McKinney, Valerie Meadows, Gwendolyn Meshell, Dr. Jim Mischler, Melinda Parnell, Julie Powell, Kathy Pylant, Charles Rachal, Chris Reich, Stephanie Stanton, Bethany Straub, Anna Vaughn, Randi Washington, Mary Linn Wernet, David West, Taylor Whitehead, Emily Windham, Dale Wohletz, and Sharon Wolff. NSU students included Francisco Ballestas-Sayas, Caleb Callender, Makayla Fisher, Valentina Herazo-Alvarez, and Ina Sthapit. NSU alumni included Michael Cain, Michael Taylor Dick, Hammond Lake, Greg Lloid, De’Andrea Sanders, and Daniel Thiels. Many thanks are due to the Louisiana Folklife Center staff, including administrative coordinator Shelia Thompson, student workers Macey Boyd, Jalima Diaz, Heather Jones, Caitlin Martin, and Taylor Nichols, and graduate assistants James Harrison and Erica McGeisey.

 Thanks also go out to Andy Adkins, Myranda Adkins, Alexandria Arens, Robert D. Bennett, Jennae Biddiscombe, Rebecca Blankenbaker, Derek Boyt, Erin Boyt, Melanie Braquet, Sherry Byers, the Central Louisiana Dutch Oven Cookers, Don Choate, Jr., Catherine Cooper, Hailie Coutee, Helen Dalme, Cameron Davis, Eli Dyjack, Sheila Dyle, Adam Edwards, Justin French, Jennifer Gallien, Reagan Guillory, Grace Hardy, Dr. Don Hatley, Sue Hatley, Lani Hilton, Ed Huey, Peter Jones, Leonard King, Michael King, Abagael Kinney, Dan Martin, Deron McDaniel, Ivan McDaniel, Charity McKinney, Sheila Ogle, Sara Parnell, Kimberly Perry, Audrey Rasmussen, Gidget Rasmussen, Susan Rasmussen, Wyatt Rasmussen, the Red River Sanitors, Sukrit San, Rick Seale, Lorie Speer, Lori Tate, Margaret Thompson, Sara Vaughn, Emily Ware, Briton Welch, Justice Welch, Shirley Winslow, and the Natchitoches Parish Detention Center trustees and officers Derek Booker and Larry Willis.

 Natchitoches Area Convention and Visitors Bureau staff members included Arlene Gould, Kelli West, NSU students Anne Cummins and Megan Palmer, and NSU alumna Heather Dougan.

Special thanks go to Craig Routh for his generous permission to use his painting, Dixieland Jazz Fleur-de-Lis, for the Festival t-shirt.

[tlatollotl]

Relief with Enthroned Ruler

Artist: Chakalte' (Guatemalan or Mexican, active ca. A.D. 750–800)

Date: late 8th century

Geography: Guatemala or Mexico, La Pasadita

Culture: Maya

This Maya landmark was likely the carved lintel of a doorway from the site of La Pasadita in northwestern Guatemala carved in the early A.D. 770s. The relief panel would have been installed parallel to the floor of the entrance of a temple at La Pasadita. Visitors to the building were thus forced to look upward to view the monument, and perhaps even had to light the surface with raking torchlight in order to read the image and the text. The Metropolitan lintel is striking for the amount of pigment preserved on the surface. A variety of red, yellow-orange, and blue-green pigment remains to give clues about the original brightly colored appearance of the lintels. The jade jewels of the main characters and the details on the ruler’s throne glisten in blue-green, a color that symbolized the ‘first/newest’ and most precious materials. In the 8th century, the small hilltop site La Pasadita was caught between the power struggles of the self-proclaimed divine kings of the river kingdoms of Yaxchilan (modern-day Chiapas, Mexico), and Piedras Negras (Guatemala). During the Classic Maya period (ca. A.D. 250-900), the two major royal courts vied for power, paid tribute to one another, intermarried, and engaged in conflict with subsidiary local lords. Loyalties sometimes shifted, boundaries between the two city-states were often fortified, and artistic programs sponsored by the lords and ladies served as propaganda to stake claims on the contested landscape. The Yaxchilan kings and queens favored elaborate sculpted doorway lintels at the royal capital, and they made sure their local allies marked their palaces in the same way. At least a dozen related lintel reliefs are known from subsidiary sites around Yaxchilan. Likely commissioned by the Yaxchilan rulers themselves, most show the ruler from Yaxchilan in the company of the local lord in a supporting role in some ritual, making an overt statement of political sovereignty. The Met’s lintel depicts three protagonists: the figure seated on the right is faced by two standing ones to the left. The main figure offering an elaborate headdress to the seated leader is the La Pasadita ruler named Tiloom (ti-lo-ma), who ruled from approximately A.D. 750s-770s, using the title of sajal, a title for subsidiary regional governors. Tiloom is represented on at least three other known doorway sculptures: one in the Ethnologisches Museum in Berlin (IV Ca 45530), one in the collection of the Museum of Ethnology in Leiden (3939-1), and one in an unknown private collection. The Berlin lintel dates to A.D. 759, and the Leiden monument dates to A.D. 766; the private collection lintel dates to A.D. 771. Based on the known sculptures of Tiloom, the Metropolitan lintel is contemporaneous with the private collection lintel, probably carved between 769 and the early 780s. Tiloom was a loyal provincial ruler to the final two major kings of Yaxchilan, the father and son rulers of Bird Jaguar IV and Shield Jaguar IV. Bird Jaguar IV ruled from A.D. 752-768, and Shield Jaguar IV from 769 to around the turn of the 9th century. Bird Jaguar IV dominates the Berlin and Leiden lintels, in which Tiloom assists in a captive presentation and a scattering of incense, respectively. The ‘Sun Lord’ captive depicted in the Berlin Lintel is likely from Piedras Negras, and is the final portrayal of the many war victories of Bird Jaguar IV, who referred to himself as ‘he of 20 captives.’ In the Leiden panel, commemorating an event that occurred seven years after the Berlin captive presentation scene, Tiloom assists Bird Jaguar IV with a ‘scattering’ ritual in which the king drops blood or incense into a basket. The lintel from 771 in which Tiloom dances in a bird costume alone perhaps signals a shift in authority from one overlord to the other; Tiloom celebrated his own right to rule rather than his supporting role to the Yaxchilan king. The Metropolitan Lintel also dates from the early 770s; in fact, the same sculptor carved the two lintels, an individual by the name of Chakalte’. Sculptors’ signatures are relatively rare in Maya art, though many are known from the area around Yaxchilan and Piedras Negras. Chakalte’ was probably a sculptor who worked under the patronage of Shield Jaguar IV. That leader was known to send out sculptors to the other provincial lords, such as the rulers of the well-known site of Bonampak. Sculptors were sometimes important members of the royal courts; at Piedras Negras it seems that a master sculptor oversaw an atelier of apprentices who all signed the same works. Many hands thus crafted these royal portraits. Chakalte’ composed the Met’s lintel scene so that the visitor would be first greeted by the enthroned ruler, Shield Jaguar IV, facing the interior of the structure. The king leans forward towards his visitors, wearing an elaborate feathered hair ornament, a feathered nose plug, and a beaded jade necklace with bar pendant. Tiloom then stands proudly presenting the Yaxchilan holy lord with a headdress and what could be packets of incense or a plate of tamales. Tiloom wears a jaded headband and human head pectoral, with an elaborate woven skirt with a geometric pattern. A third personage stands behind Tiloom in a similar outfit but with a type of sombrero associated in other scenes with travelers or merchants. The text names the Yaxchilan "divine" lord with his pre-accession name of Chel Te’ Chan K’inich, which he changed to Shield Jaguar early in his reign because it was a namesake of ancestral rulers of the kingdom. The text naming Tiloom as the sajal, provincial lord, is squeezed in next to the ruler’s arm and the offertory headdress, almost as if Chakalte’ had not originally planned to include it. A bowl of sliced fruit with seeds visible sits under the throne, presumably part of the offering brought to the seated ruler. La Pasadita was visited in the 1970s by renowned explorer and monument recorder Ian Graham, but subsequently became dangerous for scholarly visits because of border conflicts during the decades-long civil conflict in Guatemala. Land mines and security problems prevented archaeological work until 1998, when Charles Golden and colleagues performed reconnaissance in the area. Even today the site lies within a troubled zone suffering the effects of narcotrafficking and illegal settlements within the national parks in the Usumacinta River drainage. The Metropolitan lintel provides key information for the understanding of Classic Maya politics on the eve of institutional collapse at the end of the 8th century. It shows the final major Yaxchilan lord receiving tribute in the form of food and regalia from a lord loyal to his warlord father, known as "he of 20 captives." But by the beginning of the 9th century, the dynasty at Yaxchilan ceased to build temples or commission monuments, silencing the voices of La Pasadita lord Tiloom and his sculptor of choice, Chakalte’. James Doyle, 2015 Resources and Additional Reading Bussel, G. W., and T. J. J. Leyenaar. 1991. Maya of Mexico. Leiden, The National Museum of Ethnology. Freidel, David, and Linda Schele 1990. Forest of Kings: The Untold Story of the Ancient Maya. New York, William Morrow. Golden, Charles, Andrew K. Scherer, A. René Muñoz, and Rosaura Vásquez. 2008. Piedras Negras and Yaxchilan: Divergent Political Trajectories in Adjacent Maya Polities. Latin American Antiquity 19(3): 249-274. Golden, Charles, and Andrew K. Scherer. 2013. Territory, Trust, Growth, and Collapse in Classic Period Maya Kingdoms. Current Anthropology 54(4): 397-435. "Border problems: recent archaeological research along the Usumacinta River." PARI Journal 7(2):1–16. Golden, Charles W. 2010. Frayed at the edges: the re-creation of histories and memories on the frontiers of Classic period Maya polities. Ancient Mesoamerica21(2): 373–384. "The politics of warfare in the Usumacinta Basin: La Pasadita and the realm of Bird Jaguar." In Ancient Mesoamerican Warfare. M. Kathryn Brown and Travis W. Stanton, eds. pp. 31–48. Walnut Creek, CA: AltaMira. Grube, Nikolai, and Marie Gaida. 2006 Die Maya: Schrift und Kunst. Berline, SMB-Dumont. Houston, Stephen. 2013. Carving Credit: Authorship among Classic Maya Sculptors. Paper presented at Making Value, Making Meaning: Techné in the Pre-columbian World, a Symposium at Dumbarton Oaks. Martin, Simon, and Nikolai Grube. Chronicle of the Maya Kings and Queens. New York, Thames & Hudson, 2000. Mathews, Peter. Tilom, in Who’s Who in the Classic Maya World, Foundation for the Advancement of Mesoamerican Studies, Inc., 2005, http://research.famsi.org/whos_who/people.php?mathewsnumber=PSD%20001 Schele, Linda, and Mary Ellen Miller. The Blood of Kings: Dynasty and Ritual in Maya Art. Fort Worth, Kimbell Art Museum, 1986. Simpson, Jon Erik. The New York Relief Panel and Some Associations with Reliefs at Palenque and Elsewhere, Part 1, in Segunda Mesa Redonda de Palenque, edited by Merle Greene Robertson, Pebble Beach, Pre-Columbian Art Research Institute, 1976, pp. 95-105.

The Met

[livingcorner]

The Secret Garden

An orphaned girl changes the lives of those she encounters at a remote estate.

Film Details

You're reading: The Secret Garden

Sep 1949

World premiere in Boston: 30 Apr 1949

Metro-Goldwyn-Mayer Corp.

Loew’s Inc.

United States

Based on the novel The Secret Garden by Frances Hodgson Burnett (New York, 1909).

Technical Specs

1h 32m

Mono (Western Electric Sound System)

Black and White, Color (Technicolor)

1.37 : 1

Read more: Hardiness Zones in Australia

Synopsis

Mary Lennox, a spoiled young English girl living in India at the turn of the century, is orphaned when her parents die of cholera, and is sent to Yorkshire to live with her wealthy uncle, Archibald Craven. Mrs. Medlock, Craven’s cruel and ill-tempered housekeeper, meets Mary at the port and escorts her to her uncle’s eerie mansion. Craven refuses to meet Mary, and Mrs. Medlock warns her against snooping around the darkened house. When Mary asks about the screams she hears from another part of the house, Mrs. Medlock locks in her room for the rest of the night. The next morning, Mary meets Martha, a maid who laughs incessantly and who refuses to obey her commands. Mary later befriends Martha’s young brother Dickon, who tells her that there is a secret, locked garden on the estate, and that Craven buried the key to it. Mary finally meets Craven just before he sets out on a trip to London, and during her brief meeting with him, she learns that his wife was crushed to death by a tree limb ten years earlier. Soon after Craven leaves, Mary sees a raven digging for worms outside the house and notices that the bird has unearthed the buried key to the secret garden. Late that night, while investigating the source of the mysterious screams in the house, Mary discovers Craven’s young son Colin. Colin, who is bedridden and is being treated by a doctor for paralysis, admits to the tantrums and demands that Mary obey his orders. Mary, however, refuses to indulge Colin and eventually wins his respect and friendship. The following day, Mary and Dickon discover the entrance to the garden behind some bushes, and use the key to open the gate. Once inside, Mary and Dickon find a neglected garden containing a variety of pretty flowers. They also find a fallen tree limb on a chair next to a table that was once set for tea, and realize that they have discovered the place where Craven’s wife was accidentally killed. Later, Mary introduces Colin to Dickon, and tells him stories about their visits to the secret garden. One day, a new doctor, Dr. Fortescue, examines Colin and determines that he is suffering from nothing more than fear, and suggests that the irons placed on his legs by the previous doctor be removed. Dickon and Mary later take Colin in a wheelchair to the secret garden and show him all the flowers they have been growing. Excited, Colin attempts to stand up on his own but falls. Later, when Craven returns from London, Fortescue accuses him of wallowing in his grief and transferring his longing to die to his son, thus causing Colin’s physical deterioration. Craven angrily rejects Fortescue’s accusation, and announces that he will be selling the estate and moving to Italy with Colin. Craven later has a change of heart, however, when he enters the garden and sees Colin rise from his wheelchair to walk toward him. Astounded at Colin’s sudden ability to walk, Craven embraces his son and decides to remain at the house.

Film Details

Sep 1949

World premiere in Boston: 30 Apr 1949

Metro-Goldwyn-Mayer Corp.

Loew’s Inc.

United States

Based on the novel The Secret Garden by Frances Hodgson Burnett (New York, 1909).

Technical Specs

1h 32m

Mono (Western Electric Sound System)

Black and White, Color (Technicolor)

1.37 : 1

Articles

Read more: Community gardens | Soil Science Society of America

The Secret Garden (1949)

The Secret Garden (1949) is based on Frances Hodgson Burnett’s 1911 children’s classic, set in Yorkshire, about a lonely orphan and her invalid cousin whose spirits are revived when they revive the neglected garden of the title. There was a silent film version of the story, and several later screen and television versions, but this was the only one featuring a major child star in the leading role of Mary Lennox.

Margaret O’Brien shot to stardom at MGM in Journey for Margaret (1942), at the tender age of five, brilliantly playing a traumatized British war orphan. Among her fans was Lionel Barrymore, who co-starred with O’Brien in Dr. Gillespie’s Criminal Case (1943), and declared that she was the only actress other than his sister Ethel to move him to tears. O’Brien’s best performance was as the youngest sister in Meet Me in St. Louis (1944), which earned her a special Academy Award, and praise from critic and novelist James Agee, who called her “incredibly vivid and eloquent – almost as hypnotizing as Garbo.”

By the late 1940s, however, the quality of O’Brien’s films had declined, or she was miscast, as in the studio’s all-star Little Women (1949), in which she played Beth. She was also getting older, and wasn’t quite as adorable. However, she was perfectly cast as the melancholy orphan in The Secret Garden.

Her co-star, Dean Stockwell, was also excellent as the traumatized, temperamental cousin. Just a year older than O’Brien, Stockwell hadn’t been acting as long as she had, but he’d also worked with some impressive co-stars, including Gene Kelly and Frank Sinatra in his second film, Anchors Aweigh (1945). He’d played Myrna Loy and William Powell’s son in Song of the Thin Man (1947), Gregory Peck’s son in Gentleman’s Agreement (1947), and the title character in the cult film, The Boy with Green Hair (1948). Yorkshire-born Brian Roper played Dickon, the neighbor boy who introduces Mary to the garden. (Roper would reprise the role in a 1952 British television miniseries of The Secret Garden.) A strong cast of mostly British character actors ably supported the young stars.

Producer-director Clarence Brown had directed two of MGM’s best family films, National Velvet (1944) and The Yearling (1946). He only produced The Secret Garden, turning the directing chores over to Fred M. Wilcox, who also had experience with family films – he had directed Lassie Come Home(1943), and two Lassie sequels. Together, they created a richly atmospheric production for The Secret Garden, from the moody, spooky Victorian mansion where the family lives, to the scenes in the lush restored garden, which are the only portions of the movie filmed in color – much in the same way as the Oz sequences in The Wizard of Oz (1939) were in color, and the Kansas scenes in black and white. Strangely, even though Oz had set the precedent, some critics appeared confused by the use of color in The Secret Garden. And they felt, as did the Variety critic, that “the allegorical and psychological implications that have been carried over from Frances Hodgson Burnett’s book are clearly for the grown-up trade. Not only that, but a good bit of the production is designed to create eerie terror that may discourage parents from letting moppets see the pic.” In this era when even the youngest “moppets” take Harry Potter in stride, however, such criticism seems quaint, and The Secret Garden seems ahead of its time.

The Secret Garden turned out to be Margaret O’Brien’s final MGM film. She made one film at Columbia in 1951 before retiring from the screen. A few years later, she made an unsuccessful comeback, and worked occasionally in summer stock and television. Dean Stockwell also retired from the screen several times, but made two very successful comebacks — first as a young adult in such films as Compulsion (1959) and Long Day’s Journey Into Night (1962), and in middle age, playing eccentric characters (Dr. Yueh in Dune (1984), Ben in Blue Velvet, 1986). He still works regularly in films and television.

Director: Fred M. Wilcox Producer: Clarence Brown Screenplay: Robert Ardrey, based on the novel by Frances Hodgson Burnett Cinematography: Ray June Editor: Robert J. Kern Costume Design: Walter Plunkett Art Direction: Cedric Gibbons, Urie McCleary Music: Bronislau Kaper Principal Cast: Margaret O’Brien (Mary Lennox), Herbert Marshall (Archibald Craven), Dean Stockwell (Colin Craven), Gladys Cooper (Mrs. Medlock), Elsa Lanchester (Martha), Brian Roper (Dickon), Reginald Owen (Ben Weatherstaff). BW&C-92m. Closed captioning. Descriptive Video.

by Margarita Landazuri

The Secret Garden (1949)

The Secret Garden (1949) is based on Frances Hodgson Burnett’s 1911 children’s classic, set in Yorkshire, about a lonely orphan and her invalid cousin whose spirits are revived when they revive the neglected garden of the title. There was a silent film version of the story, and several later screen and television versions, but this was the only one featuring a major child star in the leading role of Mary Lennox. Margaret O’Brien shot to stardom at MGM in Journey for Margaret (1942), at the tender age of five, brilliantly playing a traumatized British war orphan. Among her fans was Lionel Barrymore, who co-starred with O’Brien in Dr. Gillespie’s Criminal Case (1943), and declared that she was the only actress other than his sister Ethel to move him to tears. O’Brien’s best performance was as the youngest sister in Meet Me in St. Louis (1944), which earned her a special Academy Award, and praise from critic and novelist James Agee, who called her “incredibly vivid and eloquent – almost as hypnotizing as Garbo.” By the late 1940s, however, the quality of O’Brien’s films had declined, or she was miscast, as in the studio’s all-star Little Women (1949), in which she played Beth. She was also getting older, and wasn’t quite as adorable. However, she was perfectly cast as the melancholy orphan in The Secret Garden. Her co-star, Dean Stockwell, was also excellent as the traumatized, temperamental cousin. Just a year older than O’Brien, Stockwell hadn’t been acting as long as she had, but he’d also worked with some impressive co-stars, including Gene Kelly and Frank Sinatra in his second film, Anchors Aweigh (1945). He’d played Myrna Loy and William Powell’s son in Song of the Thin Man (1947), Gregory Peck’s son in Gentleman’s Agreement (1947), and the title character in the cult film, The Boy with Green Hair (1948). Yorkshire-born Brian Roper played Dickon, the neighbor boy who introduces Mary to the garden. (Roper would reprise the role in a 1952 British television miniseries of The Secret Garden.) A strong cast of mostly British character actors ably supported the young stars. Producer-director Clarence Brown had directed two of MGM’s best family films, National Velvet (1944) and The Yearling (1946). He only produced The Secret Garden, turning the directing chores over to Fred M. Wilcox, who also had experience with family films – he had directed Lassie Come Home(1943), and two Lassie sequels. Together, they created a richly atmospheric production for The Secret Garden, from the moody, spooky Victorian mansion where the family lives, to the scenes in the lush restored garden, which are the only portions of the movie filmed in color – much in the same way as the Oz sequences in The Wizard of Oz (1939) were in color, and the Kansas scenes in black and white. Strangely, even though Oz had set the precedent, some critics appeared confused by the use of color in The Secret Garden. And they felt, as did the Variety critic, that “the allegorical and psychological implications that have been carried over from Frances Hodgson Burnett’s book are clearly for the grown-up trade. Not only that, but a good bit of the production is designed to create eerie terror that may discourage parents from letting moppets see the pic.” In this era when even the youngest “moppets” take Harry Potter in stride, however, such criticism seems quaint, and The Secret Garden seems ahead of its time. The Secret Garden turned out to be Margaret O’Brien’s final MGM film. She made one film at Columbia in 1951 before retiring from the screen. A few years later, she made an unsuccessful comeback, and worked occasionally in summer stock and television. Dean Stockwell also retired from the screen several times, but made two very successful comebacks — first as a young adult in such films as Compulsion (1959) and Long Day’s Journey Into Night (1962), and in middle age, playing eccentric characters (Dr. Yueh in Dune (1984), Ben in Blue Velvet, 1986). He still works regularly in films and television. Director: Fred M. Wilcox Producer: Clarence Brown Screenplay: Robert Ardrey, based on the novel by Frances Hodgson Burnett Cinematography: Ray June Editor: Robert J. Kern Costume Design: Walter Plunkett Art Direction: Cedric Gibbons, Urie McCleary Music: Bronislau Kaper Principal Cast: Margaret O’Brien (Mary Lennox), Herbert Marshall (Archibald Craven), Dean Stockwell (Colin Craven), Gladys Cooper (Mrs. Medlock), Elsa Lanchester (Martha), Brian Roper (Dickon), Reginald Owen (Ben Weatherstaff). BW&C-92m. Closed captioning. Descriptive Video. by Margarita Landazuri

Notes

Frances Hodgson Burnett’s novel was serialized in The American Magazine between 1910 and 1911. Matthew Boulton’s name is misspelled “Mathew” in the onscreen credits. A December 1946 Hollywood Reporter news item indicates that Claude Jarman, Jr. was orignally slated for the part played by Dean Stockwell. A Hollywood Reporter news item on April 7, 1947 indicated that M-G-M had planned to shoot the film in England on a “newly erected studio,” but the film was eventually shot on the M-G-M lot in Culver City, CA. The film’s Technicolor sequences were those that took place in the garden. Modern sources credit Marni Nixon with dubbing Margaret O’Brien’s singing voice. Other film adaptations of Burnett’s novel are The Secret Garden, a 1919 Famous Players-Lasky Corp. production, directed by G. Butler Clonebough (a pseudonym of Gustav von Seyffertitz) and starring Lila Lee and Spottiswoode Aitken (see AFI Catalog of Feature Films, 1911-20; F1.3908); a 1984 BBC production, also entitled The Secret Garden, directed by Katrina Murray and starring Sarah Hollis and David Patterson; and a 1993 Warner Bros./American Zoetrope production, The Secret Garden, directed by Agnieszka Holland and starring Maggie Smith and Kate Maberly.

Source: https://livingcorner.com.au Category: Garden

source https://livingcorner.com.au/the-secret-garden-2/

[scottwinters714]

New Post has been published on https://startrek.everythingonlinenow.com/odin-makes-star-trek-tos-and-tng-phasers-with-the-new-anycubic-mega-x-printer/

Odin Makes: Star Trek TOS and TNG phasers with the new Anycubic Mega X Printer

The AnyCubic Mega X is available here: http://bit.ly/anycubic-mega-x I also have a code for a $30 USD off coupon: ACMEGAX Please note the printer estimated delivery is March 20th

I use my new 3D printer to make phasers from Star Trek the original series and Star Trek the Next Generation.

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Odin Abbott has been making costumes and props for years, and Odin Makes continues the desire to show you how to make cosplay items and props for yourself.

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[drugstoreglitter]

a. age: young as u feel (but 22 tomorrow) b. birthplace: warwickshire, england c. current time: 15:23 d. drink you had last: tea. e. easiest person to talk to: tilda ( @superstcrr ) n lucy ( @lucywrites ) f. favorite song: feel good inc (gorillaz), frankie sinatra (the avalanches), september (earth wind & fire) h. horror yes or horror no: longest yeah boy ever fuck me up i. in love ?: in love with the idea of it, perhaps j. jealous of people: disgustingly so k. killed someone: stood on a worm when i was 8 and its haunted me ever since l. love at first sight or should i walk by again ?: walk by again, double take tf up m. middle name: maeve (im irish) n. number of siblings: one sister, one brither o. one wish: make it as a poet, corny as hell, but yah. also be in a fucking sick play q. question you’re always asked: what im gonna do with an english degree, and what year im in (i’ve graduated yet still get mistaken for a first year) r. reason to smile: stranger things s2, veronica sawyer halloween costume, cute boys n girls who get all shy and sweet when you look at them, when vogue is £2 and i can justify buying it s. song you sang last: send me on my way by rusted root t. top 3 fictional characters: the artful dodger, margot tenenbaum, marla singer & j.m barrie’s peter pan also u. underwear color: red lace, high waisted. fave pants ever.  v. vacation: i really want to go to venice and sweden ! also amsterdam. rome.  w. when’s your birthday: sept 30th x. x-rays: i’ve had a few. used to be scared f them, had some daft conspiracy theories y. your favorite food:  love a good croissant or pain au chocolat.  cheese toasties z. zodiac sign: libra

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tagging: @superstcrr, @lucywrites, @hiighdrama, @wuunderstruck, @theresahcney, @peytrps @sondcrisms, @hotboxed, @neonwondress, @shallowhearteds, @thedepxrted +  ANYONE ELSE THAT WANTS TO

[portalmunicipiosbaianos-blog]

Renovação no Legislativo pode dificultar negociação de grandes projetos

 Faz tempo que Brasília não vê tantas mudanças. Na sexta-feira, houve novo capítulo, com a posse dos novos deputados e senadores eleitos no ano passado. É uma renovação como não se vê desde a redemocratização, nos anos 1980, quando novas lideranças começaram a despontar no Congresso Nacional. O resultado disso ainda é uma incógnita, embora se note a tendência de facilidade para a aprovação de medidas liberais na economia, como privatizações e reformas, e conservadora nos costumes, incluindo a facilitação de porte de armas ou a redução do direito de aborto, que pode ocorrer hoje em casos de estupro ou de risco à saúde da mãe, por exemplo.

As urnas decidiram mandar para casa muitos dos parlamentares mais experientes. Alguns saíram por razões que os especialistas veem como positivas, como a rejeição aos sinais de enriquecimento ilícito com a atividade política. Mas, também de acordo com essa linha de análise, houve rejeição injusta a parlamentares que não conseguiram se livrar da imagem de estarem ligados ao passado. Com isso, o Parlamento perdeu muitas pessoas experientes, que estavam habituadas a trabalhar para a evolução de projetos de autoria do governo ou dos próprios parlamentares. “As elites têm um papel fundamental na negociação de grandes acordos”, explica Paulo Calmon, diretor do Instituto de Ciência Política da Universidade de Brasília (Ipol/UnB).

Na Câmara, há 251 novos deputados, mais do que os 244 que foram reeleitos. Outros 18 que entram não estão na legislatura que se encerra, mas tampouco são novatos: já tiveram mandato anteriormente. Um detalhe importante é que, dos reeleitos, 102 começaram o segundo mandato na última sexta-feira. Estão, portanto, longe de ser parlamentares com muita experiência. Os deputados com mais de cinco mandatos se limitam a 53, pouco mais de 10% da casa.

 Apoio

O critério principal para ganhar o apoio das urnas foi a rejeição ao sistema anterior. “Eles foram eleitos por ser contra tudo o que está aí, mas não necessariamente por terem propostas”, aponta Antonio Augusto de Queiroz, diretor de Documentação do Departamento Intersindical de Análise Parlamentar (Diap).

A consonância entre a sociedade e as decisões que o novo Congresso vier a aprovar é, ainda, algo desconhecido, na avaliação de Queiroz. “A eleição trouxe maior diversidade ao Parlamento, com mais negros, índios e mulheres. Por outro lado, alguns grupos ganharam representação maior da sociedade como um todo, incluindo lideranças evangélicas, militares, policiais, celebridades e parentes de políticos. Eles tendem a aprovar uma pauta mais conservadora”, explica. “Impedir que ocorram retrocessos de fato nos direitos dos brasileiros é algo que vai depender da imprensa, do Judiciário e de organismos internacionais”, defende.

Para Calmon, a polarização que se viu nas eleições estará presente no novo Congresso, o que poderá levar a confrontos na tribuna. O resultado prático, porém, ainda é difícil de avaliar. “Por serem tantos novatos, é preciso esperar um tempo para a aprendizagem e para que percebam que a capacidade de costurar políticas não depende tanto da ideologia, do discurso político”, destaca.

A dinâmica do Congresso vai depender, na avaliação de Queiroz, da atuação de três núcleos do governo: o econômico, o jurídico e o de costumes. “O que importa mais ao governo realmente é aprovar as medidas do primeiro. Os demais vão entrar para desviar a atenção da discussão das medidas econômicas, de cunho liberal fundamentalista”, argumenta.

 Repetição

A capacidade do governo de negociar com o Legislativo é algo que preocupa o filósofo Roberto Romano, professor da Universidade Estadual de Campinas (Unicamp). “Aparentemente, não existem pessoas suficientemente competentes nas negociações com o Congresso. Assim, repete-se à direita o que fez Dilma Rousseff, ao colocar Aloísio Mercadante e Gleisi Hoffmann para fazer isso”, argumenta.

Depois das eleições dos integrantes da mesa, restam as definições de comando das comissões. Muitas delas entraram como moeda de troca para a escolha da mesa. Na Câmara, a aposta é de que a Comissão de Justiça e Cidadania fique com o PSL, partido do presidente Jair Bolsonaro, cujos integrantes apoiaram Rodrigo Maia (DEM-RJ) na reeleição para a Presidência.

Independentemente das composições que vierem a ser feitas, Romano alerta para o fato de que as negociações políticas vão ser complicadas, e dificilmente trarão as mudanças que a população espera em termos de leis. Ele afirma que o Brasil enfrenta historicamente uma crise distributiva. “No Império, temia-se que o país se desintegrasse. Isso só foi impedido pela distribuição de recursos, que são negociados entre o governo federal e as lideranças políticas regionais, algo que dura até hoje”, relata. Além disso, ele vê uma situação mais difícil em todo o mundo, devido ao descompasso entre os recursos disponíveis e a expectativa da população. “O Estado vive uma crise em todo lugar. Mas os países ricos a enfrentam com uma Ferrari. Nós, com um Ford bigode”, compara.

O filósofo vê, portanto, poucas chances de que a renovação realmente traga algo diferente do que os brasileiros têm visto há tanto tempo.“O que teremos é mais do mesmo. Afinal, o caldo de cultura não mudou”, vaticina. A renovação do Congresso, alerta, não foi para melhor, “a não ser por dois ou três bons novos parlamentares que foram eleitos”. O país está em posição muito pior, avalia, do que nos anos 1980, quando saía da ditadura militar e tinha, no Congresso, pessoas como Mário Covas e Ulysses Guimarães, entre outros.

Mas o próprio Ulysses afirmava que não era possível contar com a eleição de parlamentares melhores. “Está achando ruim essa composição do Congresso? Então espera a próxima: será pior. E pior, e pior…”, comentou nos anos 1980. “Temos algumas poucas cabeças boas aqui. É necessário juntá-las, onde quer que estejam, e fazê-las trabalhar num rumo só: para frente. Sempre”.

 Ø  Renovação no Senado pode gerar dificuldade de organização, diz especialista

 De cada quatro senadores que tentaram a reeleição em 2018, três não conseguiram o objetivo de conquistar novo mandato de oito anos. O Senado tem 81 cadeiras, mas um terço mantém seus mandatos até 2022. Do total das 54 vagas que estavam na disputa, 46 dos eleitos não integravam o Senado no ano passado, uma renovação histórica de 85%. A Câmara também atingiu uma mudança histórica, superior aos índices das últimas eleições, mas ficou bem abaixo do que se viu no Senado: 47%.

Desde a redemocratização do país, não houve um pleito com tantas caras novas na eleição para a chamada Câmara Alta, apesar de ter registrado o maior número de candidaturas à reeleição: foram 32, ou quase 60% dos senadores.

Entre os que conseguiram se reeleger está Renan Calheiros (MDB-AL), que inicia mais um mandato de oito anos. O senador estreante Major Olímpio (PSL-SP) evita criticar a permanência do alagoano na Casa. “Quando se olha para a renovação de 85%, certamente muitas pessoas se indagam: ‘Por que não foi de 100%?’. O fato é que, no caso do Renan e de outros, a população de seus estados decidiu mantê-los. Não se pode discutir isso”, argumenta.

Para Antonio Augusto de Queiroz, diretor de Documentação do Departamento Intersindical de Análise Parlamentar (Diap), a chegada de tantas pessoas novas, ainda que tenham tido mandato antes em outras casas legislativas, vai significar certa dificuldade de organização. “No começo, vão bater muita cabeça.”

Por sua vez, o Planalto terá grande facilidade de aprovar leis e emendas constitucionais, tanto no Senado quanto na Câmara. “Nunca um governo encontrou ambiente tão favorável para mudanças”, destaca Queiroz. O viés ideológico das novas casas é liberal na economia e conservador nos costumes. A primeira característica significa tendência de aprovação de reformas como a da Previdência ou a tributária. A segunda, indica obstáculo a mudanças sociais que possam ser propostas por outros parlamentares, como a ampliação dos casos em que o aborto é permitido e o favorecimento a projetos para facilitar a posse ou o porte de armas.

Um exemplo da confusão com a adaptação inicial pode estar no embate que ocorreu no Senado ontem, durante as discussões para decidir se o voto para a Presidência da Casa seria aberto ou fechado. Embora os protagonistas do confronto tenham sido senadores mais experientes, como Katia Abreu (MDB-TO), Humberto Costa (PT-PE) e Renan, entre outros, o papel dos novatos foi essencial. Sem eles, dificilmente o voto aberto teria sido aprovado. Além disso, a contestação da Presidência da sessão por Davi Alcolumbre (DEM-AP) teria sido muito mais forte em um plenário repleto de veteranos. Alcolumbre, embora já esteja na casa há quatro anos, é pouco experiente e, aos 41 anos, relativamente jovem para o Senado.

O fato de Alcolumbre ter comandado a sessão, aliás, é uma demonstração do tsunami que atingiu a eleição para a Casa. Ele sentou-se na cadeira principal porque era o secretário suplente da mesa anterior, na qual nenhum outro integrante foi reeleito.

 Partiram

Vários caciques ficaram fora do Senado, entre eles, o ex-presidente da Casa Eunício Oliveira (MDB-CE). Outros medalhões emedebistas deram adeus ao tapete azul: Romero Jucá (RR) e Edison Lobão (MA).

Senadores que lideraram a oposição ao governo Michel Temer, como Roberto Requião (MDB-PR) e Lindbergh Farias (PT-RJ), também estão excluídos da nova legislatura. Magno Malta (PR-ES), guru espiritual do presidente Jair Bolsonaro, engrossa a lista dos não reeleitos. Ele, aliás, abriu mão de ser candidato a vice de Bolsonaro porque temia que a chapa presidencial não fosse vencedora, e ele, portanto, ficaria sem mandato.

Os tucanos Beto Richa (PR) e Cássio Cunha Lima (PB), ex-vice-presidente da Casa, e o petista Eduardo Suplicy (SP) não conquistaram votos suficientes para se manterem no Senado.

Garibaldi Alves (MDB-RN), que foi presidente do Senado de 2007 a 2009 e ministro da Previdência durante o primeiro mandato da presidente Dilma Rousseff, só vai manter seu nome no Congresso porque o filho, Walter Alves, se elegeu para a Câmara dos Deputados.

Os senadores Waldermir Moka (MDB-MS), Ataídes Oliveira (PSDB-TO), Vicentinho (PR-TO), Benedito de Lira (PP-AL),  Ângela Portela (PT-RR), Lúcia Vânia (PSDB-GO) e Flexa Ribeiro (PSDB-PA) também não se reelegeram.

Além dos 22 parlamentares que preferiram não buscar a reeleição e dos 24 que não a conseguiram, a renovação do Senado ganhou dois suplentes, porque Gladson Cameli (PP-AC) e Ronaldo Caiado (DEM-GO), que estavam na metade dos mandatos, foram eleitos governadores por seus estados no primeiro turno das eleições do ano passado.

 Fonte: Correio Braziliense

[bartleby-company]

Alexandra Exter “Guardian of Energy” (costume design for the film “Aelita” by Yakov Protozanov) 1924 Ink, gouache, and pencil on paper 21 1/4 x 14 1/4″ (54 x 36.2 cm) The J. M. Kaplan Fund, Inc.

[newyorktheater]

Below is the list of nominations announced tonight for the 15th annual New York Innovative Theater Awards, which celebrates the best of the city’s independent theater — aka Off-Off Broadway. The winners will be announced at a ceremony on September 16th, 2019. This year’s nominees include 147 individual artists and 64 productions presented by 73 theater companies!

Entangled by The Amoralists

In The Bleak Midwinter by Stuffed Olive

Queen by Astoria Performing Arts Center

Truth/Dare by Project Y

#YourMemorial by Pigeonholed

Red Emm and the Mad Monk by The Tank

OUTSTANDING ENSEMBLE

Alex & Eugene Isle of Shoals Productions, Inc. Aja Downing, Reggie Herold, Katherine Leidlein, Joseph M. Mace, Rori Nogee, Noah Pyzik, Jae Shin, Anna Stefanic, Brittany Zeinstra

Hamlet (What Dreams May Come) Ript Theater Company in association with The Secret Theatre Lindsay Alexandra Carter, Ade Otukoya, Chauncy Thomas, Nathan Winkelstein

The Maids The Seeing Place Theater Erin Cronican, Christine Redhead, Gaia Visnar

Plan G Randomly Specific Theatre Allan Hayhurst, Lauren LeBeouf, Tiffany May McRae, Sarah Misch, Larry Phillips, Forrest Weber

Spring Awakening Gallery Players Taylor Bloom, Aaron Braden, Harrison Bryan, Jacob Anthony Cain, Brendan Charles, Osborn Focht, Nick Godfrey, Gaby Greenwald, Nathaniel Gregory, Mikaela Kafka, Raquel Kahn, Isabella King, Thomas Kuklenski, Nicole Lopez, Gaby Mank, Tyler Moscaritola, Mariela Flor Olivo, Amanda Starr

Who Am I This Time? (And Other Conundrums Of Love) Wise Fish Theater Collective in association with Martina Bonolis & Meghan Ginley Zach Gamble, Meghan Ginley, Robin Johnson, Kent Koren, Franco Pedicini, Isabel Shill, Stephen Zuccaro

OUTSTANDING SOLO PERFORMANCE

Amie Cazel Pregnant Pause Good Pilgrim

Kim Katzberg Dad in a Box Eat a Radish Productions

Larry Phillips The Art of Acting: A Master Class with Fozzie Bear Larry Phillips

Laura Sisskin Fernandez You Hold a Pole Everday Playful Substance

OUTSTANDING ACTOR IN A FEATURED ROLE

Bruce Barton Hamlet Hudson Warehouse in association with Susane Lee

Daniel Burns She Calls Me Firefly Parity Productions in association with New Perspectives Theatre Company

Connor Chaney The Harrowing of Hell American Theatre of Actors in association with Collectio Musicorum, Inc.

Desmond Dutcher Mary, Mary Retro Productions

David Leeper Stupid Fucking Bird Stripped Scripts

Jacob Lewis Lovendahl Experimenting with Katz New Ambassadors Theatre Company in association with Julia Botero

Federico Mallet Eight Tales of Pedro The Secret Theatre

Scott McCord The Head Hunter One Shot Deal

OUTSTANDING ACTRESS IN A FEATURED ROLE

Maybe Burke Red Emma and the Mad Monk The Tank & Emma Orme

Adiagha Faizah You Wouldn’t Expect American Bard Theater Company

Melissa Glasgow A Chorus Line Gallery Players

Meghan E. Jones Mary, Mary Retro Productions

Meredith M. Sweeney Catch the Sparrow Isle of Shoals Productions, Inc.

Jo Vetter The Poor of New York Metropolitan Playhouse

Yokko Shinka Ren Gyo Soh

OUTSTANDING ACTOR IN A LEAD ROLE

Adam Belvo The Brutes spit&vigor in association with Jay Michaels Arts & Entertainment

Harrison Bryan Spring Awakening Gallery Players

Braeson Herold Worse Than Tigers The Mill in association with New Ohio Theatre

Milo Longenecker The Fantastical Dangerous Journey of Q Rebel Playhouse in association with 14th Street Y

Vinnie Penna Twelfth Night Boomerang Theatre Company

Olivier Renaud Stupid Fucking Bird Stripped Scripts

Evan Teich Assassins The Secret Theatre

Ronnie Williams Man Frog and Other People Necessary I. T. E. M. S. Project

OUTSTANDING ACTRESS IN A LEAD ROLE

Heather E. Cunningham Mary, Mary Retro Productions

Naomi Lorrain Entangled The Amoralists

Lori Elizabeth Parquet Operating Systems Flux Theatre Ensemble

Mahima Saigal Queen Astoria Performing Arts Center

Lisa Strum whatdoesfreemean? Nora’s Playhouse in association with The Tank

Shannon Marie Sullivan Worse Than Tigers The Mill in association with New Ohio Theatre

Gaia Visnar The Maids The Seeing Place Theater

OUTSTANDING CHOREOGRAPHY/MOVEMENT

Shiloh Goodin Spring Awakening Gallery Players

Eddie Gutierrez A Chorus Line Gallery Players

Alex Johnson Alex & Eugene Isle of Shoals Productions, Inc.

Joey McKneely Shadows, a dance musical Go Joe Enterprises

Shoko Tamal The Tempest The Secret Theatre

Yoshiko Usami Shinka Ren Gyo Soh

OUTSTANDING DIRECTOR

Adam Knight Stupid Fucking Bird Stripped Scripts

Katie Lindsay Red Emma and the Mad Monk The Tank & Emma Orme

Lauren A Shields Assassins The Secret Theatre

Sara Thigpen Twelfth Night Boomerang Theatre Company

Owen Thompson The Tempest The Secret Theatre

Yoshiko Usami Shinka Ren Gyo Soh

OUTSTANDING LIGHTING DESIGN

Annie Garrett-Larsen And Then There Were None The Secret Theatre

Asa Lipton Alex & Eugene Isle of Shoals Productions, Inc.

Anthony Logan Cole The Tempest The Secret Theatre

Kia Rogers Operating Systems Flux Theatre Ensemble

Kia Rogers Real Rodrigo Nogueira in association with The Tank

Cha See Honors Students Tavine Productions

OUTSTANDING COSTUME DESIGN

Michelle Beshaw Duke Oldřich & Washerwoman Božena, the True Story GOH Productions in association with Czechoslovak American Marionette Theatre

Sarah Marie Dixey Hamlet (What Dreams May Come) Ript Theater Company in association with The Secret Theatre

Julia Kulaya Experimenting with Katz New Ambassadors Theatre Company in association with Julia Botero

Marissa L. Menezes Once Upon a Mattress Gallery Players

Ben Philipp Mary, Mary Retro Productions

Yunzhu Zeng Where Is My Maple Town MapleTown Production Company

OUTSTANDING SET DESIGN

Matt Carlin Worse Than Tigers The Mill in association with New Ohio Theatre

Jack Cunningham & Rebecca Cunningham Mary, Mary Retro Productions

Gabriel Firestone Whirlwind Jordan’s Play Lab in association with Rebecca Crigler & Barn Owl, LLC

Lily Guerin The Year of the Solar Eclipse Kyoko & Ezra

Daniel Hogan Friendly’s Fire The Rising Sun Performance Company in association with the Theatre at the 14th Street Y

Matthew D. McCarren Goodbody The Crook Theater Company

Tim McMath Cannibal Galaxy: a love story Between Two Boroughs Productions

OUTSTANDING SOUND DESIGN

Beata Bocek Duke Oldřich & Washerwoman Božena, the True Story GOH Productions in association with Czechoslovak American Marionette Theatre

Margaret Montagna Queen Astoria Performing Arts Center

John Salutz Red Emma and the Mad Monk The Tank & Emma Orme

Aj Surasky Worse Than Tigers The Mill in association with New Ohio Theatre

Jeanne Travis Honors Students Tavine Productions

Fan Zhang Cannibal Galaxy: a love story Between Two Boroughs Productions

OUTSTANDING INNOVATIVE DESIGN

Hao Bai, Eric Marciano & Ildiko Nemeth – for Projection Design Electronic City, The New Stage Theatre Comapny

Yana Birykova – for Projection Design Cannibal Galaxy: a love story, Between Two Boroughs Productions

Magnus Pind Bjerre – for Video Design The Neurology of the Soul, Untitled Theater Co. No. 61

Raquel Cion, Maia Cruz Palileo, & Kim Katzberg for Video Design Dad in a Box, Eat a Radish Productions

Sarah George & Sonya Plenefisch – for Properties Design Whirlwind Jordan’s Play Lab in association with Rebecca Crigler & Barn Owl, LLC

John J.A. Jannone – for Video Design The Female Role Model Project, Transforma Theatre, Inc.

Keo X-Men – for Graffiti Design This Is Modern Art, Blessed Unrest

OUTSTANDING ORIGINAL MUSIC

Karen Bishko, Maxim Moston, & Edison Woods Shadows, a dance musical Go Joe Enterprises

Beata Bocek Duke Oldřich & Washerwoman Božena, the True Story GOH Productions in association with Czechoslovak American Marionette Theatre

Luis D’Elias Eight Tales of Pedro The Secret Theatre

Joe Jung A Midsummer Nights Dream Smith Street Stage

Teresa Lotz Red Emma and the Mad Monk The Tank & Emma Orme

Francesco Santalucia MacBeth First Maria Ensemble

OUTSTANDING ORIGINAL SHORT SCRIPT

Eliza Bent The Beyoncé Adjusted Realists

Kathleen Jones Pregnant Pause Good Pilgrim

Kim Katzberg Dad in a Box Eat a Radish Productions

Teresa Lotz She Calls Me Firefly Parity Productions in association with New Perspectives Theatre Company

Larry Phillips The Art of Acting: A Master Class with Fozzie Bear Larry Phillips

Carrie Robbins The Dragon Griswynd Days of the Giants LLC

OUTSTANDING ORIGINAL FULL-LENGTH SCRIPT

Emily J Daly #yourmemorial Pigeonholed

Gabriel Jason Dean Entangled The Amoralists

Tori Keenan-Zelt Truth/Dare Project Y Theatre Company

Dorothy Lyman In The Bleak Midwinter Stuffed Olive, Inc. in association with Allison Threadgold & Tana Sirois

Alexis Roblan Red Emma and the Mad Monk The Tank & Emma Orme

Madhuri Shekar Queen Astoria Performing Arts Center

Charly Evon Simpson Entangled The Amoralists

OUTSTANDING PERFORMANCE ART PRODUCTION

The 11th Dimension ETdC Projects’ Lab in association with Roi Escudero & Valentin Ewan

Arkham Part of the 10th Annual H.P.Lovecraft Festival Radiotheatre in association with Theatre At St.John’s

Befuddled 101 Amnesia Wars Productions

Electronic City The New Stage Theatre Company

The Harrowing of Hell American Theatre of Actors in association with Collectio Musicorum, Inc.

now my hand is ready for my heart: intimate histories LaMaMa Experimental Theater Club In Association with Mount Tremper Arts

OUTSTANDING PRODUCTION OF A MUSICAL

Assassins The Secret Theatre

Caroline, or Change Astoria Performing Arts Center

A Chorus Line Gallery Players

Into The Woods Theater 2020

Red Emma and the Mad Monk The Tank & Emma Orme

Spring Awakening Gallery Players

OUTSTANDING PREMIERE PRODUCTION OF A PLAY

36 Juniper Wrong House Productions

In The Bleak Midwinter Stuffed Olive, Inc. in association with Allison Threadgold & Tana Sirois

Queen Astoria Performing Arts Center

Shinka Ren Gyo Soh

Whirlwind Jordan’s Play Lab in association with Rebecca Crigler & Barn Owl, LLC

Worse Than Tigers The Mill in association with New Ohio Theatre

OUTSTANDING REVIVAL OF A PLAY

And Then There Were None The Secret Theatre

Hamlet (What Dreams May Come) Ript Theater Company in association with The Secret Theatre

The Maids The Seeing Place Theater

Mary, Mary Retro Productions

Stupid Fucking Bird Stripped Scripts

The Tempest The Secret Theatre

The New York Innovative Theatre Foundation is a not-for-profit organization recognizing the great work of New York City’s Off-Off-Broadway,

NYIT Award Nominations 2019: Off-Off Broadway’s Finest Below is the list of nominations announced tonight for the 15th annual New York Innovative Theater Awards, which celebrates the best of the city’s independent theater — aka Off-Off Broadway.

[larryland]

by Roseann Cane

Psssst…sister…you wanna have a good time? Get yerself a ticket to The Full Monty, now playing at the Capital Repertory Theatre!

I’d never seen this musical before, and I must admit that my expectations were not that great. I enjoyed the original English film version, which came out in 1997. Since the musical adaptation opened to great success on Broadway in 2000, the play has become a staple of regional and community theaters. I assumed that it was a shallow, gimmicky piece of work. And yes, I discovered, one could call the play gimmicky–but, to my pleasant surprise, it works!

Maggie Mancinelli-Cahill has deftly, affectionately directed this vibrant celebration of American survival that’s at turns funny, sweet, rambunctious, and–it must be said–corny. The corniness didn’t bother me because not only is the direction well paced; the cast is downright lovable, and like every other member of the audience (if cheering and prolonged applause is an acceptable measure), I wanted the guys to succeed…at stripping.

In Buffalo, New York, a group of steelworkers have been laid off. These blue-collar guys are stereotypically invested in the idea that the man is the breadwinner, and the thought of their wives finding out, let alone supporting them, threatens their masculinity. Close friends Jerry Lukowsky (Christopher Sutton) and Dave Bukatinsky (Patrick John Moran) discover that Jerry’s ex-wife, Pam (Emily Matthews), and Dave’s wife, Georgie (Kimberly Doreen Burns) are headed to Chippendales for a girls’ night out. The two men hide in the restroom, overhearing Pam declare that she intends to take Jerry to court for missed child support payments, and Georgie bemoaning the overweight Dave’s poor self-image.

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Jerry has an epiphany (of sorts): The strip club is crowded with hyperexcited women who eagerly deposit bills into the dancers’ g-strings. If they could get a bunch of their unemployed friends to put on a similar show for one night, they could make a pile of money. Jerry and Dave convince their suicidal former coworker, Malcolm (David J. Socolar) to join them. In a ballroom dance class, the men encounter their former boss, Harold Nichols (Kevin McGuire), dancing with his luxury-loving wife Vicki (Lyn Philistine). Harold confides in the men that Vicki is completely unaware of his unemployment. After hearing the plan, Harold agrees to becomes the men’s choreographer.

For all of their protestations about their masculinity, these men are revealed to be vulnerable, and we love them for it, for the individual ways in which they express their vulnerability, for the new kind of courage each of them gains from exposing themselves emotionally as well as physically. The cast is quick, funny, and disarming, and while I didn’t leave the theater humming the score (it’s upbeat and undistinguished), I left the theater feeling great. I couldn’t help but care about these downtrodden men and the women in their lives. 

I especially enjoyed the audition sequence. As the wisecracking accompanist Jeanette Burmeister, Susann Fletcher is hilarious, faintly reminiscent of Elaine Stritch, only sunnier. She encourages Jerry, Dave, and Harold, who are in despair as each of the auditioners before them seem irredeemably bad. Then a gnarled, arthritic, sad-looking man known as “Horse” (Reggie Whitehead) takes the stage. He has some difficulty moving. Eventually, he literally finds his footing, and his performance of “Big Black Man,” complete with acrobatic moves and a rousing voice, had the audience cheering. (We later learn that he, too, has a vulnerability…despite his nickname, he’s not hung like one. He, too, attains his well-earned courage.)

Freddy Ramirez’s choreography was delicious, and wonderfully executed. The design of this production, including Scott Aronow’s set (which smoothly transitions from a strip club to a back alley with a car to a men’s restroom, among other places), Barry Steele’s lighting and projection design, Rider Q. Stanton’s sound design, and Howard Tsvi Kaplan’s costumes, dovetailed splendidly to sweep us into these very real-seeming lives. 

And, in case you were wondering, the men do strip. There’s no full-frontal nudity, but they get pretty close. “The Full Monty” is an English expression of disputed origin, but what it means is “the whole thing,” or as we Americans would say, “the whole nine yards.” In this case, I think the show’s creators were wise not to Americanize the title.

The Full Monty, book by Terrence McNally, music and lyrics by David Yazbek, directed by Maggie Mancinelli-Cahill runs July 5-August 11 at Capital Repertory Theatre, 111 N. Pearl Street, Albany. Musical Director/Arranger Josh D. Smith. Scenic Design by Scott Aronow, Costume Design by Howard Tsvi Kaplan, Choreography by Freddy Ramirez, Sound Design by Rider Q. Stanton and Lighting/Projections Design by Barry Steele. CAST: Christopher Sutton as Jerry, Lyn Philistine as Vicki Nichols, Gil Brady as Teddy, Nicole Zelka as Estelle, Susann Fletcher as Jeannette Burmeister, Reggie Whitehead as Noah T. “Horse” Simmons, Christopher M. Howard as Buddy “Keno” Walsh, Sue Caputo as Susan, Kevin McGuire as Harold Nichols, Emily Matthews as Pam Lukowski, Fred Sirois as Reg, Josh D. Smith as Tony Giordano, Victoria Benkoski as Joannie, Kimberly Doreen Burns as Georgie Bukatinsky, Keith Dubois as Nathan, Eddie Maldonado as Ethan Girard, Patrick John Moran as Dave Bukatinsky, David Socolar as Malcolm Macgregor). Ensemble: Joshua DeMarco, Mitchell Johnson, and Victoria Preisman

Previews for The Full Monty take place July 5–7. Opening night is Tuesday, July 9. Regular performances continue through Sunday, Aug. 11. Performance times: 7:30 p.m. Tuesday through Thursday; and 8 p.m. Friday and Saturday—with matinees 3 p.m. Saturday; 2 p.m. Sunday; and 2 p.m. Wednesdays, July 17 & 24. Capital Repertory Theatre, 111 N. Pearl Street, Albany. Tickets range from $27–$62. Students with valid ID: $16 all shows. For tickets and information, call Tickets by Proctors, 518.445.SHOW (7469) or visit capitalrep.org.

Opening night features live music in the café at 6:30 p.m. and complimentary post-show champagne and dessert from Bella Napoli Bakery.

Special events include:

  3 p.m. Saturday July 13—American Sign Language-interpreted show. To secure the best seats for visibility of the signers, please call the Box Office.

  6:30 p.m. July 16—Chef’s Table Night includes complimentary light fare for ticketholders, provided by Albany Pump Station.

  6:30 p.m. Thursday, July 25—Thirsty Thursday, with complimentary samples for ticketholders from Albany Distilling Company, Inc. & Nine Pin Cider.

  1 p.m. Sunday, July 28—Behind-the-Scenes pre-matinee discussion with Producing Artistic Director Maggie Mancinelli-Cahill, featuring light snacks for ticketholders at 12:30 p.m.

REVIEW: “The Full Monty” at Capital Repertory Theatre by Roseann Cane Psssst...sister...you wanna have a good time? Get yerself a ticket to The Full Monty…

[nachksuchelet]

Como Ganhar Dinheiro Com Um Website

COMO SE HOSPEDAR EM NY GASTANDO Insuficiente

Qual é a melhor atividade física para perder gordura? Qual é a melhor pra saúde? Qual melhor exercício para continuar robusto? E pra ficar seco e “rasgado”? Quando você tem bem acordado qual intuito espera do treinamento, fica mais fácil escolher a modalidade perfeito. Claramente, pra todas as opções, a saúde necessita estar próximo com o objetivo estético -em conclusão, ele a toda a hora existe, cá com o objetivo de nós! É essencial ressaltar que, seja pra perder peso, seja para obter músculos, seja pra ter um “shape trincado”, você só vai atingir alcançar tua meta e ter saúde se treinar com regularidade?

Diariamente, se possível. Ou, dependendo do tipo e da intensidade do exercício, de 5 a 6 vezes por semana. E não tem que se matar diariamente, mas acompanhar uma programação que compense dias mais intensos com dias de “recover” rápido, ou melhor, recuperação com exercícios menos intensos.

Sabendo disso é hora de escolher, concretamente, a modalidade. Sexo, idade, histórico de lesão, grau de condicionamento físico são pontos que necessitam ser levados em conta nesse instante. Se você tem lesão pela coluna, tendo como exemplo, escolher o crossfit pode não ser uma sensacional opção. Muito menos natação caso você possua qualquer problema no ombro. O melhor dos mundos é descobrir uma atividade que você sente entusiasmo em realizar todos os dias -e traga os objetivos que espera, claro.

De novo, lembro aos apressadinhos de plantão, que não existe milagre, não existe nenhum exercício que seja mágico e transforme corpos em um ou dois meses. Existe um tempo para tudo, pra cada alteração, cada vitória. Faça de modo inteligente e prolongada. Diversas pessoas mal iniciam uma prática física e imediatamente querem saber o que são capazes de tomar para ter melhores resultados. Eu digo: tomem cuidado pra não se lesionar e ter que parar o que acabaram de começar! Conquiste sua forma física pelo seu mérito e disposição. Dessa forma, você está cuidando da tua saúde também. Quer mais dicas sobre o assunto atividades físicas? Pois, aproveite e acesse o filme de hoje no canal BemStar!

Uma procura descreveu que destinado a pessoas com mais de quarenta anos, uma carga horária semanal de vinte e cinco horas podes ser incrível pra cognição. A Suécia, por exemplo, experimentou recentemente jornadas de seis horas diárias e constatou que a produtividade dos empregados melhorou, assim como a saúde deles. A maneira como as pessoas se comportam durante um dia de trabalho parece certificar essa teoria. Uma pesquisa praticada com quase dois 1000 empregados em tempo integral, pela Inglaterra, sugere que as pessoas só eram produtivas durante duas horas e cinquenta e três minutos de uma jornada de oito horas. Ao longo do resto do tempo, checavam tuas mídias sociais, liam notícias, conversavam com colegas de serviço, comiam e até já buscavam outros empregos. Queremos nos concentrar por uma etapa de tempo ainda mais curto no momento em que estamos nos forçando ao limite de nossas capacidades. De acordo com o psicólogo K. Anders Ericsson, da Universidade de Estocolmo, pela Suécia, ao começar um tipo de "prática deliberada" necessária para compreender qualquer atividade, é necessário mais pausas do que pensamos.

A maioria das pessoas pode trabalhar somente uma hora desnecessário de pausa. Existem músicos profissionais, autores e atletas que não dedicam mais de 5 horas diárias ao teu ofício. Outro costume que eles têm em comum? A "tendência de tirar cochilos para se recuperar", alega Ericsson. Uma maneira de descansar em tão alto grau o cérebro quanto o corpo. Porém a frase "descanso", como alguns pesquisadores ressaltam, não é obrigatoriamente o melhor termo pra contar o que estamos fazendo quando não fazemos nada. A divisão do cérebro que é ativada quando não fazemos nada, conhecida como rede neuronal em modo modelo (DMN, na sigla em inglês), desempenha um papel fundamental pela consolidação da memória e na visão do futuro. É bem como a zona do cérebro que ativamos no momento em que observamos outros indivíduos, pensamos a respeito nós mesmos, fazemos julgamento moral ou processamos as emoções de outras pessoas.

Em algumas expressões, se esta rede se apagar, desejamos ter dificuldade de memória, de antecipar consequências, compreender as interações sociais, perceber a nós mesmos, agir de modo ética ou ter empatia com os além da conta. Ou seja, tudo que nos torna não só funcionais no local de serviço, assim como também pela existência.

Mary Helen Immordino-Yang, neurocientista e pesquisadora do Instituto do Cérebro e da Criatividade da Faculdade do Sul da Califórnia, nos EUA. Da mesma forma, não teríamos a capacidade de pensar em novas ideias e conexões. A DMN é acionada no momento em que fazemos associações entre tópicos que parecem não estar relacionados ou quando propomos ideias originais. Bem como é o lugar onde afloram momentos de inspiração, o que significa que, tal como Arquimedes, você poderá possuir uma ideia radiante quando está passeando ou tomando banho. E deveria agradecer à biologia por isso.

Corporações que utilizam web sites têm 97% mais links para seus blogs

Pratique e-mail marketing

Remover: Remove a imagem

Hipótese de desenvolver um número ilimitado de blogs utilizando sua própria marca

Carlos comentou

16 Idéias Lucrativas Para Receber Dinheiro Na Web Em 2018

Construir e obter dinheiro com aplicativos: Clique aqui para acessar

7 Estrutura da pagina Algoritmo_de_ordenação

Quem sabe o mais sério de tudo seja: se não reservarmos um tempo pra dirigir nossa atenção pra dentro, perderemos um ingrediente essencial da alegria. As pessoas que meditam sabem muito bem que fazer nada pode ser surpreendentemente penoso. Depois de trinta segundos de descanso, quem não sente necessidade de analisar o smartphone? De fato, fazer nada é tão incômodo que diversas vezes optamos até por nos prejudicar. Literalmente. Em 11 estudos científicos diferentes, pesquisadores mostraram que os participantes preferiam cada coisa, incluindo ganhar choques elétricos, ao invés de fazer nada.

Mesmo sabendo que não precisavam ficar sentados por bastante tempo - os experimentos variavam entre 6 e 15 minutos. A sensacional notícia é que você não deve se empenhar a fazer absolutamente nada para ter benefícios. É verdade que o descanso é importante. Todavia, pela reflexão ativa também é possível recolher vasto proveito, seja digerindo um defeito que você tem ou formulando uma ideia.

Afiliados: Como Fazer Tua Primeira Venda? 10 Dicas Para Organizar Uma Celebração Do Pijama A Esse Tipo De Desemprego

[grawlixpodcast]

Are you a comics nerd AND a numbers nerd? Good! Diamond has announced its rundown of the top selling comic books, graphic novels and toys of June 2018. Marvel Comics takes the top publisher spot while DC’s Justice League #1 and Dark Knights: Metal books lead the top comic book and graphic novel charts, respectively. Read on for the full press release…

(BALTIMORE, MD) — (July 6, 2018) — A new era for the Justice League dawns as the Legion of Doom reforms in Scott Snyder and Jim Cheung’s Justice League #1 from DC Entertainment, the best-selling comic book of June 2018 according to information provided by Diamond Comic Distributors, the world’s largest distributor of comics, graphic novels, and pop culture merchandise.

Marvel Comics was June’s top publisher with a 38.42% dollar share and a 40.98% unit share. DC Entertainment was second for the month with a 30.54% dollar share and a 33.73% unit share. Image Comics was third with a 10.46% dollar share and an 11.48% unit share. In fourth was Dark Horse Comics with a 3.23% dollar share and a 2.30% unit share, followed by IDW Publishing with a 2.46% dollar share and a 1.66% unit share, Dynamite Entertainment with a 2.10% dollar share and a 1.51% unit share, and BOOM! Studios with a 1.62% dollar share and a 1.76% unit share.

Marvel Comics had five titles in the top ten, led by Dan Slott and Valerio Schiti’s Tony Stark: Iron Man #1 at #3; followed by Slott’s final issue of his Spider-Man run, Amazing Spider-Man #801 at #4; Skottie Young and Nic Klein’s Deadpool #1 at #7, Jason Aaron and Michael del Mundo’s Thor #1 at #8, and Marc Guggenheim and David Marquez’s X-Men Gold #30, featuring the wedding of Rogue and Gambit, at #9. In addition to Justice League #1, DC Entertainment had four titles in the top ten including Tom King and Mikel Janin’s Batman #49 at #5, King and Janin’s Batman #48 at #6, and Snyder and Cheung’s Justice League #2 at #10. Rounding out the top ten, Mark Millar and Olivier Coipel’s The Magic Order #1 from Image Comics ranked #2. Also from the premier publishers, their top books for the June are BOOM! Studios’ Mighty Morphin Power Rangers Anniversary Special #1 at #116, Dark Horse Comics’ Neil Gaiman’s America Gods: My Ainsel #4 ranked #148, IDW Publishing’s Sonic the Hedgehog #6 at #156, and Dynamite Entertainment’s Charlie’s Angels #1 at #183.

Collecting DC Entertainment’s best-selling event, the Dark Nights: Metal Deluxe Edition hardcover was June’s best-selling graphic novel. Also from DC Entertainment among the top ten, Dark Nights Metal: Dark Nights Rising, a collection of the tie-in one-shots, ranked #2; Dark Nights Metal: The Resistance, ranked #3; The Flash Volume 6: A Cold Day in Hell ranked #8; Batman: Detective Comics Volume 6: Fall of the Batmen ranked #9; and Super Sons of Tomorrow ranked #10. Marvel Comics had two titles in the top ten: Thanos Wins ranked #4, and Jim Starlin, George Perez, and Ron Lim’s The Infinity Gauntlet ranked #5. Jason Aaron and Jason Latour’s Southern Bastards Volume 4: Gut Check from Image Comics ranked #6. Dark Horse Comics’ Neil Gaiman’s A Study in Emerald, with art by Rafael Albuquerque, ranked #7.

Documenting the world of Hyrule, Dark Horse Comics’ Legend of Zelda Encyclopedia was June’s best-selling book, and the deluxe edition of the book ranked #2. Marvel Press had three titles in the top ten, led by Marvel Super-Hero Adventures: Buggin’ Out at #3. BOOM! Studios’ Planet of the Apes Adult Coloring Book ranked #9.

The Mezco Toys’ One:12 Collective: Marvel Comics: Spider-Man “Black Costume” Action Figure, a PREVIEWS Exclusive, was June’s best-selling toy. Diamond Select Toys had five products in the top ten: the Marvel Select: Black Panther Movie Action Figure at #2, the Marvel Gallery: Black Panther Movie PVC Figure at #3, the Marvel Select: Deadpool Action Figure at #5, the Marvel Gallery: Black Panther Movie: Killmonger PVC Figure at #9, and the Marvel Select: Thor Ragnarok: Gladiator Hulk Action Figure at #10. DC Collectibles charted one product, the Harley Quinn: Red White & Black Statue by Jae Lee at #8.

Dynamite Entertainment’s Reanimator: The Board Game was June’s best-selling game. Also in the top ten, BOOM! Studios’ Mouse Guard Roleplaying Game Boxed Set (2nd Edition) ranked #9.

  TOP COMIC BOOK PUBLISHERS

PUBLISHER DOLLAR

SHARE

UNIT

SHARE

MARVEL COMICS 38.42% 40.98% DC ENTERTAINMENT 30.54% 33.73% IMAGE COMICS 10.46% 11.48% DARK HORSE COMICS 3.23% 2.10% IDW PUBLISHING 2.46% 1.66% DYNAMITE ENTERTAINMENT 2.10% 1.51% BOOM! STUDIOS 1.62% 1.76% VIZ MEDIA 1.18% 0.43% ONI PRESS INC. 1.09% 0.83% TITAN COMICS 0.87% 0.68% OTHER NON-TOP 10 8.03% 4.84%

   COMPARATIVE SALES STATISTICS

DOLLARS UNITS JUNE 2018 VS. MAY 2018 COMICS -16.71% -6.22% GRAPHIC NOVELS -7.44% -8.41% TOTAL COMICS/GN -14.13% -6.39% TOYS 1.03% 4.22% JUNE 2018 VS. JUNE 2017 COMICS -11.14% -8.93% GRAPHIC NOVELS -2.15% -14.24% TOTAL COMICS/GN -8.62% -9.35% TOYS -11.53% 17.66% YEAR-TO-DATE 2018 VS. YEAR-TO-DATE 2017 COMICS -1.84% -9.65% GRAPHIC NOVELS -8.12% -11.22% TOTAL COMICS/GN -3.72% -9.77% TOYS -11.98% -12.70% SECOND QUARTER 2018 VS. FIRST QUARTER 2018 COMICS 19.97% 12.84% GRAPHIC NOVELS 19.01% 19.68% TOTAL COMICS/GN 19.70% 13.34% TOYS -16.97% -7.55% SECOND QUARTER 2018 VS. SECOND QUARTER 2017 COMICS 3.01% -4.85% GRAPHIC NOVELS -3.41% -10.32% TOTAL COMICS/GN 1.10% -5.28% TOYS -14.46% -13.05%

  NEW TITLES SHIPPED

PUBLISHER COMICS SHIPPED GRAPHIC NOVELS SHIPPED MAGAZINES SHIPPED TOTAL

SHIPPED

MARVEL COMICS 87 33 0 120 DC ENTERTAINMENT 73 31 1 105 IMAGE COMICS 60 15 0 75 IDW PUBLISHING 19 18 0 37 DARK HORSE COMICS 20 15 0 35 BOOM! STUDIOS 23 10 0 33 DYNAMITE ENTERTAINMENT 18 7 0 25 TITAN COMICS 17 5 1 23 VIZ MEDIA 0 20 0 20 ONI PRESS 7 10 0 17 OTHER NON-TOP 10 113 176 19 308 TOTAL 437 340 21 798

  TOP 10 COMIC BOOKS BY UNITS SHIPPED

RANK DESCRIPTION PRICE ITEM CODE VENDOR 1 JUSTICE LEAGUE #1 $3.99 APR180140-M DC 2 THE MAGIC ORDER #1 [*] (MR) $3.99 APR180455-M IMA 3 TONY STARK: IRON MAN #1 $4.99 APR180665-M MAR 4 AMAZING SPIDER-MAN #801 $3.99 APR180766-M MAR 5 BATMAN #49 $2.99 APR180171-M DC 6 BATMAN #48 $2.99 APR180169-M DC 7 DEADPOOL #1 $4.99 APR180698-M MAR 8 THOR #1 $5.99 APR180649-M MAR 9 X-MEN GOLD #30 $4.99 APR180810-M MAR 10 JUSTICE LEAGUE #2 $3.99 APR180143-M DC

  TOP 10 COMIC BOOKS BY DOLLARS INVOICED

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  How does Diamond calculate the charts? It all starts at the comic book shop.

Data for Diamond’s sales charts — which includes the monthly market shares and all top product charts — are compiled by Diamond Comic Distributors from sales made to thousands of comic book specialty shops located in North America and around the world.  Additional sales made to online merchants and other specialty retailers may be included as well.

Unit and dollar market shares are calculated based upon orders for comic books, graphic novels, and magazines invoiced and shipped to Diamond customers during any given month, which comprises pre-orders, advance reorders, and reorders, minus any copies that are received back from a title marked as returnable. Please note that comics marked with an asterisk (*) have had their reported quantities reduced due to retailer returnability, and thus may rank lower on the charts than their actual sales would reflect.

The New Titles Count Chart includes all titles that were invoiced by Diamond to retailers for the first time during the month and is not the official solicited title count for the month. Variant edition comic books and graphic novels at the same price point count as a single SKU. Variant edition comic books, lenticular covers, digital combo packs, and graphic novels at different price points count as separate SKUs for each edition.

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Top selling comic books and graphic novels of June 2018. Are you a comics nerd AND a numbers nerd? Good! Diamond has announced its rundown of the top selling comic books, graphic novels and toys of June 2018.

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Exhibition:  To Rome and Back: Individualism and Authority in Art, 1500–1800 On view:  June 24, 2018–March 17, 2019 Location:  Resnick Pavilion

(Los Angeles—May, 2018) The Los Angeles County Museum of Art (LACMA) is pleased to present To Rome and Back: Individualism and Authority in Art, 1500–1800. Assembled almost entirely from LACMA’s permanent collection, this examination of Rome presents gifts from years of support to the museum’s departments of Costume and Textiles, Decorative Arts and Design, Latin American Art, and Prints and Drawings, in addition to European Painting and Sculpture. The exhibition features 130 objects across a wide range of media, including painting, sculpture, paper, decorative arts (such as ceramics, glass, and cork), tapestries, and costumes. Collectively, these works reveal the importance of Rome to artists and audiences operating in a variety of contexts from the Renaissance to the Enlightenment.

For more than 2,000 years, Rome has occupied a central place in the cultural imagination: as a proud republic, as a powerful then decadent empire, as the seat of Catholicism, and above all, as a link to antiquity and the classical world. While its fortunes may have waxed and waned over its long history, its classical epithet—the Eternal City—reflects the enduring power of its legacy and its unceasing ability to inspire thinkers, writers, and artists in Italy and beyond.

“We’re excited to present an exhibition that highlights collaboration across multiple museum departments,” says Michael Govan, LACMA CEO and Wallis Annenberg Director. “By including collection objects and meaningful input from five curatorial areas, we are able to show how the importance of Rome as a source of inspiration is not just about European painting.”

“To Rome and Back is essentially LACMA’s first opportunity to display a significant portion of its European material in a narrative outside of our permanent collection galleries, and effectively showcase some of the museum’s great highlights,” says Leah Lehmbeck, acting department head of European Painting and Sculpture at LACMA and curator of the exhibition. “At the same time, we are providing context with lesser- known objects within the museum’s collection, some of which have rarely been on view.”

Related Programming: Visit lacma.org for the latest on exhibition-related programming. Curator-written tours are available at the beginning of the exhibition. Visitors may choose from three guides focusing on different themes. This exhibition was organized by the Los Angeles County Museum of Art.

  Unknown, Triumph of Peace, 16th century, Wool, silk, and linen tapestry weave, 82 3/4 × 232 in. (210.19 × 589.28 cm), Los Angeles County Museum of Art, Gift of Mrs. Giles W. Mead in memory of her husband Giles W. Mead (50.24)

Unknown, Roman copy after Greek original Sometimes attributed to Skopas, The Hope Hygieia, 2nd-century copy, circa 130–161, after a Greek original of circa 360 B.C., Roman, Marble, 75 × 25 × 18 in. (190.5 × 63.5 × 45.72 cm), Los Angeles County Museum of Art, William Randolph Hearst Collection (50.33.23)

Pierre Le Gros II, Saint Thomas, 1703-1704, Terracotta, 27 3/8 × 18 1/2 × 10 3/4 in. (69.53 × 46.99 × 27.31 cm), Los Angeles County Museum of Art, Purchased with funds provided by William Randolph Hearst by exchange, The Ahmanson Foundation, Chandis Securities Company, B. Gerald Cantor, Camilla Chandler Frost, Anna Bing Arnold, an anonymous donor, and Duveen Brothers, Inc., Mr. and Mrs. William Preston Harrison, Mr. and Mrs. Pierre Sicard, Colonel and Mrs. George J. Dennis, and Julia Off by exchange (84.1), photo © Museum Associates/LACMA

Pompeo Batoni, Portrait of Sir Wyndham Knatchbull-Wyndham, 1758-1759, Oil on canvas, Canvas: 91 3/4 × 63 1/2 in. (233.05 × 161.29 cm), Frame: 107 × 79 × 4 1/2 in. (271.78 × 200.66 × 11.43 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (AC1994.128.1)

Unknown, Cope, 1700-1725, Silk, chenille, and metallic thread embroidery on silver-shot silk taffeta ground, Center back length: 57 7/8 in. (147 cm), Los Angeles County Museum of Art, Costume Council Fund (AC1996.62.1), photo © Museum Associates/LACMA

Michael Sweerts, Plague in an Ancient City, circa 1652-1654, Oil on canvas, Canvas: 46 3/4 × 64 1/4 in. (118.75 × 163.2 cm), Frame: 62 × 84 × 5 in. (157.48 × 213.36 × 12.7 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (AC1997.10.1), photo © Museum Associates/LACMA

Domenico Moglia, The Colosseum, circa 1850, Glass micromosaic on marble, Glass micromosaic on marble, Long-term loan from The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London. Photo © Victoria and Albert Museum, London / V&A Images

Unknown, Archangel Raphael, circa 1600, Polychromed and gilded wood, 68 1/2 × 36 1/4 × 36 in. (173.99 × 92.08 × 91.44 cm), Los Angeles County Museum of Art, Gift of Anna Bing Arnold (M.77.52a)

Georges de la Tour, The Magdalen with the Smoking Flame, circa 1638-1640, Oil on canvas, Canvas: 46 1/16 × 36 1/8 in. (117 × 91.76 cm), Frame: 57 1/4 × 47 1/2 × 4 1/2 in. (145.42 × 120.65 × 11.43 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.77.73), photo © Museum Associates/LACMA

Clodion (Claude Michel), Bacchic Scene, 1773, Terra-cotta, 13 × 14 × 2 in. (33.02 × 35.56 × 5.08 cm), Los Angeles County Museum of Art, Art Museum Council Fund (M.80.127), photo © Museum Associates/LACMA

Francesco Picano, Circle of Domenico Antonio Vaccaro, Lorenzo Vaccaro, Saint Michael Casting Satan into Hell, 1705, Polychromed wood and glass, 52 1/2 × 27 1/4 × 24 3/4 in. (133.35 × 69.22 × 62.87 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.82.7), photo © Museum Associates/LACMA

Ludovico Mazzanti, The Death of Lucretia, c. 1730, oil on canvas, 71 × 56 in. (180.3 × 142.2 cm), Los Angeles County Museum of Art, gift of The Ahmanson Foundation (M.82.75), photo © Museum Associates / LACMA

Unknown, Cope, 1700-1725, Silk, chenille, and metallic thread embroidery on silver-shot silk taffeta ground, Center back length: 57 7/8 in. (147 cm), Los Angeles County Museum of Art, Costume Council Fund (AC1996.62.1), photo © Museum Associates/LACMA

Carl May, Model of the Arch of the Argentarii, circa 1792-1795, Cork, tinted stucco, and sand on modern wood base, Base (On base): 18 × 19 1/2 × 10 1/2 in. (45.72 × 49.53 × 26.67 cm), Overall: 18 x 19 1/2 x 10 1/2 in. (45.72 x 49.53 x 26.67 cm), Case (Glass presentation case): 17 1/8 x 18 x 9 1/8 in. (43.4975 x 45.72 x 23.1775 cm), Los Angeles County Museum of Art, Purchased with funds provided by Cary Grant by exchange (M.2004.33), photo © Museum Associates/LACMA

Ludovico Lombardo, Bust of Lucius Junius Brutus, c. 1550, bronze, 30 × 27 × 11 in. (76.2 × 68.58 × 27.94 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.2005.60) photo © Museum Associates / LACMA

Unknown, Woman’s Dress, circa 1795, Cotton plain weave, Center back length: 65 in. (165.1 cm), Los Angeles County Museum of Art, Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne (M.2007.211.868)

Giovanni Baratta, Allegorical Figure of Wealth, from Palazzo Giugni, Florence, circa 1703-1708, White carrara marble, on later statuary marble pedestals set with panels and sections of green serpentine marble, Figure: 71 × 29 × 22 in. (180.34 × 73.66 × 55.88 cm), Base: 41 1/4 × 31 × 22 in. (104.78 × 78.74 × 55.88 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.2011.81.1), photo © Museum Associates/LACMA

Gian Lorenzo Bernini, Portrait of a Gentleman, circa 1670-1675, Marble, a) Sculpture: 21 7/16 × 21 1/16 × 10 5/8 in. (54.5 × 53.5 × 27 cm), Base: 6 11/16 × 9 7/16 × 7 7/8 in. (17 × 24 × 20 cm), a-b) Overall: 28 × 22 × 13 in. (71.12 × 55.88 × 33.02 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation in honor of the museum’s 50th anniversary (M.2015.4-b), photo © Museum Associates / LACMA

Giambologna, Flying Mercury, probably 1580s, Bronze, including base: 36 × 9 × 11 1/4 in. (91.44 × 22.86 × 28.58 cm), Promised gift of Lynda and Stewart Resnick in honor of the museum’s 50th anniversary (PG.2014.7.4)

Giovanni Baratta, Allegorical Figure of Prudence, from Palazzo Giugni, Florence, circa 1703-1708, White carrara marble, on later statuary marble pedestals set with panels and sections of green serpentine marble, Figure: 71 5/8 × 29 × 22 in. (181.93 × 73.66 × 55.88 cm), Base: 41 1/4 × 31 × 22 in. (104.78 × 78.74 × 55.88 cm), Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.2011.81.2), photo © Museum Associates/LACMA

About The Exhibition: To Rome and Back explores Rome as place, idea, and as a center of artistic patronage and production through three centuries. The exhibition follows the city from around 1500, when its classical structures and forms permeated art and architecture during the Renaissance, through the Counter-Reformation, when a resurgent Rome re-emerged as a powerhouse of patronage and artistic innovation, to the eve of the industrial age in the 18th century, when the city’s ancient glory seduced an increasingly mobile continent. Even at the height of its influence in the 17th century, Rome harbored deep contradictions—between ancient and novel, pagan and Christian, individualism and authority—and these tensions contribute to the dynamism of the city’s artistic legacy and its continued resonance.

The exhibition reveals Rome’s impact through seven thematic sections, which are organized in loose chronological order. The exhibition begins with a section entitled Meanings Of Rome. Reeling from the devastating one-two punch of the city’s spiritual collapse in the wake of the Protestant Reformation in 1517 as well as its physical sack in 1527, 16th-century Rome was a city piecing itself together. Despite these setbacks for the city itself, physical manifestations of the ancient empire, the characteristics that came to evoke “Rome”—both real and imagined—were already visible in cultural production occurring elsewhere in Italy. This section of the exhibition presents a selection of 16th-century Italian paintings, sculptures, and decorative arts that were produced outside of Rome but incorporate references or allusions to the ancient city. For example, at the entrance to the exhibition, Archangel Raphael, sculpted of wood and exquisitely painted, wears a uniform inspired by Roman military garb. In a large devotional picture of the Holy Family by Giorgio Vasari, the Virgin wears garments inspired by antique dress, while the ancient ruins at Tivoli are visible in the background. The vitrines at the center of the gallery include both ancient Roman glasswork and 16th-century examples that emulated ancient Roman techniques.

The practice of Identifying and Collecting objects and works of art associated with Rome is explored in the next section. During the 16th-century, the papacy and Roman aristocracy commissioned new masterworks by artists like Raphael and Michelangelo; images of these new monuments, as well as ancient ones, were circulated through prints and contributed to a growing interest in Roman history, art, and architecture. Ancient material, as well as tapestries, painting, sculpture, furniture, and other domestic objects referencing the classical world through technique, subject, or style, were widely collected in patrician homes and served to bolster the collector’s status and legitimacy. LACMA’s portrait of Marino Grimani, by the Venetian artist, Tintoretto, depicts one such collector, and while his powerful and wealthy family fought to reduce the influence of the Roman papacy in and around Venice, they assumed the heritage of ancient Rome as their own.

The following section, entitled A Roman Style, examines a powerful moment of stylistic innovation that emerged in Rome at the dawn of the 17th century, just as the city was benefiting from a reinvigorated papacy, and emphasized physical and emotional realism. Largely associated with the painter Caravaggio, its influence can be detected in pictures emphasizing the quiet drama of religious and humanist figures, or in the portrayal of everyday subjects. While the style’s popularity in Rome lasted only a few decades, it had a lasting impact on painting in Italy and beyond. More recently, the modern interest in realism has contributed to the popularity of this material in public collections, including LACMA’s.

The next section gathers painting, sculpture, decorative arts, and textiles around the theme of Inspiration and Awe. During the 17th and 18th centuries, the Catholic Church and other patrons commissioned works of art designed to inspire audiences with their vibrant colors, drama, and theatricality, while new conceptions of time and space contributed to the adoption of illusionistic pictorial techniques. These stirring compositions and techniques are visible in religious works of art and objects, such as altarpiece paintings and ecclesiastical textiles, as well as domestic furniture and other decorative objects.

The works in the following gallery speak to the Classical Authority of Rome. As the city established itself as an increasingly powerful cultural and artistic center, it continued to attract artists from beyond Italy, who absorbed the city’s monuments, forms, and styles, then returned home or continued their travels to France, Belgium, Holland, Spain, and even New Spain. The concentrated and calculated use of mythological stories, antique models, and rhetorical and theatrical gesture flourished in 17th-century Rome, and these modes of art making came to signify institutional authority well beyond the borders of the Italian peninsula.

The next section explores a preference and Taste For The Antique among newly mobile Europeans, particularly young, British aristocrats on the “Grand Tour,” who arrived in Rome to complete their educations and establish their reputations. Such men of means, such as Sir Wyndham Knatchbull-Wyndham, whose portrait by Pompeo Batoni is featured in this section, commissioned portraits with references to popular classical motifs and recognizable antique sculpture, and collected antiquities as well as modern replicas of classical Rome. Their presence contributed to a growing market in decorative objects showcasing loosely classical themes, as well as the incorporation of ancient forms into contemporary dress.

Finally, A Sense Of Place includes objects produced as Rome’s power began to wane in the mid-1800s, in part due to the emergence of enlightenment thought. Many of these works of art, in their references to Rome’s monuments and ancient past, harbor an air of nostalgia that is new to these visions of place. Visitors commissioned or purchased prints, drawings, and small collectibles, as well as painting and sculpture that were produced for an increasingly globalized market. While many of these objects reference the Roman cityscape and countryside, their function is not simply documentary. Hubert Robert, for example, created a monumental and fanciful combination of 18th-century France and ancient Rome, while Piranesi circulated countless prints of actual sites alongside imagined ruins.

The exhibition’s thematic approach and its inclusion of spectacular works of art across many different media and curatorial departments will allow museum visitors to appreciate the myriad ways in which Rome inspired artists and patrons during a critical period in its history.

To Rome and Back: Individualism and Authority in Art, 1500–1800 #LACMA #Art Exhibition:  To Rome and Back: Individualism and Authority in Art, 1500–1800 On view:  June 24, 2018–March 17, 2019…

[pinkstarlightcomputer]

Alexandra Exter “Guardian of Energy” (costume design for the film “Aelita” by Yakov Protozanov) 1924 Ink, gouache, and pencil on paper 21 1/4 x 14 1/4″ (54 x 36.2 cm) The J. M. Kaplan Fund, Inc.

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2001 Movie Awards

Best Picture: Ghost World In the Bedroom In the Mood for Love Memento The Royal Tenenbaums HONORABLE MENTION: Moulin Rouge, The Man Who Wasn't There, Mulholland Dr., Shrek, Donnie Darko, Black Hawk Down, Monsters Inc., L.I.E., Ocean's Eleven, Gosford Park Best Director: Wes Anderson, The Royal Tenenbaums Todd Field, In the Bedroom Wong Kar-Wai, In the Mood for Love Baz Luhrmann, Moulin Rouge Christopher Nolan, Memento HONORABLE MENTION: Robert Altman, Gosford Park; Joel Coen, The Man Who Wasn't There; Michael Cuesta, L.I.E.; Pete Docter, Monsters Inc.; Richard Kelly, Donnie Darko; David Lynch, Mulholland Dr.; Ridley Scott, Black Hawk Down; Steven Soderbergh, Ocean's Eleven; Terry Zwigoff, Ghost World Best Actor: Gene Hackman, The Royal Tenenbaums Tony Leung, In the Mood for Love Guy Pearce, Memento Billy Bob Thornton, The Man Who Wasn't There Tom Wilkinson, In the Bedroom HONORABLE MENTION: Russell Crowe, A Beautiful Mind; Paul Dano, L.I.E.; Jake Gyllenhaal, Donnie Darko; Ethan Hawke, Training Day; Ewan McGregor, Moulin Rouge; John Cameron Mitchell, Hedwig and the Angry Inch; Denzel Washington, Training Day Best Actress: Thora Birch, Ghost World Maggie Cheung, In the Mood for Love Nicole Kidman, Moulin Rouge Sissy Spacek, In the Bedroom Naomi Watts, Mulholland Dr. HONORABLE MENTION: Drew Barrymore, Riding in Cars with Boys; Halle Berry, Monster's Ball; Judi Dench, Iris; Nicole Kidman, The Others; Tilda Swinton, The Deep End; Audrey Tatou, Amelie; Reese Witherspoon, Legally Blonde; Renee Zellweger, Bridget Jones's Diary Best Supporting Actor: Jim Broadbent, Moulin Rouge Steve Buscemi, Ghost World Brian Cox, L.I.E. Nick Stahl, In the Bedroom Steve Zahn, Riding in Cars with Boys HONORABLE MENTION: Gael Garcia Bernal, Amores Perros; Hayden Christensen, Life as a House; Ben Kingsley, Sexy Beast; Jude Law, A.I. Artificial Intelligence; John Leguizamo, Moulin Rouge; Ian McKellen, The Lord of the Rings: The Fellowship of the Ring; Eddie Murphy, Shrek; Tony Shalhoub, The Man Who Wasn't There; Sam Shepard, Black Hawk Down; Owen Wilson, The Royal Tenenbaums Best Supporting Actress: Scarlett Johansson, Ghost World Helen Mirren, Gosford Park Frances O'Connor, A.I. Artificial Intelligence Gwyneth Paltrow, The Royal Tenenbaums Marisa Tomei, In the Bedroom HONORABLE MENTION: Jennifer Connelly, A Beautiful Mind; Illeana Douglas, Ghost World; Laura Elena Harring, Mulholland Dr.; Kelly Macdonald, Gosford Park; Carrie-Anne Moss, Memento; Maggie Smith, Gosford Park; Kerry Washington, Our Song; Emily Watson, Gosford Park; Kate Winslet, Iris Best Original Screenplay: Donnie Darko - Richard Kelly In the Mood for Love - Wong Kar-Wai The Man Who Wasn't There - Ethan Coen & Joel Coen Memento - Christopher Nolan & Jonathan Nolan The Royal Tenenbaums - Wes Anderson & Owen Wilson HONORABLE MENTION: Amores Perros, Gosford Park, L.I.E., Monster's Inc., Moulin Rouge, Mulholland Dr., The Son's Room, Training Day Best Adapted Screenplay: Black Hawk Down - Ken Nolan Ghost World - Daniel Clowes & Terry Zwigoff In the Bedroom - Robert Festinger & Todd Field Ocean's Eleven - Ted Griffin Shrek - Ted Elliott, Terry Rossio, Roger S.H. Schulman & Joe Stillman HONORABLE MENTION: A.I. Artificial Intelligence, A Beautiful Mind, Bridget Jones's Diary, Hedwig and the Angry Inch, The Lord of the Rings: The Fellowship of the Ring, Riding in Cars with Boys Best Ensemble: Black Hawk Down Gosford Park In the Bedroom Ocean's Eleven The Royal Tenenbaums HONORABLE MENTION: Amores Perros, Donnie Darko, Harry Potter and the Sorcerer's Stone, The Lord of the Rings: The Fellowship of the Ring, The Man Who Wasn't There, Moulin Rouge, Together Best Limited Performance - Male: James Karen, Mulholland Dr. Heath Ledger, Monster's Ball Stephen Tobolowsky, Memento William Wise In the Bedroom Harris Yulin, Training Day HONORABLE MENTION: Raymond J. Barry, Training Day; Benicio Del Toro, The Pledge; Christopher Plummer, A Beautiful Mind; Jon Polito, The Man Who Wasn't There Best Limited Performance - Female: Rebekah Del Rio, Mulholland Dr. Harriet Sansom Harris, Memento Kylie Minogue, Moulin Rouge Tilda Swinton, Vanilla Sky Celia Weston, In the Bedroom HONORABLE MENTION: Drew Barrymore, Donnie Darko; Cate Blanchett, The Lord of the Rings: The Fellowship of the Ring; Kathrine Borowitz, The Man Who Wasn't There; Linda Cardellini, Legally Blonde; Macy Gray, Training Day; Rebecca Pan, In the Mood for Love Breakthrough Performance: Gael Garcia Bernal, Amores Perros Hayden Christensen, Life as a House Paul Dano, L.I.E. Jay Hernandez, crazy/beautiful Kerry Washington, Our Song HONORABLE MENTION: Orlando Bloom, The Lord of the Rings: The Fellowship of the Ring; Dakota Fanning, I Am Sam; Anne Hathaway, The Princess Diaries; Shaobo Qin, Ocean's Eleven; Daniel Radcliffe, Harry Potter and the Sorcerer's Stone; Emma Watson, Harry Potter and the Sorcerer's Stone Best Film Editing: Amores Perros - Luis Carballar, Alejandro Gonzalez Inarritu & Fernando Perez Unda Black Hawk Down - Pietro Scalia Memento - Dody Dorn Mulholland Dr. - Mary Sweeney Ocean's Eleven - Stephen Mirrione HONORABLE MENTION: A.I. Artificial Intelligence, Donnie Darko, Ghost World, Hedwig and the Angry Inch, In the Bedroom, In the Mood for Love, The Lord of the Rings: The Fellowship of the Ring, The Man Who Wasn't There, Moulin Rouge, The Royal Tenenbaums, Training Day Best Cinematography: A.I. Artificial Intelligence - Janusz Kaminski In the Mood for Love - Christopher Doyle & Ping Bing Lee The Lord of the Rings: The Fellowship of the Ring - Andrew Lesnie The Man Who Wasn't There - Roger Deakins Moulin Rouge - Donald M. McAlpine HONORABLE MENTION: Amelie, Amores Perros, Black Hawk Down, In the Bedroom, Memento, Moulholland Dr., Ocean's Eleven, The Royal Tenenbaums, Training Day, Vanilla Sky Best Original Score: A.I. Artificial Intelligence - John Williams Amelie - Yann Tiersen A Beautiful Mind - James Horner In the Bedroom - Thomas Newman Mulholland Dr. - Angelo Badalamenti HONORABLE MENTION: Ali, Amores Perros, Black Hawk Down, Gosford Park, Harry Potter and the Sorcerer's Stone, Iris, The Lord of the Rings: The Fellowship of the Ring, Monsters Inc., The Others, Planet of the Apes, The Royal Tenenbaums Best Original Song: Ali - "The World's Greatest" - R. Kelly Gosford Park - "The Way It's Meant to Be" - Robert Altman, Abigail Doyle & Patrick Doyle Moulin Rouge - "Come What May" - David Baerwald Pearl Harbor - "There You'll Be" - Diane Warren Vanilla Sky - "I Fall Apart" - Cameron Crowe & Nancy Wilson HONORABLE MENTION: The Lord of the Rings: The Fellowship of the Ring - "May It Be"; Monster's Inc. - "If I Didn't Have You"; Save the Last Dance - "Crazy"; Vanilla Sky - "Vanilla Sky" Best Art Direction: Amelie - Aline Bonetto & Marie-Laurie Valla The Lord of the Rings: The Fellowship of the Ring - Dan Hennah & Grant Major The Man Who Wasn't There - Dennis Gassner & Chris Spellman Moulin Rouge - Brigitte Broch & Catherine Martin The Royal Tenenbaums - David Wasco HONORABLE MENTION: A.I. Artificial Intelligence, Black Hawk Down, Gosford Park, Harry Potter and the Sorcerer's Stone, In the Mood for Love, Muholland Dr., Ocean's Eleven, The Others, Planet of the Apes Best Costume Design: In the Mood for Love - William Chang The Lord of the Rings: The Fellowship of the Ring - Ngila Dickson & Richard Taylor The Man Who Wasn't There - Mary Zophres Moulin Rouge - Catherine Martin & Angus Strathie The Royal Tenenbaums - Karen Patch HONORABLE MENTION: A.I. Artificial Intelligence, Ali, Amelie, Black Hawk Down, Ghost World, Gosford Park, Harry Potter and the Sorcerer's Stone, Hedwig and the Angry Inch, Iris, Legally Blonde, The Others, Planet of the Apes, Zoolander Best Makeup: Black Hawk Down Hedwig and the Angry Inch The Lord of the Rings: The Fellowship of the Ring Moulin Rouge The Others HONORABLE MENTION: A.I. Artificial Intelligence, Ali, Amelie, A Beautiful Mind, Gosford Park, Harry Potter and the Sorcerer's Sone, The Man Who Wasn't There, Memento, Planet of the Apes, Zoolander Best Sound Mixing: Ali Black Hawk Down The Lord of the Rings: The Fellowship of the Ring Moulin Rouge Ocean's Eleven HONORABLE MENTION: A.I. Artificial Intelligence, Donnie Darko, Harry Potter and the Sorcerer's Sone, Hedwig and the Angry Inch, In the Mood for Love, The Man Who Wasn't There, Memento, Monsters Inc., Mulholland Dr., The Royal Tenenbaums, Save the Last Dance, Shrek, Training Day Best Sound Editing: A.I. Artificial Intelligence Black Hawk Down The Lord of the Rings: The Fellowship of the Ring Monsters, Inc. Training Day HONORABLE MENTION: Ali, The Fast and the Furious, Harry Potter and the Sorcerer's Stone, Jimmy Neutron: Boy Genius, Memento, Moulin Rouge, Ocean's Eleven, Pearl Harbor, Planet of the Apes, Shrek Best Visual Effects: A.I. Artificial Intelligence Black Hawk Down Harry Potter and the Sorcerer's Stone The Lord of the Rings: The Fellowship of the Ring Moulin Rouge HONORABLE MENTION: Behind Enemy Lines, The Fast and the Furious, Pearl Harbor, Planet of the Apes Best Foreign-Language Film: Amelie - Jean-Pierre Jeunet Amores Perros - Alejandro Gonzalez Inarritu In the Mood for Love - Wong Kar-Wai The Son's Room - Nanni Moretti Together - Lukas Moodysson Best Documentary: Go Tigers! - Kenneth A. Carlson Murder on a Sunday Morning - Jean-Xavier de Lestrade Startup.com - Chris Hegedus & Jehane Noujaim Best Animated Film: Jimmy Neutron: Boy Genius - John A. Davis Monsters, Inc. - Pete Docter Shrek - Andrew Adamson & Vicky Jenson HONORABLE MENTION: Recess: School's Out Every 2001 Film I've Seen: Ranked https://letterboxd.com/tesey20/list/2001-films/