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extrabeurre · 5 years

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Gala Québec Cinéma 2019 : Les nominations

Irlande Côté, Émilie Pierre, Jacob Whiteduck-Lavoie. Crédit photo : Julie Caron

Adoptant une nouvelle formule cette année, où le vote du jury est pondéré 50/50 avec le vote des membres votants de l'industrie, le Gala Québec Cinéma se retrouve avec des nominations qui offrent un bel équilibre entre le cinéma populaire et d'auteur.

Ainsi, dans la catégorie Meilleur film, les 7 finalistes incluent les gros succès 1991 de Ricardo Trogi (aussi Meilleure réalisation et Meilleur scénario) et La Bolduc de François Bouvier d'une part, et les productions acclamées par la critique À tous ceux qui ne me lisent pas de Yan Giroux (aussi Meilleure réalisation et Meilleur scénario), Genèse de Philippe Lesage, La grande noirceur de Maxime Giroux (aussi Meilleure réalisation), Répertoire des villes disparues de Denis Côté (aussi Meilleure réalisation), et Une colonie de Geneviève Dulude-De Celles (aussi Meilleure réalisation et Meilleur scénario).

La catégorie Meilleur scénario est complétée par deux excellents choix, Avant qu'on explose d'Éric K. Boulianne et Origami d'André Gulluni & Claude Lalonde.

Je me permets aussi de mettre en lumière ma catégorie préférée, Révélation de l'année, qui est dominée par les vedettes du brillant Une colonie, soit Émilie Bierre, Irlande Côté et Jacob Whiteduck-Lavoie, qui sont rejoints par Lévi Doré pour La chute de Sparte et Maripier Morin pour La chute de l'empire américain.

FINALISTES 2019 PAR CATÉGORIE

Les finalistes sont présenté.e.s en ordre alphabétique

MEILLEUR FILM Iris du Meilleur film

1991 - Go Films - Nicole Robert À tous ceux qui ne me lisent pas - micro_scope - Luc Déry, Élaine Hébert, Kim McCraw La Bolduc - Caramel Films - Valérie d'Auteuil, André Rouleau Genèse - L'Unité centrale - Galilé Marion-Gauvin La grande noirceur - Metafilms - Sylvain Corbeil, Nancy Grant Répertoire des villes disparues - Couzin Films - Ziad Touma Une colonie - Colonelle films - Fanny Drew, Sarah Mannering

MEILLEUR PREMIER FILM Iris du Meilleur premier film

Sera annoncé lors du Gala Québec Cinéma

MEILLEURE RÉALISATION Iris de la Meilleure réalisation

Denis Côté - Répertoire des villes disparues Geneviève Dulude-De Celles - Une colonie Maxime Giroux - La grande noirceur Yan Giroux - À tous ceux qui ne me lisent pas Ricardo Trogi - 1991

MEILLEUR SCÉNARIO Iris du Meilleur scénario

Guillaume Corbeil, Yan Giroux - À tous ceux qui ne me lisent pas Geneviève Dulude-De Celles - Une colonie André Gulluni, Claude Lalonde - Origami Eric K. Boulianne - Avant qu'on explose Ricardo Trogi - 1991

MEILLEURE INTERPRÉTATION FÉMININE | PREMIER RÔLE Iris de la Meilleure interprétation féminine dans un premier rôle

Josée Deschênes (Gisèle Dubé) - Répertoire des villes disparues Debbie Lynch-White (Mary Travers) - La Bolduc Brigitte Poupart (Marie-Claire Dubé) - Les salopes ou le sucre naturel de la peau Karelle Tremblay (Léo) - La disparition des lucioles Carla Turcotte (Sasha) - Sashinka

MEILLEURE INTERPRÉTATION MASCULINE | PREMIER RÔLE Iris de la Meilleure interprétation masculine dans un premier rôle

Jean-Carl Boucher (Ricardo) - 1991 Pierre-Luc Brillant (Steve) - La disparition des lucioles Martin Dubreuil (Yves Boisvert) - À tous ceux qui ne me lisent pas Patrick Hivon (Kevin) - Nous sommes Gold Théodore Pellerin (Guillaume) - Genèse

MEILLEURE INTERPRÉTATION FÉMININE | RÔLE DE SOUTIEN Iris de la Meilleure interprétation féminine dans un rôle de soutien

Sandrine Bisson (Claudette) - 1991 Céline Bonnier (Dyane) - À tous ceux qui ne me lisent pas Larissa Corriveau (Adèle) - Répertoire des villes disparues Mélissa Désormeaux-Poulin (Catherine Beauregard) - Dérive Natalia Dontcheva (Elena) - Sashinka

MEILLEURE INTERPRÉTATION MASCULINE | RÔLE DE SOUTIEN Iris de la Meilleure interprétation masculine dans un rôle de soutien

Robin Aubert (Henri) - Une colonie Pier-Luc Funk (Maxime) - Genèse Vincent Leclerc (Jean-Claude) - La Chute de l'empire américain Alexandre Nachi (Arturo) - 1991 Henri Picard (Marc) - À tous ceux qui ne me lisent pas

RÉVÉLATION DE L'ANNÉE Iris de la Révélation de l'année

Émilie Bierre (Mylia) - Une colonie Irlande Côté (Camille) - Une colonie Lévi Doré (Steeve Simard) - La chute de Sparte Maripier Morin (Aspasie / Camille Lafontaine) - La Chute de l'empire américain Jacob Whiteduck-Lavoie (Jimmy) - Une colonie

MEILLEURE DISTRIBUTION DES RÔLES Iris de la Meilleure distribution des rôles

Nathalie Boutrie (Casting NB) - La chute de Sparte Ariane Castellanos - Une colonie Chloé Cinq-Mars - Dérive Denis Côté - Répertoire des villes disparues Nolwenn Daste, Fanny Rainville, Kristina Wagenbauer - Sashinka

MEILLEURE DIRECTION ARTISTIQUE Iris de la Meilleure direction artistique

Sylvain Dion, Patricia McNeil - La grande noirceur Raymond Dupuis - La Bolduc Marie-Pier Fortier - Répertoire des villes disparues Marie-Claude Gosselin - À tous ceux qui ne me lisent pas Christian Legaré - 1991

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE Iris de la Meilleure direction de la photographie

Steve Asselin - 1991 Ian Lagarde - À tous ceux qui ne me lisent pas François Messier-Rheault - Répertoire des villes disparues Sara Mishara - La grande noirceur Ronald Plante - La Bolduc

MEILLEUR SON Iris du Meilleur son

Mimi Allard, Sylvain Bellemare, Bernard Gariépy Strobl, Claude La Haye - Allure Claude Beaugrand, Michel B. Bordeleau, Luc Boudrias, Gilles Corbeil - La Bolduc Stéphane Bergeron, Olivier Calvert, Gilles Corbeil - La disparition des lucioles Luc Boudrias, Frédéric Cloutier, Stephen De Oliveira - La grande noirceur Sylvain Brassard, Michel Lecoufle - 1991

MEILLEUR MONTAGE Iris du Meilleur montage

Michel Arcand - La Bolduc Mathieu Bouchard-Malo - Genèse Mathieu Bouchard-Malo - La grande noirceur Elric Robichon - À tous ceux qui ne me lisent pas Yvann Thibaudeau - 1991

MEILLEURS EFFETS VISUELS Iris des Meilleurs effets visuels

Alchimie 24 - Jean-François "Jafaz" Ferland, Marie-Claude Lafontaine - La Bolduc Fix Studio - Aurélia Abate, Delphine Lasserre, Bruno Maillard | Oblique FX - Benoît Brière, Louis-Philippe Clavet, Valérie Garcia, Étienne Rodrigue - Dans la brume Fly Studio - Jean-Pierre Boies, Jean-François Talbot - 1991

MEILLEURE MUSIQUE ORIGINALE Iris de la Meilleure musique originale

Olivier Alary - La grande noirceur Philippe B - Nous sommes Gold Frédéric Bégin - 1991 Philippe Brault - La disparition des lucioles Peter Venne - Avant qu'on explose

MEILLEURS COSTUMES Iris des Meilleurs costumes

Caroline Bodson - Répertoire des villes disparues Mariane Carter - La Bolduc Mélanie Garcia - À tous ceux qui ne me lisent pas Anne-Karine Gauthier - 1991 Patricia McNeil - La grande noirceur

MEILLEUR MAQUILLAGE Iris du Meilleur maquillage

Audrey Bitton - À tous ceux qui ne me lisent pas Virginie Boudreau - 1991 Nicole Lapierre - La Bolduc Léonie Lévesque-Robert - Une colonie (ex aequo) Dominique T. Hasbani - Genèse (ex aequo) Dominique T. Hasbani - Répertoire des villes disparues

MEILLEURE COIFFURE Iris de la Meilleure coiffure

Nathalie Dion - À tous ceux qui ne me lisent pas André Duval - La chute de Sparte Daniel Jacob - 1991 Martin Lapointe - La Bolduc Dominique T. Hasbani - Répertoire des villes disparues

MEILLEUR FILM DOCUMENTAIRE Iris du Meilleur film documentaire

Anote's Ark - Matthieu Rytz | EyeSteelFilm - Matthieu Rytz L'autre Rio - Émilie Beaulieu-Guérette | Colonelle films - Fanny Drew, Geneviève Dulude-De Celles, Sarah Mannering Cielo- Alison McAlpine | Errante Producciones - Paola Castillo | Second Sight Pictures - Alison McAlpine Innu Nikamu : Chanter la résistance- Kevin Bacon Hervieux | Terre Innue - Ian Boyd Pauline Julien, intime et politique - Pascale Ferland | Office national du film du Canada - Johanne Bergeron

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE | FILM DOCUMENTAIRE Iris de la Meilleure direction de la photographie | Film documentaire

Benjamín Echazarreta - Cielo Danae Elon, Itamar Mendes Flohr - A Sister's Song Sylvestre Guidi - New Memories Alexandre Lampron - Des histoires inventées Matthieu Rytz - Anote's Ark

MEILLEUR MONTAGE | FILM DOCUMENTAIRE Iris du Meilleur montage | Film documentaire

Mila Aung-Thwin, Oana Suteu Khintirian - Anote's Ark Natacha Dufaux - L'autre Rio Vincent Guignard, Alexandre Leblanc - A Sister's Song Catherine Legault - Les lettres de ma mère René Roberge - Pauline Julien, intime et politique

MEILLEUR SON | FILM DOCUMENTAIRE Iris du Meilleur son | Film documentaire

Claude Beaugrand, Luc Boudrias, Serge Giguère - Les lettres de ma mère Bruno Bélanger, Marie-Pierre Grenier, Francisco Heron De Alencar - L'autre Rio Cyril Bourseaux, Mélanie Gauthier, Simon Léveillé, Simon Plouffe, Lynne Trépanier, Jean Paul Vialard, Shikuan Shetush Vollant - Ceux qui viendront, l'entendront Olivier Calvert, Jean Paul Vialard - Pauline Julien, intime et politique Andrés Carrasco, Miguel Hormazábal, Mauricio López, Alison McAlpine, Rodrigo Salvatierra, Carlo Sanchez Farías, Claudio Vargas - Cielo

MEILLEUR COURT MÉTRAGE | FICTION Iris du Meilleur court métrage | Fiction

Brotherhood - Meryam Joobeur | Cinétéléfilms - Habib Attia, Sarra Ben-Hassen | Meryam Joobeur | Laika Film & Television - Andreas Rocksén | Midi La Nuit - Maria Gracia Turgeon Fauve - Jérémy Comte | Midi La Nuit - Maria Gracia Turgeon | Achromatic Media - Evren Boisjoli Lunar-Orbit Rendezvous - Mélanie Charbonneau | Hutte Films - Virginie Nolin Milk - Santiago Menghini | Newton's Cradle - Max Walker Mon Boy - Sarah Pellerin | La Boîte à Fanny - Fanny-Laure Malo, Annie-Claude Quirion

MEILLEUR COURT MÉTRAGE | ANIMATION Iris du Meilleur court métrage | Animation

Bone Mother - Dale Hayward, Sylvie Trouvé | Office national du film du Canada - Jelena Popović La chambre des filles - Claire Brognez | Les Films de l'Autre - Claire Brognez Mais un oiseau ne chantait pas - Pierre Hébert | Pierre Hébert Not Your Panda - Tigris Alt Sakda | Tigris Alt Sakda Le sujet - Patrick Bouchard | Office national du film du Canada - Julie Roy

PRIX DU PUBLIC Iris Prix du public

1991 - Ricardo Trogi | Les Films Séville | Go Films - Nicole Robert La Bolduc - François Bouvier | Les Films Christal | Caramel Films - Valérie d'Auteuil, André Rouleau La Chute de l'empire américain - Denys Arcand | Les Films Séville | Cinémaginaire - Denise Robert La Course des tuques - Benoit Godbout et François Brisson | Les Films Séville | CarpeDiem Film & TV - Marie-Claude Beauchamp La disparition des lucioles - Sébastien Pilote | Les Films Séville | ACPAV - Marc Daigle, Bernadette Payeur

IRIS HOMMAGE Iris Hommage

Sera annoncé ultérieurement

FILM S'ÉTANT LE PLUS ILLUSTRÉ À L'EXTÉRIEUR DU QUÉBEC Iris du Film s'étant le plus illustré à l'extérieur du Québec

La Chute de l'empire américain - Denys Arcand | Cinémaginaire - Denise Robert Cielo - Alison McAlpine | Errante Producciones - Paola Castillo | Second Sight Pictures - Alison McAlpine La Course des tuques - Benoit Godbout et François Brisson | CarpeDiem Film & TV - Marie-Claude Beauchamp La disparition des lucioles - Sébastien Pilote | ACPAV - Marc Daigle, Bernadette Payeur Eye on Juliet - Kim Nguyen | Item 7 - Pierre Even

#gala québec cinéma #une colonie #émilie bierre #irlande côté #jacob whiteduck-lavoie

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manukyan · 7 years

Video

vimeo

San Diego Zoo - 'Africa Rocks' - Montage - Director's Cut from Gentleman Scholar on Vimeo.

Complete Project Credits, Africa Rocks Campaign

Spot Names: "Africa Rocks" :30, "Acacia Woodlands" :15, "Cape Fynbos" :15, "Ethiopian Highlands" :15, "Kopje" :15, "Madagascar Forest" :15, "West African Forest" 15 Main Tools: Autodesk Maya for modeling and animation; The Foundry's Nuke for compositing; Adobe's Flash and Photoshop for cel animation; After Effects for animation and conform. Online: africarocks.sandiegozoo.org Campaign on Vimeo: vimeopro.com/mcsaatchila/africa-rocks Behind the Scenes: http://bit.ly/gs-SDZ

Client: San Diego Zoo Chief Marketing Officer: Ted Molter Marketing Director, Communications & Interpretation: Debra Erickson Associate Director, Communications: Mike Warburton Associate Director, Design: Damien Lasater

Agency: M&C Saatchi LA Executive Creative Director: Maria Smith Associate Creative Director/AD: Ron Tapia Associate Creative Director/CW: Ben Lay CW/AD: Stephen Reidmiller Director of Content Production: Dennis Di Salvo Group Account Director: Mike Wilton Account Director: Makeia Carrier

Production Company: Gentleman Scholar Directors: William Campbell and Will Johnson Executive Producer: Jo Arghiris Head of Production: Rachel Kaminek Art Director: Michael Tavarez Producer: Nikki Maniolas Designers: Hana Eunjin Yean, JP Rooney, Macauley Johnson, Andy Lyon, Brandon Smith, Cam Floyd, Hanna No, James Levy, Kelly Jung, Paul Kim 2D Animators: Chris Finn, Macauley Johnson, Andy Lyon, Danni Fisher-Shin, Henry Pak, Jeffrey “Jip” Jeong, Yoogin Seol AE Compositor: Ramzee Hogan Cel Animators: Abigail Magno, Andy Lyon, Laura Yilmaz, Sean Buckelew 3D Animators: Jamie Sawyer, Sarah Wolfe 3D Generalists: Chris Finn, Tim Hayward, Jacques Clement, Jessica Ramirez, Mike Cahill 3D Rigger: Tim Hayward Nuke Compositor: Chris Brown, Matt Lavoy

Mix Company: Margarita Mix Mixer: Paul Hurtubise

Music Company: Yessian Creative Director: Andy Grush Executive Producer: David Gold Senior Producer: Katie Overcash Composers: Jimmy Haun, Andy Grush

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#video #3d #transition #handdrawn #liquid #paper #stopmotion

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newyorktheater · 5 years

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For its first production in its new second home downtown in a spruced-up Greenwich House Theater, Ars Nova is presenting the latest devised piece by the much-praised ten-year-old company The Mad Ones. In “Mrs. Murray’s Menagerie,” the creators of a 1970s children’s television program have hired a company to conduct a focus group of parents of young children. In real time, six characters who have never met before gather around a conference table for 90 minutes to answer questions about the series and the characters in it, many of whom are puppets. Ars Nova designates The Mad Ones as its Company-in-Residence, and has been associated with them since the company began, helping to develop The Mad Ones’ previous theater piece, “Miles for Mary,” which was presented to great acclaim last year at Ars Nova’s midtown theater. The playbill for “Mrs. Murray’s Menagerie” calls it “the culmination of a 10-year relationship between Ars Nova and The Mad Ones.” Let’s hope that’s not so. There are some superficial similarities between “Mrs. Murray’s Menagerie” and “Miles for Mary.” Like the earlier show, “Mrs. Murray’s Menagerie” is a low-key work created by the entire ensemble, who give completely credible performances. (Four of the cast members are the same in both pieces). The earlier show presents a series of planning committee meetings for a local telethon at an Ohio high school. But it revolves around teachers and other school staff who know each other from the start, and in effect chronicles the intricate and engaging relationships that unfold over a year’s worth of meetings. Both shows are like the theatrical equivalent of pointillist paintings — impressive in the precision of their details and the verisimilitude of the larger picture. But the larger picture in “Mrs. Murray’s Menagerie” is of a group of people sitting around a cheap table in front of a blackboard talking about an imaginary television series. Sometimes, it’s true, the conversation is diverting. When the focus group leader Dale (Brad Heberlee) asks the parents for a word or a phrase to explain how Mrs. Murray is most unlike you, Gloria (Stephanie Wright Thompson) replies “I don’t live with puppets.” When Dale asks for a show of thumbs up, thumbs down or thumbs in the middle, about whether Mrs. Murray takes good care of her house, June (Carmen M. Herlihy) is the only one who doesn’t show her thumb at all. “There are mice,” she explains. The presence of a puppet mouse in the series (which is also called Mrs. Murray’s Menagerie) convinces June that Mrs. Murray is a bad housekeeper. But the mouse is just a character on the show, Ernest (Phillip James Brannon) objects. The mouse doesn’t talk, June replies. Neither does Benny, argues Cici (January LaVoy). “Because Benny’s function on the show is a puppet dog. Just like the mouse is a puppet mouse,” June says. “They don’t possess human qualities like the chicken. We don’t ever see the mouse helping the chicken fix cars.” That’s why she knows Mrs. Murray has “a mouse problem.” (Just to be clear: The only way we learn about Benny and the mouse and the chicken who fixes cars, is in this dialogue.) There are not enough such passages. Even at its funniest, the show evokes the kind of quiet amusement one might feel if you were stuck in an actual long meeting and trying to keep yourself secretly entertained. It’s possible that parents with young children might appreciate “Mrs. Murray’s Menagerie” more than I did. This might be especially true at the moments in the play when the parents on stage are comparing their children with the puppet children, and their child-rearing practices with those on the TV show. There is one particularly lively exchange in reaction to the first episode of a spin-off show called Candace’s Cabinet (which the characters were shown before the focus group commences.) We piece together that Candace the bunny broke a cello in that episode; she at first denied it, then cried; her parents comforted her and gave her a piece of carrot cake. That didn’t sit well with Gloria: “They don’t ever, you know, knock her straight and say, ‘What were you thinking?’” Ernest agrees: “I would like to believe that Momma and Papa Rabbit would actually discipline her. So there’s a consequence for her actions.” Wayne (Michael Dalto) also agrees. Roger (Joe Curnutte) disagrees: “She’s an emotional wreck.”

There’s another reason why young parents might be a better audience for “Mrs. Murray’s Menagerie.” They’ve been forced to learn to be extraordinary patient.

Click on any photograph by Ben Arons to see it enlarged.

Mrs. Murray’s Menagerie Ars Nova at Greenwich House Created By The Mad Ones And Phillip James Brannon, Brad Heberlee, Carmen M. Herlihy & January Lavoy Directed By Lila Neugebauer Scenic Design You-Shin Chen & Laura Jellinek Costume Design Ásta Bennie Hostetter Lighting Design Mike Inwood Sound Design Stowe Nelson Prop Design Emmie Finckel & Noah Mease Wig & Makeup Design Fre Composer Justin Ellington Dramaturg Sarah Lunnie Core Artistic Collaborator Raja Feather Kelly Casting Consultant Lauren Port Production Stage Manager John C. Moore Assistant Stage Manager Bryan Bauer Cast: The Mad Ones members: Marc Bovino as Jim, Joe Curnutte as Roger, Michael Dalto as Wayne and Stephanie Wright Thompson as Gloria who are joined by: Phillip James Brannon as Ernest, Brad Heberlee as Dale, Carmen M. Herlihy as June and January LaVoy as Celeste/Cici, Running time: 90 minutes with no intermission Tickets: $37 to $67 Mrs. Murray’s Menagerie is scheduled to run through April 27, 2019

Mrs. Murray’s Menagerie Review: The Mad Ones Launch Ars Nova’s New Home For its first production in its new second home downtown in a spruced-up Greenwich House Theater, Ars Nova is presenting the latest devised piece by the much-praised ten-year-old company The Mad Ones.

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extremeextremes · 6 years

Video

vimeo

San Diego Zoo - 'Africa Rocks' - Montage - Director's Cut from Gentleman Scholar on Vimeo.

Complete Project Credits, Africa Rocks Campaign

Mix Company: Margarita Mix Mixer: Paul Hurtubise

Music Company: Yessian Creative Director: Andy Grush Executive Producer: David Gold Senior Producer: Katie Overcash Composers: Jimmy Haun, Andy Grush

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dasha8213-blog · 7 years

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♥ Read Online From a Certain Point of View (Star Wars) by Ben Acker `Review` / Download PDF Book

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ruidosmentales · 7 years

Video

vimeo

San Diego Zoo - 'Africa Rocks' - Montage - Director's Cut from Gentleman Scholar on Vimeo.

Complete Project Credits, Africa Rocks Campaign

Mix Company: Margarita Mix Mixer: Paul Hurtubise

Music Company: Yessian Creative Director: Andy Grush Executive Producer: David Gold Senior Producer: Katie Overcash Composers: Jimmy Haun, Andy Grush

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thatjustmakesyouabetacuck · 2 years

Photo

#c: ben lavoie

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tonin-terets · 7 years

Video

vimeo

San Diego Zoo - 'Africa Rocks' - Montage - Director's Cut from Gentleman Scholar on Vimeo.

Complete Project Credits, Africa Rocks Campaign

Mix Company: Margarita Mix Mixer: Paul Hurtubise

Music Company: Yessian Creative Director: Andy Grush Executive Producer: David Gold Senior Producer: Katie Overcash Composers: Jimmy Haun, Andy Grush

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0 notes

goalhofer · 4 years

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2020-21 Allen Americans Roster

Wingers

#8 Joseph Garreffa (Toronto, Ontario)

#9 Braylon Shmyr (Calgary, Alberta)

#11 Kameron Kielly (Charlottetown, Prince Edward Island)

#15 Corey Mackin (Lake Placid, New York)

#18 Jake McGrew (Orange, California)

#19 Alex Lavoie (Anjou, Quebec)

#26 Spencer Asuchak (Ft. St. John, British Columbia)

#27 Sam Laberge (Châteauguay, Quebec)

#29 Jesse Mychan (Saskatoon, Saskatchewan)

#71 Dyson Stevenson (Shaunavon, Saskatchewan)

Centers

#13 Jake Gricius (Colorado Springs, Colorado) C

#17 Jared VanWormer (Traverse City, Michigan) A

#22 Tyler Sheehy (Burnsville, Minnesota) A

#40 Joshua Lammon (Jackson, Michigan)

#44 Zane Franklin (Marwayne, Alberta)

Defensemen

#4 Turner Ottenbreit (Yorkton, Saskatchewan)

#5 Phillip Beaulieu (Duluth, Minnesota)

#14 Les Lancaster (Ypsilanti, Michigan)

#20 Ben Carroll (Sherwood Park, Alberta)

#23 Cole Fraser (Ottawa, Ontario)

#25 Nolan Kneen (Kelowna, British Columbia)

#43 Matt Register (Bonnyville, Alberta)

Goalies

#31 C.J. Motte (St. Clair, Michigan)

#34 Zach Sawchenko (Calgary, Alberta)

#Sports #Hockey #Hockey Goalies #Texas #Celebrities #Michigan #Canada #Alberta #Minnesota #Ontario #British Columbia #Saskatchewan #Colorado #Prince Edward Island #Quebec #New York

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houstonlocalus-blog · 7 years

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How High: The Best of The Week

Curren$y. Photo: CJ Wallis/Atlantic Records

It’s beginning to look a lot like touring season in the music industry. This week we’ll be greeted by bands who haven’t played here in a long time, most notably stoner rockers Sleep. There’s also sets from acts like SWMRS, Curren$y, Los Lobos and more while Kiki Maroon brings back her burlesque festival and a ton of locals perform all over our city. Houston, here’s how to navigate the next seven days.

Wednesday you can begin at Warehouse Live in the ballroom for the rap of Brooklyn’s Desiigner. This guy has blown up and his live shows are known to be crazy. Here in support of last year’s popular album New English, this should be a show worth checking out. California rapper Rob $tone will be on as direct support with a set from Ski Mask the Slump God on prior. The all ages show with doors at 7 pm will get opened by 16yrold with tickets between $23 and $25.

If you’d like to see a funny social experiment live, then you could head to The Secret Group to catch 7 Minutes in Purgatory with Ian Abramson. The show is basically comics performing in front of a camera in a soundproof room, so there’s no way for them to know if their jokes are landing or not. I’ve seen the show before and it’s a trip with doors at 7 pm and the all ages event has tickets between $12 and $15.

Over in Mandell Park, one of Houston’s best kept secrets, Hearts of Animals, will perform. I’d hope with appearances all over town over the years, a set at the first Day for Night, and a list of stellar albums that you’d have heard of this band. If you haven’t, then you should know that their 2014 album Another Mutation is one of the best albums you might not know about and their latest single, “Cat Karma” from last year, keeps in line with their stellar sound. Things get going at 7:30 pm and the all ages show is 100% FREE.

Over at Crumbville Texas on Elgin, the Damn Gxrl series will host a set from Peru’s Maria Chavez. Known for creating immense sets on the decks, her DJ sets alone are worth making it out for and she doesn’t stop in town often. The R&B soul jams of Houston’s Peyton will provide direct support while the DJ sounds of yazzaspazza will open things up. The all ages show has doors at 7:30 pm with a measly $5 cover.

Turnaways. Photo: Danny Larrea

Upstairs at White Oak Music Hall you can get your punk fix when CJ Ramone swings by to play. Having to replace Dee Dee in the late ’80s wasn’t a task that many could do, but CJ was definitely a great candidate for the gig and as a member of the famed punks, he added a new life to the Ramones. His solo stuff is catchy and his live shows are full of energy. His latest release, American Beauty from this year, is energetic and fun, too. Houston’s Turnaways will bring their intensity as direct support and openers for the all ages show with doors at 8 pm and tickets between $13 and $15.

Later at The Secret Group, you can get down with Emily Snow at her birthday bash. DJs, penis balloons, burlesque and more will all be on hand. The last party she had at the venue got dirty, so just be warned for the 21 & up event with doors at 10 pm with a $5 cover.

Thursday at Improv, Houston comic Ali Siddiq will celebrate 4/20 in style with two shows called 420 Live From the Greenroom. Siddiq is easily one of the brightest and funniest comics coming from Houston since Bill Hicks, and his last album Damaged Goods from last year is a riot. There’s no word of host and feature act, but that should change. The two 18 & up shows have doors at 3 pm and 7:15 pm, both with tickets between $17 and $27.

It wouldn’t be 4/20 without the annual Warehouse Live set from New Orleans’ rapper Curren$y. This guy has been busy with a slew of releases last year and the latter being Andretti 12/30. Atlanta’s J.I.D will be on as direct support while Houston’s Dice Soho will perform prior. The raging hip hop madness of Houston’s BILLYRACXX will go on beforehand and make it hard for anyone to follow. There’s also sets from Soupmakesitbetter, OG Ron C & The Chopstars, Yobi Yobz, Bruce Waine, and Brody Musesick for the all ages show with doors at 5 pm for the Munchies food truck event, and the concert has doors at 7 pm with tickets for $40.

Satellite Bar will have the Reefer Radness 4/20 Celebration with a headlining set from Houston’s Soul Creatures. Metanoia, Positive Disturbance, Free Radicals, The Skatastrophics, and Let Me Remember will all be on hand to celebrate getting lifted as well. The all ages show has doors at 5 pm and a $10 cover.

Libby Koch. Photo: Nicola Gell

Mucky Duck has an intriguing show with four acts under the name Double Date Night. The show featuring two duos gets headlined by Houston’s Libby Koch & Chuck Hawthorne. Koch, an emerging artist that could easily become the next queen of Americana, will play tunes from her latest album Just Move On while Hawthorne will bring his soft country from Silver Line to life. The country goodness of Brant Croucher and the sweetness of Lainey Balagia will perform beforehand for the 21 & up show with doors at 7 pm and tickets between $20 and $22.

On Friday you could get going at Discovery Green for Circo Avenida. Contortionists, acrobats, and more circus acts will be on hand for your delight. The family friendly event gets going at 7 pm and it’s 100% FREE.

If you’d rather get some Tex-Mex blues in your life, then you could head to the Heights Theater to catch East LA’s Los Lobos. Here in support of their 2015 album Gates Of Gold, this five-piece usually throws a pretty amazing live show and catching them in such an intimate setting should be great for any fan. The Afro-Latino rhythms of Kansas City’s Making Movies will be on hand as direct support and openers for the all ages show with doors at 7 pm and tickets for $28.

Tom Segura. Photo: Robyn Van Swank/3Arts

If you want to laugh until it hurts, then you should head to Improv to catch the always hilarious Tom Segura. Here in town for a limited run of shows, Segura has been on a roll since his 2014 album Completely Normal. Since then he’s blown up appearing all over the globe and taping the funny as hell Netflix special Mostly Stories. Segura is definitely an act you don’t want to miss and these shows should sell out fast. The performances are all 18 & up with two shows Friday with doors at either 7 pm or 9 pm. There’s also two shows Saturday with doors at 6:15 pm and 8 pm or a show Sunday with doors at 6:45 pm, all with tickets between $29 and $50.

Jandek. Photo: Corwood Industries

Over at Hamman Hall on the Rice University campus, the elusive Jandek will perform. Part of the KTRU 50th Anniversary series, what Jandek will do will be a mystery to everyone. If you somehow don’t know Jandek, he’s released somewhere in the neighborhood of 100 albums and DVDs since 1978, usually made up of dissonant folk and blues, often with spoken word lyrics. The hook here is that Jandek rarely performs and the likes of Ben Gibbard, Kurt Cobain, and Mike Watt are all considered big fans of his work. The all ages show has doors at 7 pm for the 100% FREE concert.

At Near Northside Studios you can catch an impressive group exhibition, I Tried Really Hard. Art from Mark Armes, Eyesore, Bret Shirley, Jonathan Paul Jackson, LIMB, Blake Jones, Meredith Richey, Darcy Rosenburger, Traci Lavois Thiebaud and so many more will be on view. The all ages evening gets going around 8 pm and it’s 100% FREE.

Satellite Bar will host the indie rock of Boston’s Pile. Quite possibly one of the better indie rock bands going today, these guys put on an impressive and energetic live show. Here in support of their newly released album A Hairshirt of Purpose, these guys are not to be missed. The intense math rock goodness from Nashville trio Gnarwhal will be on hand as direct support while Houston’s Ruiners will bring their post punk meets punk energy on as openers. The all ages show has doors at 8 pm with tickets between $10 and $12.

Flower Politics. Photo: Courtesy of Flower Politics

Rec Room will bring back another edition of their Tiny Bar series with a set from Houston’s Flower Politics. Earlier this year I wrote about the latest release from Flower Politics’ latest album, New Beginnings, as I found their approach to bedroom pop invigorating, and the fact that they’ve dropped over twenty releases in three years shouldn’t be lost on anyone. The show has doors at 9 pm and a TBA cover.

Rudyard’s will have the return of the psych blues doom stoner rock of Portland’s Black Pussy. While the band has had all sorts of drama over their name, they’re pretty amazing to catch live and they’ll be here in support of their latest release Power, due out in May. The old school Houston rock of HogLeg will be on as direct support while Pinche Gringos will open the 21 & up show with doors at 9 pm and an $8 cover.

Substance. Photo: Josh Robicheaux

Substance will headline their 7” album release over at Rito’s Bar. I don’t know if you know the band, but their songs are short and fast punk and their lead singer usually ends up writhing on the floor after the first song. In other words, they put on a great show. San Antonio’s Sex Ray Vision will be on as direct support while the hardcore of McAllen’s Narb will go on beforehand. Sets from Crawler and Shallow will also take place at the 21 & up show with doors at 9 pm and an $8 cover.

If you’d rather get your dance on, then you could make it over to Boondock’s for another edition of BLACKOUT. The long running series is always a great place to get your groove on, especially this edition featuring a performance from NYC’s Riobamba. Visuals from Leckie, the entire Blackout crew on hand to drop sets, and more should be your signal to head over to the 21 & up show with doors at 10 pm and a TBA cover.

On Saturday, things should kick off with you heading to Cactus for an in-store signing from Bun B. Bun will be there as part of the Record Store Day festivities, signing copies of the UGK classic Hard To Swallow, which will be available on vinyl for the first time. There should be a line, if not for any other reason than that Bun is awesome and he always draws a crowd. Things get going a 1 pm, but I’d get there early if I were you.

Bayonne. Photo: Dustin Cohen

On the Rice University campus, the 26th Annual KTRU Outdoor Show will take place. Celebrating 50 Years of KTRU, the show with a headlining set from Chicago’s Jamila Woods. The soul singer really puts plenty of flavor in her live sets and her 2016 single “Blk Girl Soldier” should be enough reason for you to attend. Chicago rapper Saba will also be on hand while Houston-born Austin transplant Bayonne will go on beforehand. Bayonne is one of the most passionate performers you can see and 2016’s Primitives is difficult not to love. Houston’s Free Radicals will also be on the bill, as will the indie pop rock of Houston’s Rose Ette. Sets from Steve Cox’s Beard and David Morgan & Charles Moon will kick things off at the all ages and 100% FREE event that gets going around 2 pm with more information available here.

Kiki Maroon will bring her Bayou City Burlesque & Circus Arts Festival back to the ballroom at Warehouse Live. Alongside a slew of locals like Ms Yet, Honey Moonpie, and Maroon herself will be acts like Tucson’s Don’t Blink Burlesque and Portland’s dainty daredevil Juliette Electrique. In fact, there’s so many more performers that it’s almost impossible to name them all. Contortionists, sideshow acts, burlesque performers and so much more will be on hand at the one night only festival. The 18 & up show has doors at 7:30 pm and tickets between $20 and $75, and the last ones have sold out in the past.

The Wheel Workers. Photo: Allison McPhail

Over at The Secret Group you could get all of the melodies when Austin indie rockers Quiet Company return to perform. This four-piece has become known for their fun live shows and their latest release, Transgressor from 2015, is their strongest to date. The energetically fun indie rock of Houston’s The Wheel Workers will be on as direct support while Denton’s Criminal Birds open the all ages show with doors at 8 pm with tickets between $12 and $15.

Of course, the stoner rock of Northern California’s Sleep will be on hand downstairs at White Oak Music Hall. Coming back from the proverbial dead, this trio makes sludge heavy songs that are intense and immense to see live. Austin’s American Sharks will be there as direct support and the instrumental metal of Austin’s Eagle Claw will open the all ages show with doors at 8 pm with tickets for $25.

Continental Club has the indie rock of Houston’s The Glass. Making interesting and almost orchestral sounds, this five-piece is worth checking out, as their latest single “Miracle” is pretty solid. The jazz rock fusion of Houston’s Phrolic will open the 21 & up show with doors at 10 pm with a TBA cover.

SWMRS. Photo: Alice Baxley

Sunday you could get your pop punk or rock fix, depending on how you see it, when California’s SWMRS swing by Walter’s to perform. Here in support of last year’s Drive North, these guys are becoming very popular and well known for their energetic live set. The angst driven band also features the son of Green Day’s Billie Joe Armstrong, if that matters. The Police meets The Cars sounds of Kentucky’s White Reaper will be on as direct support while the garage pop of LA’s No Parents will open the all ages show with doors at 7 pm and tickets between $15 and $17.

Upstairs at White Oak Music Hall, Austin’s Mobley will bring his infectious electro pop to town. This guy mixes in hints of R&B to get a sound that’s hard to deny, and his latest EP with Houston’s Catch Fever, Dreamers is pretty great. The cinematic electronica of Hescher will be on beforehand while the chillwave jams of Houston’s George West will open up the all ages show with doors at 7 pm and tickets between $8 and $11.

In the ballroom at Warehouse Live you could get your laughs in for the Guys We F@#KED: The Experience. The show, which is a live version of the anti-slut shaming podcast of the same name, should be pretty hilarious to catch in person. One of the top weekly downloaded podcasts in the country, this should be a great show for any fan of the show or the two hilarious comics who present it, Krystyna Hutchinson and Corinne Fisher. The all ages show has doors at 7 pm and tickets between $22 and $25.

Monday you can head to Walter’s for the always fun antics of Peelander-Z. The New York based Japanese punk band never disappoints live, performing in full costumes and playing with incredible energy. Their latest album, Live at Red 7 from 2015, is pretty rad, though not as great as the crazy band is in person. There’s no word of support or openers, though that should change for the all ages show with doors at 8 pm and tickets between $10 and $12.

The Garden. Photo: Epitaph Records

Tuesday the neo-punk of LA based twins The Garden will swing by Walter’s to drop a set. These guys have made music for a long time, they both modeled for Yves Saint Laurent, and their live shows are a mixed bag. Anyone who sees them says it’s definitely an experience like no other and their latest album Haha is something different entirely. The enigmatic hip hop of Houston’s Fat Tony will be on hand as direct support and opener for the all ages show with doors at 7 pm and tickets between $13 and $16.

That’s about all that’s happening around town this week. No matter what you decide to do, remember that acting like an idiot and not getting home safely does no one else any good. So drink like an adult and get home as safely as possible.

How High: The Best of The Week this is a repost

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tannertoctoo-blog · 8 years

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March 8, 2017

ALIUS Bulletin, n. 1, 2017 Analytic Philosophy, Vol. 58, #1, 2017 Developing World Bioethics, Vol. 17, #1, 2017 International Journal for Philosophy of Religion, Vol. 81, #1-2, 2017 Journal of Philosophy, Vol. 113, #7, 2016 Journal of Social Ontology, Vol. 3, #1, 2017 Law & Social Inquiry, Vol. 42, #1, 2017 Méthexis, Vol. 29, #1, 2017 Nursing Philosophy, Vol. 18, #2, 2017 Pacific Philosophical Quarterly, Vol. 98, #1, 2017 Studies in History and Philosophy of Science Part B: Studies in History and Philosophy of Modern Physics, Vol. 57, February 2017

ALIUS Bulletin, n. 1, 2017 Articles Robin Carhart-Harris (interviewed by Martin Fortier & Raphaël Millière). Consciousness and Psychedelics. Jakob Hohwy (interviewed by Matthieu Koroma). On Different Ways of being Conscious: Modes of Consciousness and the Predictive Mind. Tanya Luhrmann (interviewed by Martin Fortier). The Anthropology of the Mind: Exploring Unusual Sensations and Spiritual Experiences Across Cultures. Simon McCarthy-Jones (interviewed by Mathieu Frerejouan). The Phenomenon of Voice-Hearing: An Interdisciplinary Approach. Rebecca Seligman (interviewed by Arnaud Halloy). Towards a Biocultural Approach to Dissociative Consciousness. Jennifer Windt (interviewed by Alessio Bucci & Raphaël Millière). Relocating Dreams on the Conceptual Map: How the Analysis of Slepp and Dreaming Cgallenges our Taxonomy of Mental States. Back to Top

Analytic Philosophy, Vol. 58, #1, 2017 Recently Published Articles Cathay Liu. Re-Examining Descartes’ Algebra and Geometry: An Account Based on the Reguale. John Morrison. Perceptual Confidence and Categorization. Rachel N. Denison. Precision, Not Confidence, Describes the Uncertainty of Perceptual Experience: Comment on John Morrison's “Perceptual Confidence”. Bradley Rives. Concepts and Analytic Intuitions. Joseph Gottlieb. Transitivity and Transparency. Back to Top

Developing World Bioethics, Vol. 17, #1, 2017 Editorial Udo Schuklenk and William Rooney. Vulnerability and Dignity: Labeling Problems Away. Articles David R. Hall and Anton A. van Niekerk. Reconsidering Counseling and Consent. Lisa Diependaele, Julian Cockbain and Sigrid Sterckx. Raising the Barriers to Access to Medicines in the Developing World – The Relentless Push for Data Exclusivity. Gerald M. Ssebunnya. Beyond the Sterility of a Distinct African Bioethics: Addressing the Conceptual Bioethics Lag in Africa. Pierre-Marie David. Measurements, "Scriptural Economies," and Social Justice: Governing HIV/AIDS Treatements by Numbers in a Fragile State, the Central African Republic (CAR). Chitu Womehoma Princewill, Ayodele S. Jegede, Karin Nordström, Bolatito Lanre-Abass and Bernice Simone Elger. Factors Affecting Women's Autonomous Decision Making In Research Participation Amongst Yoruba Women Of Western Nigeria. Kimberly Jarvis. Dilemmas in International Research and the Value of Practical Wisdom. Book Review Christine Straehle. Debating Brain Drain – May Governments Restrict Emigration? Back to Top

International Journal for Philosophy of Religion, Vol. 81, #1-2, 2017 Special issue: Approaches to Faith; Issue editors: Rebekah L.H. Rice, Daniel J. McKaughan, Daniel Howard-Snyder Editorial Rebekah L. H. Rice, Daniel McKaughan. Special (Double) Issue: Approaches to Faith. Articles Daniel J. McKaughan. On the Value of Faith and Faithfulness. Daniel Howard-Snyder. Markan Faith. Samuel Lebens. The Life and Faith as a Work of Art: A Rabbinic Theology of Faith. Terence Cuneo. Aligning with Lives of Faith. George Tsai. Supporting Intimates on Faith. Lara Buchak. Faith and the Steadfastness in the Face of Counter-Evidence. Michael Pace. The Strength of Faith and Trust. Frances Howard-Snyder. The Pearl of Great Price. Beth A. Rath. Christ's Faith, Doubt, and the Cry of Dereliction. Dale Tuggy. Jesus as an Exemplar of Faith in the New Testament. Anne Jeffrey. Does Hope Morally Vindicate Faith? Brian Ballard. The rationality of Faith and the Benefits of Religion. Back to Top

Journal of Philosophy, Vol. 113, #7, 2016 Articles Roy T. Cook and Philip A. Ebert. Frege’s Recipe. Comments and Criticism Knut Olav Skarsaune. Moral Deference and Authentic Interaction. Book Reviews Carolyn Brighouse. Frank Arntzenius: Space, Time, and Stuff. Back to Top

Journal of Social Ontology, Vol. 3, #1, 2017 Articles Teresa Marques. The Relevance of Causal Social Construction. Raphael van Riel. Mental Disorder and the Indirect Construction of Social Facts. Lena Wahlberg. Legal Ontology, Scientific Expertise and The Factual World. Heikki J. Koskinen. Mediated Recognition and the Categorial Stance. Dave Elder-Vass. Material Parts in Social Structures. Christopher Woodard. Three Conceptions of Group-Based Reasons. Book Reviews Guglielmo Feis. An Introduction to Metametaphysics. Janna van Grunsven. The Phenomenology of Sociality: Discovering the “We”. Olle Blomberg. Complicity and Moral Accountability. Back to Top

Law & Social Inquiry, Vol. 42, #1, 2017 Articles Symposium: How Law Works—Editor's Introduction. Don Herzog. Democracy, Law, Compliance. Gillian K. Hadfield. The Problem of Social Order: What Should We Count as Law? Daryl Levinson. The Inevitability and Indeterminacy of Game-Theoretic Accounts of Legal Order. Robin Bradley Kar. The Evolutionary Game-Theoretic Foundations of Law. Robert C. Ellickson. Forceful Self-Help and Private Voice: How Schauer and McAdams Exaggerate a State's Ability to Monopolize Violence and Expression. Janice Nadler. Expressive Law, Social Norms, and Social Groups. Richard H. McAdams. Reply to Commentators. Frederick Schauer. Preferences for Law? Mila Versteeg and Tom Ginsburg. Measuring the Rule of Law: A Comparison of Indicators. Ashley T. Rubin. The Consequences of Prisoners’ Micro-Resistance. Mary Gallagher and Yujeong Yang. Getting Schooled: Legal Mobilization as an Educative Process. Doron Dorfman. Re-Claiming Disability: Identity, Procedural Justice, and the Disability Determination Process. Review Essays Howard S. Erlanger. Review Section. Rachel E. Stern. Activist Lawyers in Post-Tiananmen China. Andrew David Edwards. The American Revolution and Christine Desan's New History of Money. Back to Top

Méthexis, Vol. 29, #1, 2017 Research Articles Laura Rosella Schluderer. Speaking and Acting the Truth: The Ethics of Heraclitus. Michael Schramm. Der Homo-Mensura-Satz des Protagoras. Refik Güremen. The Myth of Protagoras: A Naturalist Interpretation. Francesca Pentassuglio. Eschine di Sfetto: Alcune Nuove Testimonianze. Brad Berman. Why Can’t Geometers Cut Themselves on the Acutely Angled Objects of Their Proofs? Aristotle on Shape as an Impure Power. Massimo Catapano. The Two Modes of Scepticism and the Aporetic Structure of Foundationalism. Thomas Blackson. The Stoic Explanation of the Origin of Vice. Aldo Brancacci. John Moles, Historian of Ancient Philosophy. Luca Gili. Plato, Soph. 216 a3–4. Tiziano Dorandi. Usener Redivivus. Alessandro Linguiti. «È Impossibile Che L’anima Sia Corpo». Il Decimo Libro Delle Leggi di Platone come Fonte di Plotino, Enneadi IV 7 [2], 4. Pieter d’Hoine. Parmenide Neoplatonico: Intorno a un Nuovo Studio sulla Presenza di Parmenide nel Commento alla Fisica di Simplicio. Book Reviews Jonathan Lavilla de Lera. Who is Phaedrus? Keys to Plato’s Dyad Masterpiece, written by Marshall Carl Bradley. Mario Vegetti. Philosophical Themes in Galen, written by P. Adamson, R. Hansberger, J. Wilberding. Franco Trabattoni. Lives of Eminent Philosophers, edited by Tiziano Dorandi. Back to Top

Nursing Philosophy, Vol. 18, #2, 2017 Editorial Derek Sellman. Fake News, Truth and Ideology: Galileo, Censorship and Nursing. Original Articles Gavin J. Andrews. Geographical Thinking in Nursing Inquiry, Part Two: Performance, Possibility, and Non-Representational Theory. Diane Tapp and Mireille Lavoie. The Humanbecoming Theory as a Reinterpretation of the Symbolic Interactionism: A Critique of its Specific Nature and Scientific Underpinnings. Krzysztof Pezdek and Lotar Rasiński. Between Exclusion and Emancipation: Foucault's Ethics and Disability. Peter Kevern. Spiritual Care as a Response to an Exaptation: How Evolutionary Psychology Informs the Debate. Dialogue Contributions Sam Porter. Evaluating Realist Evaluation: A Response to Pawson's Reply. Philosophers for Nursing Lynne Williams, Jo Rycroft-Malone and Christopher R. Burton. Bringing Critical Realism to Nursing Practice: Roy Bhaskar's Contribution. Postgraduate Essay Prize Winner Aimee Milliken. Subjective from the Start: A Critique of Transformative Criticism. Back to Top

Pacific Philosophical Quarterly, Vol. 98, #1, 2017 Original Articles Andrew McAninch. Activity, Passivity, and Normative Avowal. Paul Silva Jr. The Composite Nature of Epistemic Justification. Per-Erik Milam. How is Self-Forgiveness Possible? Benjamin McMyler. Requesting Belief. B. J. C. Madison. Epistemic Value and the New Evil Demon. Chase B. Wrenn. Truth is not (Very) Intrinsically Valuable. Sam Baron. Back to the Unchanging Past. Back to Top

Studies in History and Philosophy of Science Part B: Studies in History and Philosophy of Modern Physics, Vol. 57, February 2017 Original Research Articles Joshua Luczak. Talk about Toy models. Paul Tappenden. Objective Probability and the Mind-Body Relation. Jacob Pearce. The Unfolding of the Historical Style in Modern Cosmology: Emergence, Evolution, Entrenchment. David Wallace. More Problems for Newtonian Cosmology. David Merritt. Cosmology and Convention. Balázs Gyenis. Maxwell and the Normal Distribution: A Colored Story of Probability, Independence, and Tendency toward Equilibrium. Angelo Baracca, Silvio Bergia, Flavio Del Santo. The Origins of the Research on the Foundations of Quantum Mechanics (And Other Critical Activities) in Italy during the 1970s. Yemima Ben-Menahem. The PBR Theorem: Whose Side is it on? Gábor Hofer-Szabó. How Human and Nature Shake Hands: The Role of No-Conspiracy in Physical Theories. Klaas Landsman. On the Notion of Free Will in the Free Will Theorem. Matthias Egg. The Physical Salience of Non-Fundamental Local Beables. Darren Bradley. Deutsch on the Epistemic Problem in Everettian Quantum Theory. Rainer Dick. Quantum Jumps, Superpositions, and the Continuous Evolution of Quantum States. William Rehg, Kent Staley. "Agreement" in the IPCC Confidence Measure. Back to Top

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thatjustmakesyouabetacuck · 2 years

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#c: jamal albrecht #c: josh secord #c: ben lavoie #c: harold romano #c: david hwang #c: ruy narvaez #c: drew kitamoto #c: bryce tanner #c: aneirin selinger #c: tristan falkenrath

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thatjustmakesyouabetacuck · 3 years

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The Journey (c. 1862)

“You know what I’m gonna do, when all this is over?”

Ben took a second to register the question. His unit had been posted to help guard the Antietam Creek. They’d just arrived in town not two days prior, and McLellan had put them to work almost immediately. There’d hardly been the time to catch a good night’s sleep, and he’d spent a not-insignificant portion of that spare time trying to put together a letter for Gemma.

It was hard to figure out what to say, though. He could hardly remember what his last one had said. And it was hard for her to reach him back, by the very nature of his travels, so it wasn’t as though he knew much of what she was up to either to ask after. He kept the letters he did get from her, but they were well out of date by the time he got them.

All he’d managed to come up with was, he was alive, and the Union seemed to be winning the war. So maybe he’d be able to come home soon. And maybe she’d be married to someone else by then. It had been a year already, and who knew how many more it might be before he was home?

And it wasn’t as though she’d said she’d wait for him. She hadn’t said she would, and he hadn’t asked her to. It wouldn’t have been fair to ask. They’d never really spoken about the future, theirs’ or just in general - They’d only just begun to spend time together when the war broke out.

Ben had only asked if he could write to her.

There wasn’t much joy to be had, nowadays. He wanted to preserve just a little of it for himself, even if it was just catching the hint of her smell on the paper for a few seconds when he opened them up. Even just keeping her voice alive in his head, reading her words.

Even if they never got the chance to find out what might have been, he wanted to survive, if only to get home and tell her that those letters had preserved his sanity, and likely saved his life a dark day or two.

“I say, you know what I’m gonna do when-”

Ben shifted around. “What are you gonna do, private?”

“I’m going to have a cannoli.” Private Bradshaw sighed, dreamily.

“A cannoli?”

“My mother makes a great cannoli. I miss ‘em.” Bradshaw glanced out over the creek. “I miss her.”

Ben had nearly forgotten that Silas Bradshaw was only a couple months past his sixteenth birthday. He’d claimed twenty years, the day they’d met, but Ben had cottoned on quickly. The boy was barely shaving.

Him and Chamberlain, before the latter had been killed in Maryland. They’d lied about their ages to enlist, and part of him had known even then that he should have sent them home. Neither boy had even seen their twentieth year yet, and Ben felt responsible to make sure that Bradshaw at least got to go on and lead a full life, once they all got out of this thing.

“I miss my wife’s church dress,” Corporal Sinkler added on. “It’s green. Nice lace collar. She saw it in a store window in town, and she never said to me she wanted it, but I could tell ‘cause she always stopped to look at it when we were doing our shopping and I couldn’t afford to buy it for her - the factory barely paid me enough that we could live off it. So she spent months, three, four months, sewing up torn clothing and teaching piano to raise the money ‘til she could buy it for herself.” He rested his head back against the fence post, and smiled fondly. “My Mary-Ann, she was always clever with money. And the first time I saw her in it…”

He closed his eyes, and took a deep breath. “Ah, call me a bad catholic, but I couldn’t tell you what an angel’s meant to look like. But my Mary-Ann, in that green dress, and her hair loose in the breeze and that pretty little gap in her teeth - I think they’re like that. They must be.”

Ben smiled and nodded along. “That’d be nice.”

Creswell lamented, “I miss my little boy. My Zeke.”

And so they went, around the circle. Listing off things about back home that they missed. The things they wanted to come back home to one day.

“If they’re still there, anyhow,” Sergeant Carter muttered.

Ben elbowed him in the ribs.

Creswell demanded, “And what’s that mean?”

Carter looked back at Ben questioningly, and Ben shook his head. Carter’s brow furrowed, Ben shook his head. Carter turned back to Creswell. “It means, we’ve been gone two years. Two hard, lean years. You think Zeke’s still gonna be the same little boy when you get back?” He turned to Sinkler. “You’re from Philadelphia, aren’t you? You got anything but old letters to say your wife’s still as safe and alive as you left- ?”

Ben rubbed at his temple. “Sergeant.”

“Hell, for all Sinkler knows-”

“Sergeant,” Ben put a hand on Carter’s arm. “Jordan. With all due respect, shut the fuck up.”

“I’m just saying, Sarge.”

“I know what you’re just saying.”

“Me,” Carter said. “I’m not that fussed about getting home. I’ve got nothing keeping me there. My folks went back to Toronto when the war started up. I’ve never been able to find any long-term work anyway, outside of that ranch. And I’m not one for animals. Least this war’s meant steady pay.”

The other soldiers fell silent. It was as though the air had been let out of the conversation. Ben turned his attention back to the creek. There were supposed to be Confederate soldiers camped out a ways over the bridge, but they’d been ordered not to engage.

A year back, Ben might’ve fought the order. He’d have found it passive, and cowardly. Now, he got it. He’d been in command of the unit all of three months, by way of a death and a couple field promotions, and he’d already figured out about himself that when he was the guy calling the shots, he was in no hurry to run his men into unnecessary danger.

“I miss her laugh,” Ben said finally, out loud.

“Who?”

“This girl back home.” Ben kept his eyes locked out on the creek, his shoulder resting agains the fence. “A friend of mine. She’s got this laugh I always liked, when you’d say something strange, or you tell a dirty joke. Always made me want to think up more whenever we were together, just to keep her laughing.” He turned back to Carter, looked right at him. “I think it’s worth trying to keep alive, just to hear it again.” He looked back out at the creek. “And I think looking forward to whatever comes after this war, whatever you go on to do then, that’s worth keeping alive for too. It’s all hope, right?”

Carter thought about that a minute. “Yeah,” He allowed. “It’s all hope.”

There was another long silence, then he turned his attention back to Bradshaw. “Say, Private, you think your ma’d have anything against a black man trying some of that cannoli?”

“No sir,” Bradshaw grinned. “She loves to entertain.”

“Once this war’s done with, I’ll have to make my way down there. See what all the fuss is about.”

And then everybody was talking again, about all the stuff they’d left behind and everything they had to look forward to. With everybody distracted, Ben was left alone with his thoughts again. At least for right then, he thought he preferred it that way.

Gemma, He began dictating his next letter in his head.

Do you remember when that donkey kicked Mel Crankshaw into Callahan’s creek? I’ve oft wondered what he must have been after, sneaking up on that unfortunate ass…

***

The Duel (c. 1866)

“Where’s your gun?”

Josh didn’t respond. He just took his twenty paces, and turned to face his opponent.

Russell Higgins, his name was. Wanted in three counties, for more crimes than you could fit on a poster. Not that Josh cared one way or the other. Barring any danger to him and his, he wasn’t in the business of law enforcement.

“C’mon now,” Higgins complained. “I’m not gonna kill an unarmed kid. I’m an outlaw, not a savage.”

“I’m not unarmed.”

“Where’s your gun?”

“Don’t like ‘em.”

“...You fucking with me?”

“Nope.”

Higgins took off his hat, ran a hand through his thinning hair, and turned to look at the gathered crowd as though to gauge if any of them could believe it either. Then he turned back to Josh, “You fixin’ to die today?”

“No more than you.” Josh kicked at the dirt with the toe of his moccasin. “We doing this or not? ‘Cause I got places to be.”

Higgins glanced back over his shoulder at the crowd. Josh’s gaze was fixed, unmoving, on him and his second. Higgins looked back at him, a long searching look. Josh met his gaze.

He sighed, “Alright.” Then louder, directed at the crowd, “Alright alright alright! Let’s give these fine people what they came here to see! What do you say?”

Josh said nothing.

Higgins took his last three steps back, and took his stance. One foot in front of the other, hand at his hip. Josh stood facing forward, legs shoulder-width apart and hands relaxed at his sides.

Kade, the barman, counted down. “Five, four, three, two…”

He threw a hand up. “One!”

It all happened in the blink of an eye; Kade leapt backwards, tripped over the bottom porch stair, and fell on his ass. Higgins fired off a shot, which whizzed past the exact spot Josh had been standing in a fraction of a second ago. And he had a knife embedded in his right shoulder.

Forty paces away, Josh stood untouched. He’d drawn so quickly, most in the crowd would have sworn they’d never even seen his hand move until the knife left it. The smell of gunpowder lingered in the air, and for the longest of instants, nobody seemed to move a muscle.

Then Higgins dropped his gun, looked blankly down at his chest, and gulped. “Aw fuck...”

He fell to his knees, clutching at his shoulder and screaming bloody murder.

Josh winced away, and crossed his arms over his chest. He’d long since lost count of how many times he’d been through this, but it never got any easier. Usually, he just aimed to shock them, make them drop their gun.

Aside from anything else, every dead body that piled up was more often than not connected to a half-dozen other (very much alive) folk who’d be looking for revenge. And when enough of those came to be, they tended to form posses. Which were much harder to duel than a person at a time.

So, when he could avoid it, he avoided “to the death.” More than not, he just made sure their gun hand wouldn’t be holding much of anything in the near future. Josh’s stomach turned at the thought, and he tasted bile in the back of his throat when he swallowed down.

For a notorious gunfighter, Sheriff Wagner had once observed, you’ve got a pretty weak stomach.

Hard to argue that, Josh thought. There were parts of a good duel that he loved, and that some might even say that he lived for – The nervous anticipation before the draw that crescendoed just as the trigger pulled back. The way his heart always skipped, just for a beat, when the bullet whizzed by. The rush of surviving.

When he let himself get roped in, it was never the aftermath he thought about.

The doctor from up at Kesten Farm elbowed his way through the crowd, and knelt down beside Higgins to try and inspect the wound. Satisfied that his opponent wasn’t going to die, Josh turned and walked away.

He slipped in between a couple onlookers, and disappeared through the crowd. Some lawman or other would be here sooner than later, he told himself.

No sense in sticking around for all that.

***

The Play (c. 1867)

“It makes no sense to do it like that. How are people in the back row supposed to hear?”

“The back row of what?”

From the word ‘go’, Hamlet had been an uphill battle for Khyree. Trying to pass off a closed down general store as a Danish castle was an undertaking in and of itself, but one could cut corners in that regard and still come out alright.

Working within the constraints of that set, however…

“Actors,” Calvin Rolle informed him. “are supposed to project their performances. Play it up for the back row. I read that in a book once.”

“He’s mulling over killing himself. It’s not a bombastic moment.”

“I wasn’t going for bombast, I was going for anguish.”

“And I’m telling you to try for a quieter, more… resigned anguish.”

Calvin looked like he wanted to further argue the point, but a look down at his pocket watch prompted him to decide against it. He ran his hands through his hair, did a lap around the staging area, eyes cast up to the rafters, then stopped, took a deep breath, and nodded. “Right then. Quiet anguish it is. Shall we run it again?”

Khyree sat back down in his director’s chair, and gestured for Calvin to run it again.

Calvin braced himself against a column, arms crossed loosely over his chest as though to brace against cold. “To be, or not to be,” Calvin mused, quietly. “That is the question… “Whether ‘tis nobler in the mind to suffer,” Here, he shifted his gaze pointedly onto Khyree. “the slings and arrows of outrageous fortune...”

He stepped up off the column, and shifted his focus off Khyree, off through the store’s front window. “Or to take Arms against a sea of troubles, and by opposing, end them.” His voice faltered. “To die.” A pause. Khyree leaned in closer. “To sleep...”

A rare grin spread across Khyree’s face, and he nodded. Urging him on. At the front counter, Enzo Castaneda had stopped working on the costume he was in the process of sewing, and turned to watch.

“No more; and by a sleep, to say we end the heart-ache, and the thousand natural shocks that flesh is heir to? 'Tis a consummation, devoutly to be wished. To die, to sleep. To sleep, perchance to dream…”

Calvin started towards Khyree, and Khyree got up out of the chair. Calvin collapsed wearily into it, and sighed heavily. “Aye, there’s the rub.”

Khyree stepped back, fighting the urge to jump for joy. Yes! Yes. This was exactly what he’d been looking for. This was exactly right.

“For in that sleep of death, what dreams may come when we have shuffled off this mortal coil, must give us pause. There's the respect that makes calamity of so long life: For who would bear the whips and scorns of-” Calvin stopped and cleared his throat. His brow furrowed, and he sat up in the chair. “Are you sure about this, mate? I feel as though I’m barely- What if people can’t hear me?”

Khyree turned to Enzo. “Could you hear him okay?”

“Oh yeah.”

Khyree gestured to him, as if to go ‘See?’

“Well, I still reckon, with a full standing room-”

Khyree threw his hands up. “Oh, God save me-”

***

The Game (c. 1867)

“Hit me.”

“You’re at eighteen.”

“I know what I’m about, sheriff.”

It had been two days since Sheriff Vincent Wagner had arrested Logan Griffiths outside the tavern. He’d gotten him on suspicion of horse theft.

Generally speaking, Griffiths wasn’t someone he bothered with much. His territory was out near Dry Banks, and Wagner didn’t have the kind of manpower to bother with the troubles out there much. Plus, he was no friend of the Callahans, and they caught the brunt of Griffiths’ criminality anyhow.

Griffiths was due to face trial at the end of the week, but Wagner didn’t have much faith in him making it there. This was far from Griffiths’ first time in a jail cell, and he’d not made it in front of a judge yet.

That was one of those perils of law enforcement in Vainhollow: If it wasn’t that native gunfighter slipping out over the top bar of the cell when Wagner went outside to take a piss, it was Griffith’s gang tipping over the wagon on the way to the courthouse to bust their leader out.

Even know, Griffiths didn’t seem very concerned about the possibility that he was facing down the hangman’s noose. He was lying on the bed in the cell, arms folded behind his head and his legs crossed. He barely even seemed interested in the game.

Vincent drew a card. He flipped it around, to show Logan the ace. “That’s eleven.”

“It’s one.”

“It’s eleven.”

“It’s one if you got more than ten.”

Wagner sighed. “Well suit yourself, it’s a one. You’re at nineteen.”

Griffiths considered that a moment. “I’ll stand on that.”

“Alright, my turn.”

Vincent drew a three, a four, an ace…

He slapped the table. “This one’s yours’.”

“What d’you owe me now, sheriff? Five bucks?”

Wagner smirked, “I’d go double or nothing.”

“You’re on.”

Wagner took the next two rounds, and now Griffiths owed him twenty bucks. For an outlaw, he found it curious that Griffiths just took what Wagner told him about the cards at face value. He hadn’t cheated, but he could have easily. Griffiths didn’t even check.

It wasn’t like they were ever going to settle the debt, he supposed. And they were both bored anyhow. What fun was there in just jerking the man around the entire time?

“This common practice for you?” Logan asked. “Playing cards with your prisoners?”

“What can I say? Most don’t have the patience for chess.”

“You don’t hate them, then.”

“Who?”

“Your prisoners.”

Wagner stopped to consider that question a moment. “Some more than others.” He reshuffled the deck. “I don’t have much patience for murderers, kiddy fiddlers, or rapists. But most that come through here aren’t bad, in their souls. I don’t believe that. I think a lot of them are good people in a bad situation.”

“So why arrest them?”

“‘Cause bad situation or not, they’re still hurting people.”

“Come on.”

“What?”

“That’s not it.”

“How do you figure?”

“If ‘hurting people’ was all the criteria there was, the Callahans and Crankshaws would’ve faced the firing squad years ago. A poor kid stealing bread, two drunks taking shots at each other on main street - Hell, a bank robber or a town flasher, you’re not arresting them for being bad people. You’re arresting them because they’re the ones you can bully around.”

Vincent started to argue back, but Logan waved a hand. “And by you, of course, I mean the royal you. Pinkertons, sheriffs. Marshals. Law enforcement. I can’t speak for you, specifically. But on the whole? Yeah. They got a feet on the neck of us regular people, and their tongue washing the boots of the people putting money in their pockets.”

“So what’s the alternative? Let nature take its’ course?”

Griffiths shook his head. “Shit if I know. But I know this isn’t working.”

“So where do you fit in?” Wagner propped his feet up on the desk. “You must fit into all this somewhere, right? In your head. You and your friends.”

Griffiths said nothing.

“Let me guess: At least you’re honest about it? Your crimes. At least you own who you are.”

“Something like that.”

“...Well to each their own, I suppose.” He set the deck back down on the table. “You want to go again?”

“Why not?”

Griffiths straightened up, and glanced over his shoulder at the wall behind him. He stared for a second, then eased back down.

“Something the matter?” Wagner asked.

“Nah. Thought I heard a mouse.”

The sheriff swung his legs down off the desk and stood up from his chair. He came closer to the jail cell, and looked down at the floor. There was a hole towards the back of the cell, he noticed, just wide enough that a mouse might squeeze through. But it didn’t look like there was any inside.

“I don’t see one either,” Griffiths offered. “Must’ve imagined it.”

Wagner shrugged, and went back to his desk. As he did, Griffith stood up and braced his hands against the bars. “So, what’d I draw?”

“A seven.”

The shadow a smirk tugged on the corner of Griffiths’ lip. “Must be my lucky day. Hit me.”

Just as Wagner went to draw another card, though, the entire jailhouse rattled. Griffiths braced himself against the bars, but Wagner nearly fell out of his chair. “What the hell was that?!”

Griffiths said nothing.

A loud creak, a pause, and then a heavy slam as the jail shook on its foundations again. The wall at the back of the jail cell had cracked. Wagner stumbled to his feet. “Oh, you gotta be goddamn kidding me…”

This time, Griffiths did smile at him. “I’d suggest you get behind the desk, sheriff. I’d imagine they brought company.”

Wagner drew his gun. Griffiths barely flinched, aside from his hands tightening around the bars of his cell.

“I wouldn’t advise on shooting me, either. They find me dead in here, they’ll probably look unfavorably on that.”

“There’s room enough for all of them in this cell.”

“Specially with that wall taken out, hm? And if they do end up shooting you for shooting me, I wonder, who takes over as sheriff once you’re gone? Surely, if you had any deputies you trusted, you’d have them watching me instead…”

“Shut up.”

The walls shook again, and Wagner braced against his desk.

“D’you even have any deputies?”

One last good shot, and a log came crashing through the wall. Griffiths threw himself back down onto the bed as it slammed into the bars and then swung back out.

“You’ve got be shitting me,” Wagner coughed. “A battering ram?”

Griffiths hopped back up to his feet, and dusted himself off. He reached into his boot, and pulled out a rolled up wad of bills. He pulled out four notes, and dropped them down on the bed. “I believe this is yours’, Sheriff.” He climbed over the wreckage of the back wall, one arm covering his mouth. “And now you can’t go around saying I don’t pay my debts.”

Wagner walked up to the bars. “You know I’m gonna get you right back in here next time we see each other, right?”

Griffiths looked back over his shoulder. “Let’s call the next round double or nothing, yeah?”

One of his boys handed him a stetson, and Griffiths put it on as he climbed out of the jailhouse and back into the sunlight. There was a crowd assembled, but nobody was doing much but gawking. Griffiths threw himself up onto the back of the horse, waved at the sheriff…

And then they were gone.

Wagner stood there for a long moment, staring at the hole in his wall. He couldn’t even think about how much it would cost to repair that damage, right then. He couldn’t even be mad that nobody stepped up to try and… he didn’t know, make a citizen’s arrest or something.

There was a lot about the situation to get angry at, but Sheriff Wagner only had one thing on his mind right then.

“Piece of work,” He muttered to himself. “But I’ll be damned if he doesn’t know how to make an exit.”

At least it’d be a hell of a story to tell over dinner, that night.

#c: ben lavoie #c: josh secord #c: khyree frazier #c: calvin rolle #c: logan griffiths #c: vincent wagner #au: wild west #c: jordan carter

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