#halace

[beardedmrbean]

F

[rasslegram]

Vale 2023

Terry Funk, Bray Wyatt, Joyce Grable, Killer Khan, Jim Breaks, Doug McLeod, Kurtis Chapman, Brett Wayne-Sawyer, Emile Dupree, Bart Sawyer, Curtis Smith, Randy Johnson, Bill Howard, Count Drummer, Pat Blake, Sheik Adnan El-Kaissey, Darren Drozdov...

Mantaur Mike Halac, Iron Sheik, Tommy Siegler, Tony Peters, Exotic Adrian Street, Superstar Billy Graham, Butch Miller, Rod Bell, Peggy Lee Leather, Abe Jacobs, Rich Landrum, Ed Garea, Brian Dixon, Tim Lyle, Beverly Shade, Don Luce, Willie Paul, Bill Robinette...

JR Bundy, Jerry Jarrett, Jason Silver, Jeff Gaylord, Toro Bill, Eric Froelich, Black Warrior, Johnny Powers, Karl Von Steiger, Mike Pappas, Amit Magnezi, Sean Patrick O’Brien, Jimmy The Jester, Terry Machalek Sr, Brian Bukantis, Matt Mann, Lanny Poffo...

Billy Two Rivers, Rockin' Randy Rhodes, Charlie Norris, Ed Cheslock, Dan Masters, Howard Brody, Chica Ye-Ye, La Arpia, Carlos Elizondo, La Tigresa Del Norte, Jay Briscoe, Kenny Jay, El Justiciero, Benny Galant, Robocop, El Rostro, Indio Vitela, Millonario...

George Leach, Fred Van Lotter, Danny Angus, Kenny Valiant, Mike Doggendorf, Richard Arpin, The Rose, Osamu Kido, Bob Barker, Butch Mantell, Absolute Andy, Christa Clark, Bill Rossi, Spencer Churchill, Danny Loos Jr, Joe Stark, Jerry Novak...

[safedistancefrombeingsmart]

On the Breeders family home set that is 4 storeys high, the rear projectors were suspended on motorised cables outside the windows with sky views, and moved floors depending on what level we are filming on. The screens had different images for the background for weather conditions and times of day, although for daylight scenes I usually ended up shooting with the overcast plates, because it gave us more screen detail as the sets were quite low light level and we had to light to expose for the rear projection and didn’t lock me into a specific weather look as we shot our locations after shooting in the studio - not that it makes a big difference as our weather is so changeable anyway! The house set had relatively low ceilings and when you wanted to show the split level in one shot you couldn’t hide any lights in the ceiling as they would be in vision, and the set was long and thin due to the house being a London townhouse terrace, so the middle of the set was quite dark. We would creep light panels in left and right of frame and Asteras too, but the general ambient was low, and not possible to push a huge amount of light from outside inside as you would quickly see the light source. So bouncing onto the floor in the outer edge of the set was the best method of adding directional accents of light and lifting the ambience.  Awesome gaffer, Kit Wood and I liked to sometimes bounce light onto the ceiling with Aperture 300d  as its nice way to add a bounce in focused areas with a good drop off. I think the set being more like a very controlled location due to its restrictive lighting access compared to other sets, does gives the show a more realistic feel, and made you lean into the low key look which again gives Breeders its dramatic edge. Last photo is Bradley outside the real location! S3 Crew Dir Ollie Parsons Camera Op David Pulgarin & Jake McLean 1st AC’s George Telling & Bradley Stern 2nd AC’s Lali Coombes & Ashton Born Cam Trainees Annabel Lee & Joseph Slocombe DIT Alican Halaceli Gaffer Kit Wood Best Boy Huw Garratt Grip Alex Kelleher Grip Assistant Jordan Heath Production Company Avalon

I'll miss seeing this house!

[birguzelllincirkini]

Gece kitap okuyorum kitabın bir yerinde söz döndü dolaştı Halac-ı Mansurun yargılanmasına geldi.

Tövbe etse serbest bırakılıp evine dönecek iken mahkeme heyetine sonra yargılanmayı izleyen halka dönüp "beni öldürün,beni öldürün" diye haykırmış.

Nedense Yesıl Yol filminde John Coffey'nin "yaşamak istemiyorum patron beni öldürün" repliği aklima geldi.

Farklı çağlar benzer insanlar...

Neyse nasıl etkisinde kaldıysam rüyamda Hallac-ı gördüm :)

[malasangregambaro]

La autora: Griselda Gambaro

Griselda Gambaro es una importante dramaturga argentina nacida en 1928. Creció viviendo la llamada década infame, un periodo corrupto en la política argentina que comenzó en 1930 y se dio por concluido en 1943. Su literatura está caracterizada por un fuerte componente de conciencia social: Gambaro trata de reflejar las problemáticas sociales y políticas de su época e intenta concienciar a su público de que adopten una postura responsable al respecto.

Aunque su actividad literaria destaca en el género teatral, sus inicios fueron en la narrativa, con novelas como Una felicidad con menos pena (1967), Ganarse la muerte (1976) y Nada que ver con otra historia (1972). Pasó un tiempo viviendo en Italia y tres años exiliada en Barcelona (entre 1977 y 1980), pero regresó a Argentina. A pesar de que Gambaro pasara casi toda su vida en Argentina, sus primeros textos no parecían tener un color nacional, según la crítica:

Cuando estrené mis primeras piezas era muy importante el movimiento de los autores realistas argentinos, como Roberto Cossa, Carlos Gorostiza, Ricardo Halac y Osvaldo Dragún. Me opusieron a este tipo de teatro, designando al mío como teatro del absurdo o de la crueldad. Creo que son etiquetas cómodas para los críticos. En realidad nosotros, los argentinos, estamos muy atentos a lo que pasa en el mundo. (Seoane y Gambaro 1983: 164)

Tanto es así que, aunque se la criticaba al principio de su carrera profesional por no escribir sobre temas sociales candentes, sus obras más destacadas son claras alegorías de situaciones políticas de su país, como se ve en La malasangre y en Antígona furiosa. Sus primeras publicaciones “exploraron las relaciones entre víctima/victimario y la violencia ejercida por un poder ilegítimo” (Featherston 2014: 76).

Sin perder ese foco en las relaciones entre víctima y victimario, la obra de Gambaro puede dividirse en dos etapas: una primera etapa marcada por la dependencia y una segunda etapa donde aparece el componente de la rebelión.

Primera etapa: dependencia

La etapa de la dependencia comprende las obras publicadas entre 1963 y 1973. La influencia más evidente en esta etapa es la de lo absurdo.

En esta estética de lo absurdo, las mayores influencias de Gambaro son el francés Samuel Beckett y el rumano Eugène Ionesco. En cuanto a la crueldad, la otra corriente estética donde la crítica colocaba el teatro de la autora, su influencia principal parece ser Antonin Artaud, también francés.

Segunda etapa: rebeldía

Esta segunda etapa incluye las obras publicadas de 1973 en adelante. La corriente que define esta etapa es la del realismo crítico.

Poco a poco, Gambaro fue dejándose influenciar más por los autores nacionales: “Cuando comencé a escribir estaba bastante aislada, conocí a los autores argentinos tardíamente. Me encontraba y me encuentro más cercana a ellos que a los europeos” (Seoane y Gambaro 1983: 164). La autora concibe su país como configurador de su voz literaria.

Además del realismo crítico, palpitante entre los dramaturgos argentinos de ese momento, aparece en el teatro de Gambaro la estética de lo grotesco. En esa ocasión, su influencia es el argentino Armando Discépolo. Gambaro describe el grotesco en la literatura de esta manera:

[…] es ese género donde se ve llorar la Biblia contra el calefón; desactualiza el drama y, sin empequeñecerlo, lo trae de este lado de las peripecias cotidianas. Donde los hombres fracasan y sufren sin demasiada grandeza. Donde un tropezón desafortunado, un defecto cómico, un resto de fideo colgando del bigote, en un rostro que llora, son capaces de desarticular —con el ridículo— las penas más profundas. (Seoane y Gambaro 1983: 164-165)

La autora utiliza esta estética para reflejar escenarios de su tiempo. Esto lo considera una diferencia con respecto a su referente, Discépolo, que utilizó el grotesco para retratar la época de la inmigración: “Este grotesco que escribimos hoy se emparienta con el otro, pero será, indudablemente, más ácido y más nostálgico” (1983: 165).

En esta etapa donde el elemento protagonista es la rebeldía contra la situación de violencia es donde se sitúa La malasangre, una obra que pinta un cuadro alegórico sobre la represión de la dictadura rosista. La protagonista, Dolores, será el personaje rebelde que dibuje el curso de la historia y descubra las consecuencias de su sublevación.

[sparklecryptid]

The way HalaC’s Gojo song is giving me Akira vibes is on point

[if-you-fan-a-fire]

"FAIR SLEUTH TRAILS THIEVES IN STORE," Toronto Star. July 11, 1933. Page 2. ---- Negotiates Arrest of Astute Shop-Lifters After Chase ---- Magdaline Halac and William Buhack, charged with stealing 8 ladies' dresses, one kimona, slip, pair of shoes, 1 sets of underwear. bathing cap and various other articles from a downtown store were remanded in custody for sentence on July 18 by Magistrate Patterson in women's court today.

"I saw the lady take a dress off the rack and hold it up." said a woman store detective. "The man worked in behind her and took another dress off the rack, and slipped it under his cost which he held folded over his arm. Then the lady put the dress she was using to shield the man back on the rack and they both walked away. I followed them."

The trail led all over the neighborhood, through streets, stores, offices, elevators, stairs, around corners and into wash-rooms, she said. The accused were finally arrested by three store detectives and turned over to Detective Black.

"They also paid a visit to the bathing suit counter where the man again put a stolen suit under his coat while shielded by the woman." testified another store detective.

A colorful exhibit of the stolen articles occupied a large space in court.

"This woman is the mother of six children," said defence counsel. "She was only a tool in this man's hands. He takes full blame."

"She was a very able assistant." commented her worship.

"The man has been convicted for shop-lifting before in Windsor," said the crown. "Full restitution must be made," said the bench.

"Very Jealous" "He picked up a chair and wanted to hit me over the head with. Another day he strangled me before my daughter. He said he would kill me if I locked my door. He's jealous of everyone," claimed a little Scottish lady, charging her husband with assault.

"She keeps nagging me until I can't stand it any longer." pleaded accused.

"If you leave drink alone you won't have any trouble," said the bench. "You will sign a bond to abstain from all alcohol and keep the peace for six months and you will be under the supervision of this court for that period."

Jean Clark, convicted last week of keeping a resort, was sentenced to 3 months at the jail farm.

Glen Russell, appearing for sentence on a vagrancy charge, was put on probation for six months, having secured transportation to her home up north.

"A Scotsman gave me a bottle of wine and I got drunk," claimed a ruddy-faced man charged with beating his wife and daughter. He was remanded in custody for sentence on July 18.

Found drunk on Elizabeth St.. Georgina Westbrook was sentenced to three months at the jail farm. It was her second offence.

Mary Naster, on a vagrancy charge, was remanded to July 18 for mental examination.

"Scratched Like Cat" "She scratched me like a wild cat", claimed Edna Howcombe, charging Mrs. Phillip Warnett with assault.

"She came in for a minute for the washtub and insisted on having it. I said I had as much right to it as anyone. We live in the same apart- ment house. Then she called me the worst names."

"Not so much assault as insult then," said the crown.

"No. I still have the scratch marks on me."

The matron testified that complainant had long deep scratches on her arms and in the face.

"She tried to slap me," claimed accused, "I had the washtub and she asked me for it. I said I would give it to her in a couple of minutes.

Accused was bound over in the sum of $50 to keep the peace for six months.

"He hit me in the face with his fist. Then somebody cracked me over the head with a stick. I've been to the doctor's three time. His wife had a broomstick. I don't remember what she did because he knocked me silly first," claimed Mary Paska, charging her neighbor, William Babayaka with assault.

"My boys and theirs were in the yard. Then the woman came out and called me bad names."

"She threw a pail and a rake at me. Then she threw a bottle at me later. But she missed every time," smiled the accused.

"I was sitting quietly on my back bench when some rubbish came over the fence. I tried to telephone, and when I came out again complainant was raising the dickens with my wife. I said: 'What's going on here?" She says: 'I'll show you.' That's when she started throwing things at me. Then the police came and told me to hand back all the things she had just thrown at me. I asked her: 'Is this your rake?" She says: 'Yes. So I gently gave it to her. No, I never hit her over the head or anywhere."

Both parties were bound over to keep the peace for six months.

[norteenlinea]

“Tutorial” de Eva Halac con Fernando Migueles en Teatro Del Pueblo

http://dlvr.it/T9zTZG

[andersonvision]

Global Digital Releasing is proud to announce the digital release of the award-winning documentary, The Mighty Mantaur, on June 28th, 2024. Directed by Faustus McGreeves, this compelling film offers an intimate look into the life of WWE Superstar Mike Halac, better known as Mantaur. https://www.youtube.com/watch?v=KSaruoVNA1g A Heartfelt Journey The Mighty Mantaur chronicles the rise and fall of Mike Halac’s career, highlighting the physical and mental toll of his journey. Co-written by Halac himself, the film delves deep into the man behind the mask, showcasing his struggles and triumphs as he fights for his life. Tragically, Halac passed away in July 2023, shortly after the film's completion. However, he was able to see the final cut and expressed his love for the project to the filmmakers. Director's Insight Director Faustus McGreeves shares his perspective on making the film: "I had Mike Halac as an actor without any knowledge of his wrestling career. As we became friends, I realized that although I wasn't a fan of wrestling, his stories were universally interesting, sparking the idea for this film. I discovered that his story was more than just an interesting bio; it was a call to action for audiences to understand the dangerous risks these athletes take with their lives, often without a safety net." Acclaimed Screenings and Awards The Mighty Mantaur has been met with acclaim, with sold-out screenings in Omaha, NE (Mike’s hometown) and Los Angeles, CA. The film has been accepted into numerous film festivals, winning 10 awards to date. Mark your calendars for June 28th, 2024, when The Mighty Mantaur will be available on digital platforms. Don’t miss this powerful documentary that sheds light on the life and legacy of a wrestling legend.

[hackernewsrobot]

New Ultra Fast Lossless Audio Codec (HALAC)

https://hydrogenaud.io/index.php/topic,125248.0.html?PHPSESSID=su12fvq4ar7cordpr8p1uoa7p0

[pwzpodcast]

Our condolences to the family of Mike Halac and Mantaur.

#wwe #wwf #mondaynightraw #mantaur

[catalina-viyahair]

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[rp-kat]

Grand Belial's Key & Chemin de Haine - Hobo of Aramaic Tongues & Le royaume maudit

2003

[mondokozmikova]