#kumlin

[gouldblogger]

ALBERT CAMUS at the announcement of his winning the Nobel Prize in Literature, on October 17, 1957.

[Picture at the bottom left is Swedish ambassador Rugnar Kumlin announcing the prize to Camus]

[cawamedia]

Jag är ful - Kristina Kumlins bokrelease

Varmt välkommen till releasefesten för Kristina Kumlins självbiografi ’’Jag är ful’’. Boken tar dig med bakom fasaderna i 80- och 90-talets modell- och jetsetvärld i Paris, Milano och New York. Datum: måndagen 16 september. Tid: Välkommen kl.16:45. Gästerna börjar anlända kl.17:00.Plats: Operakällarens matsal där det bjöds på tilltugg (små snittar), samt drinkar. Samtliga 300 inbjudna gäster…

[linjust]

Slack funeral home

Maries, ID their 8 grandchildren Sarah (Howard) Abrams, Deborah Breisblatt, Travis (Haingo) Slack, Tina (Mark) Klismith, Bryan (Kristi Masterson) Chase, Brent (Shizuka) Chase, Dustin (Margie) Chase & Nikolas (Natsumi) Chase and their 17 great-grandchildren will be treasured forever. She loved to travel whether it was camping with the family throughout the U.S., or trips to Sweden, England, France, Italy and Israel.Įlaine’s devotion to Ernest, their two children, Marjorie (Bob) Breisblatt of Glencoe, IL and Arlo (Michelle) Slack of St. Interesting clippings and quotable quotes were often included in her letters and cards. She was a wonderful correspondent remembering so many people regardless of the occasion in the cycle of life. She was a voracious reader and especially liked a good mystery. She liked wind chimes and wind socks as evidence on the farm house porch.Įlaine was a faithful member of the Southwest Prairie Lutheran Church for over 65 years and served many offices in the church and Ladies Aid. She loved the farm, the change in seasons, and a beautiful sunset. They rented a farm on Dach Ridge before buying a farm in Sag City in 1951. They were married on Apat the old DeSoto Lutheran Church. She took a business course at LaCrosse Vocational School and worked for Dairyland Power Coop in Genoa, Vernon Electric Coop in Wesby and the Ration Board in Milwaukee.Įlaine met the love her life, Ernest Slack, at a barn dance in 1942. She attended grades 1-8 at Sunnyside School and then went to Central High School in LaCrosse where she graduated as valedictorian in January 1942. Elaine was born on Januin rural DeSoto, WI to Will and Lena Kumlin. Maries, Idaho on Wednesday, September 7, 2016. Elaine Helen (Kumlin) Slack, 93, of rural Viroqua, WI passed away surrounded by family at the home of her son in St.

[elladastinkardiamou]

A former Swedish ambassador to Greece has called for the return of the Parthenon sculptures during an event held at the National Theatre in Stockholm.

Ett Levande Parthenon (A Living Parthenon) was a collaborative effort by the Swedish Committee for the Return of Parthenon Marbles, the National Theatre of Stockholm (Dramaten) and the Embassy of Greece to Sweden.

Krister Kumlin, who served in Greece between 1993 and 1997, is the president of the Swedish Committee for the return of the marbles.

The Swedish diplomat described the marbles as a moral issue, saying it was essential that all the parts of the ancient carvings be housed in the Acropolis Museum in Athens.

Kumlin argued that the timeless marbles “yearn for the sun of Attica” and their natural place is in the new Acropolis Museum.

[iambountyfan]

throwback photo of ionnalee posted by Viktor Kumlin via instagram story today.

plus two more photos from the same location previously shared in 2018 and 2019.

(photos: instagram.com/karlviktorkumlin)

[swedeandsour]

Jonna Lee on Demystifying the Aura of Her Viral Fame; Finding Her Voice and Her Die-Hard Fanbase

In her videos Jonna Lee (ionnalee/iamamiwhoami), carries an imposing presence. Her talons drawn over the bloodied shriek of her piercing falsettos, Lee certainly echoes the sentiment of a mythical being where cryptic words of love and hope beckon wondrous melodies through striking iconoclasm. In reality, what we see with Jonna Lee the performer is quite different. Though her intensity apparent in the palpitations of her rave-driven melodies; analogous to what someone might see in the industrial nightlife of Central and Eastern Europe, ionnalee's stage presence carries a certain tenderness to it. A tireless worker for her often die-hard audiences, Lee's performances are vibrant and energetic. There in her live show, vigorous dance routines sandwich between the illuminating wings of "Chasing Lights" and we even see a Russian floating-step that sees her levitate off the ground on during her performance of "y". With her vocals honeyed and mellow despite their resonant carry, the smoke and mirrors of Lee's live element showcase Jonna in a different light. It’s a real joy of performance that we see with Jonna, one that shines a light on her oh-so-human vulnerability that we often forget when she’s draped in faux-fur and suited-up in character.

Speaking to Jonna before her show in Toronto in her co-headlining show with TR/ST, we tried to demystify the mythology behind Lee’s eccentric presence. Kind and soft-spoken, the fearless performer seemed somewhat reserved and humbled by the whole concept of even stepping out on a world tour. There speaking about influences and finding her artistic voice and without dredging into drawn-out cliché, Jonna made sure to highlight one very important aspect. Throughout the viral madness of her initial few videos and now a world tour, none of it would have been possible without the undying support of her fans.  

Words + Photo: Peter Quincy Ng

Part of the interview has been edited for clarity

We’ve been slowly demystifying Jonna Lee. What’s it like being on tour so far and meeting your fans through your newly found infamy?

First of all, it’s amazing to fathom all of that; very surreal. It is kind of like you are in a little bubble working alone a lot, or with me and (producer) Claes (Björklund). We don’t have much connection with the music industry or just networks, so coming out seeing this many people and listening; seeing their response, it’s quite new to me. At this (crowd) size especially, it’s overwhelming but positive stuff obviously. It just takes a while just to process everything.

Tell me about your beginnings form Jonna Lee to iamamiwhoami to ionnalee again, and on how you found your artistic voice. You transitioned from largely acoustic singer-songwriter prose with sweet and mellow melodies to a more aggressively electronic and experimental style - striking and shrill.

I didn’t know I had in me, but in the beginning Claes believed in me a lot. In the beginning I tried to find my voice and sound more like this person or that person. I’ve been trying to sound British at first, because I had spent so much time in London in my earlier teens. At first I had also been afraid to do things out of the box as we recorded; because me and Claes, it’s the same team you know? We both kind of made our transition.

I remember at first, I was like, “No we need to strip back, no compressors”. I just wanted everything to be super natural and organic, and then when everything came out I was really dissatisfied and felt like I was invisible. We started playing around started to scrap everything. I mean we couldn’t because it was already out, but you know mentally start over. Then we did you know? No rules, let’s just do this.

Now I find we’re back again at it and I needed to connected to my personal point of view, because I’ve grown a lot musically as well. I’m also a better producer than I was ten years ago, so I wanted to see where I was ten years after this project. I don’t know if I am going continue as iam(amiwhoami) right now, but we’ll see. It’s a scary thing as well.

When you first started iamamiwhoami, there was a lot of mystery behind your origins and the mythologies of your persona. Were you worried about how you would be perceived or did you think you have convinced people you were Lady Gaga?

Uh no (laughs), I was not but I was hoping to maintain my anonymity because we were a group. I figured if they figured out our identity, then they’d judge the book and my previous work and everything. At the point of exposure (of my identity) though, we were all really disappointed but then again we never really tried to hide anything. We just took advantage that no one in Sweden really cared about iam(amiwhoami), so we were able to continue for quite a long time. When the whole thing happened though, it was just kind of surreal, you know (being mistaken for) Christina Aguilera, you can really plan that stuff ahead (laughs). I don’t think that sort of viral is happening anymore because everything has changed so much.

iamamiwhoami acquired viral fame, and one of the jokes on YouTube is that 90% of your views amounted from someone typing in one of the letters from b-o-u-n-t-y and the other 10% of fans are of the “COME TO BRAZIL!” trope. Was the concept of viral fame difficult to digest at first? Was there any pressure to keep the viral craze running?

Oh, it can’t be like that, I don’t think you can really do that, that whole thing with typing “y”, that’s just the internet doing its thing. Obviously, the other views are because it’s a great song and video. When that happens, you can’t (do anything to) affect it. You can try to force-feed it by doing the same thing repeatedly but if you look at the fifty-two something videos and continue to do quality things, then they those views will continue to be there. You see that in the shows, with a lot of those fans that have been there for ten years and that is so precious. The media coverage, that’s not connected to the actual work though. That’s connected to something else. It’s about what’s popular at the moment and I can’t compete with that and it has nothing to do with me.

In the age of instant celebrity, you managed to secure infamy without anyone really knowing who you were. For you is that an optimistic feeling?

That’s something that I’m proud of, but perhaps too proud of maybe. It’s rare that something is as pure as something like that, so I’m really happy that happened. Obviously I pointed a lot of people in a direction where if they weren’t interested they wouldn’t follow it, like with the whole identity when it wasn’t this supposed person or whatever, but it’s something that allowed me to tour all over the world.

You’ve recently assumed the persona ionnalee, a stylized spelling of your name. In a way, it has been hard to detach your previous effort iamamiwhoami from your current persona. How are the two similar yet different, and is that something you strive to change?

Mainly iam(amiwhoami) was about us (referring to Claes) internally, but it didn’t appear like it from the outside because I’m the frontperson and I created the project. It was always me and Claes. Claes is the main producer, I am the co-producer, we write all the music together and I write the lyrics and the melodies as well.

But for ionnalee, in iam(amiwhoami), I’ve never written from the point of “I”, from my perspective, my life and what concerns me. Also I produce everything myself but with some collaborations with Claes. He’s always like, “let’s do this!” playing some instruments. We love working together, we share a studio together. We have also had some of the same people working like (videographer) John Strandh and a few other ones were involved with iam(amiwhoami). So (the difference) it feels more like a project, not a person.

Both your projects have a very substantial audiovisual component to them and actually all you’re your singles follow up with a video. That’s quite a daunting task to say the least as music videos are huge commitments in time and in financial resources. How do you keep things fresh without blowing the budget?

Like financially, it’s always a bit of a struggle with how much time we can put in and with what gear we can produce with. We don’t have the funds to rent a lot of expensive stuff, so we relied a lot on what we could afford with our friends and stuff who want to help us create. For example, my brother Viktor (Kumlin) has always been John’s gaffer and cinematographer, even though he’s now a cinematographer himself. That’s one thing, but keeping the quality we will always make something because we feel like we have something to say and that’s easy then. You have the vision, you have the script, you have the song and everything’s together. If I would have continued making a video for every song like with iamamiwhoami that would be something that in the end would be something that wears out. I’m doing things differently now, to be more concentrated because I don’t want to being doing something just for the sake of format, like where I have to make a video.

Going back to the visual aspect, there is definitely the mythology; the mystique of “bounty” and “kin” but what really seems to be the underlying motif is the connection between the human connection to nature and the cosmos. Can you tell us how that inspires you, your imagery and music?

There are two sides to that; there’s creation in what we have done and the normative and traditional ways of doing things, then there’s creation, nature and how we connect to folklore. It’s what I grew up with and what my collaborators also did, so I guess it goes back to a question of visual aspect and it’s aesthetic. It’s a really hard question to answer.

Music is always a collaborative effor especially in the world of Jonna Lee, but what is most surprising is your connection to your fanbase. From the audiovisual aspect of in concert to your live shows, tell us how that has been? I suppose it has to be humbling but at the same time intimidating knowing that you have to deliver essentially for what they have paid for.

They are 50% of everything; they shaped the way the world tour acted. I didn’t think I would have toured (otherwise) because it would have been a hopeless thing. They’re communicating, live-chatting everything, I mean it’s sort of cliché but for ten years that’s really been the core of it all, otherwise it wouldn’t have been as interesting to create. They want to want to be part of it, that’s how I see it.

I know there have been many so-to-speak deeper questions being asked, but being the riddle and enigma you are, there is also an element to absurdity to all of this. Do you ever laugh at the all the toilet paper, cardboard boxes, glasses of milk, aluminum foil, morphsuits and fake fur you’ve used?

I mean that’s part of it; doing it in a different way. I mean I am laughing it all the time, like (the video) for “Some Body” that just came out today, editing it with all the common themes. It’s important to have that self-distance with yourself so that you don’t go in and become too self-absorbed. So humor is a good tool, because it also speaks to people and it’s nice and it makes you feel good and it’s not just (speaking mockingly) fashion! You know, it needs to have its human side.

You can check out ionnalee’s latest video for “Some Body” below:

[acknowledgetheabsurd]

Sweden’s ambassador to France, Ragnar Kumlin, left, congratulates French writer Albert Camus, winner of the Nobel Prize for literature, at the Gallimard book publishers in Paris, France. 17 Oct 1957. [x]

[jocelynweber]

14.04.1933-02.01.2019

Vappu Kyllikki Kumlin❤️

- Thank you, I know your prayers will keep me safe⚰️

[iamconcert]

20180519 ionnalee Slaktkyrkan, Stockholm, SE

(photo: Viktor Kumlin)

[goalhofer]

2021-22 Dubuque Fighting Saints Roster

Wingers

#9 Shawn O’Donnell (Pittsburgh, Pennsylvania)

#14 Connor Kurth (South Center Lake, Minnesota)

#16 Max Montes (Waukesha, Wisconsin)

#18 Michael Burchill (Fremont Township, Illinois)

#19 Stephen Halliday (Howard County, Maryland)

#20 Peter Kramer (Bridgewater, Massachusetts)

#22 Jaxon Ezman (Middleton, Wisconsin)

#25 Kenny Connors (Concord Township, Pennsylvania)

#26 Riley Stuart (Phoenix, Arizona)

Centers

#8 Ryan Beck (Linden, Michigan)

#11 William Hallén (Göteborg, Sweden)

#13 Mikey DeAngelo (DuPage County, Illinois)

#27 Gabriel Lundberg (Göteborg, Sweden)

#28 Nikita Borodayenko (Dmitrov, Russia)

#29 Tristan Lemyre (Mirabel, Quebec)

Defensemen

#3 Axel Kumlin (Stockholm, Sweden)

#4 Max Burkholder (Chaska, Minnesota)

#5 Michael Feenstra (Grand Haven, Michigan)

#6 Riley Rosenthal (Boca Raton, Florida)

#7 Lucas Ölvestad (Stockholm, Sweden)

#10 Zane Demsey (Harrison Township, Michigan)

#12 Austin Oravetz (Canonsburg, Pennsylvania)

#24 Samuel Sjölund (Stockholm, Sweden)

Goalies

#30 Philip Svedebäck (Stockholm, Sweden)

#31 Paxton Geisel (Estevan, Saskatchewan)

[djohnhopper]

NEW MUSIC: Artist: Viagra Boys​ Track: Ain't Nice (Oct 2020).

From the album 'Welfare Jazz', out January 8th on YEAR0001. ☮ Listen to 'Ain't Nice': https://yr1.se/aintnice Pre-Order Welfare Jazz: https://vboysstockholm.com Pre-Save Welfare Jazz: https://yr1.se/welfarejazz ☮ Follow Viagra Boys: https://vboysstockholm.com Socials: Instagram: http://bit.ly/vb-ig Facebook: http://bit.ly/vb-fb- Twitter: http://bit.ly/vb-tw- ☮ Director: SNASK. Agency: SNASK. Label: YEAR0001. Production Company: Diktator. Executive Producer: Manga Minja. Producer: Samuel Hahn. Label Executive: André Jofré. Director of Photography: Viktor Kumlin. 1st Assistant Camera: Simon Bendroth. Editor: Anton Nicolau Norén. Colorist: Sabina Törnberg. Sound Design: Erik Olsson. Set Designer: Elin Stampe. Stunt: Kimmo Rajala. Stylist & Make-Up Artist: Emelie Henriksson. PA/ Location: Marcus Johansson Holm. Joel Valois. Alvin Lindblom. Filipa Moreira.

[hollywoodsmagazine]

Christoffer Naess, Relationship, career stats, Bio, Earnings

Swedish producer and director, Christoffer Naess is famous for producing a short drama-documentary, Magnus - A Spring Day. He also produced a short documentary; This is Kabul for which he received a Bergen International Film Award. Christoffer was born in 1968, in Sweden. Moreover, he belongs to German and Norwegian descent. So, is he dating anyone or he is married? Let's take a glimpse of Naess' personal life.

Christoffer Naess's Marital Status

Christoffer Naess is reportedly unmarried and is living a single life. Despite being one of the famous faces in the entertainment industry, he prefers to keep his intimate life far away from the eyes of the media. Naess is currently busy concentrating on his work while trying to forge his name at the highest peak in the field of acting. So, this might be the reason why he is still unmarried or even not dating someone.

Naess's Parents' Marital Affair

The award-winning producer's father, Arne Naess Jr., a businessman, was married to a Swedish designer, Filippa Kumlin D'Orey in 1966. Their wedding ceremony was held at the "Solstua" venue in Oslo, Norway. The pair, however, ended their marriage after eighteen years with a divorce paper. In mid-1982, the court finalized their divorce. They also shared three children, a son, Christoffer, and two daughters, Katinka and Leona Naess, a singer-songwriter from their marriage. After the separation, Naess' dad had his encounter with an American singer, Diana Ross on a trip to the Bahamas. Later, they got married in 1985. Together, they welcomed Arne Næss Jr., Ross, Nicklas, and Louis Naess.

Net Value - $800 Thousand, Christoffer

Christoffer Naess summons a handsome some of the fortunes and maintains a fruitful bank balance. So, his net worth is $800 Thousand as of 2019. Similarly, he earns an annual salary of $150 Thousand throughout as a producer. Naess' father left an impressive wealth of $600 Million at the time of his death. Aside from this, his brother, Evan Ross bought a house in Los Angeles, California. The price of his house consists of two bedrooms, and two bathrooms on 1,686 square foot.

Debut In The Production House

Christoffer Naess got his early work as a producer for the Urban Contemporary Art where he worked for over two years from April 2012 to August 2014. Naess is currently for the Global Video Letters, focusing on human rights concepts and motivates participants to engage in their communities. He also concentrated at producing personal, participatory documentaries with Munin Film production house since January 2013.

Began As An Executive Producer

Naess made his debut with a Norwegian short drama-documentary, Magnus - A Spring Day in 2013. For his work, he won an Amanda Award and Greenpoint Film Award for a best short documentary. Christoffer directed in the short drama-documentary film; This is Kabul where he worked with Nargis Azaryun, Sadaf Fetrat, and Sahar Fetrat among others. In 2017, he served as an executive producer for the biographical documentary, The Red Thread. Read the full article

[elladastinkardiamou]

Krister Kumlin, retired Ambassador, is Chair of the Swedish Parthenon Committee. He received his law degree at Stockholm University in 1962 after which he entered the Swedish Foreign service. He has served at the Swedish embassies in Washington, Guatemala City, Bangkok, Paris and at the Permanent Swedish Delegation to the UN in New York. He was Sweden’s Ambassador to Brazil on 1987-90 and in 1990 became Head of the Press and Information Department and Spokesman of the Foreign Ministry. He served as Sweden’s Ambassador to Greece on 1993-1997, and to Japan on 1997-2002.

After returning to Stockholm, Ambassador Kumlin worked at the Prime Minister’s Office, where he served as Secretary General of the Stockholm International Forum. He was the Executive Secretary of the Euro-Atlantic Partnership Council Security Forum in 2005, and has organized several other major international political Conferences in Stockholm. He was appointed Marshal of the Diplomatic Corps in September 2005 and served as Ambassador and Sweden′s chargé d′affaires in Paris in 2007. Between 2005 and 2012, when retired, he was Senior Advisor to the Swedish Emergency Management Agency.

Ambassador Kumlin was in Athens on 15 April 2019, to speak at the International Conference for the Reunification of the Parthenon Sculptures that was co-organised by the Presidency of the Hellenic Republic, the Ministry of Culture and Sports, the International Association for the Reunification of the Parthenon Sculptures and the Acropolis Museum, where it was also hosted. The event was addressed by the President of the Hellenic Republic, Prokopios Pavlopoulos, the Minister of Culture and Sports, Myrsini Zorba, and the President of the museum, Prof. Dim. Pandermalis, as well as numerous academics, archaeologists, historians and representatives of cultural organisations.

[iambountyfan]

“sun never sets.” – ionnalee via instagram. 📸

follow instagram.com/ionnalee

(photos: viktor kumlin & john strandh)

[acknowledgetheabsurd]

Ragnard Kumlin, Sweedish Ambassador to France, congratulates French writer Albert Camus and his wife, Francine, after announcing that Camus was awarded the Nobel Prize for Literature, in Paris on October 17, 1957.

[x]

[jimmychile]

Sveriges Radio – Decisive Moments from Philippe Tempelman on Vimeo.

Directed by: Philippe Tempelman DOP: Pat Scola Producer: Hampus Gunnarsson Executive Producer: Johan Lindström Production Manager: Sergej Israel 1st AD: Alan Finlay

Editor: Paul Hardcastle, Trim / Fredrik Åkerström

Set Design: Kajsa Severin Costume: Kersti Vitali Rudolfsson Hair / Make-up: Madeleine Gaterud

Focus puller: Joe Maples 2nd AC: Ruben Broman / José Eduardo Barrios Sotillo Gaffer: Kristian Bergström Steadicam: Johan Phillips Grip: Adrian Wigerdahl DIT: David Rainer Best Boy: Axel Söderlund 1st Electrician: Robin Trollin / Jonatan Selberg / Johan Ådal

Prop Master: Shermin Beigi Prop Asst.: Emma Persson, Tove Wikander, Louise Eriksson, Molly Carlzon Asst. Stylist: Linn Sundberg, Matilda Sandström Asst. Hair/ Make-Up: Kristina Philström, Elin Bergström, Karolina Danielsson, Kristin Good, Caroline Gustavsson 2nd AD: Mathilda Almeida Second Unit DP: Viktor Kumlin

Visual Effects: Bläck Studios VFX Supervisor: Calle Granström, Bläck Studios Grade: James Tillett, MPC Sound Design: Erik Olsson, Red Pipe Online: Peter Blomstrand, Bläck Studios

Artist bookings: Saurabh Sinha Casting: Stabbe & Hogge / Valins Casting

Craft: Lena Gavrilidou PA: Simon Wallin, Dilun Riad, Mårten Godske, Per Sjöberg

The music is freely arranged / composed and conducted by Peter Nordahl after an original by Joakim Berg. Performed by: Swedish Radio Symphony Orchestra, vocals by: Elias This is an edited version of the song. Full version will be available for download soon.

Agency: CP+B Stockholm Creatives: Felipe Montt, Henrik Dufke

Production Company: INDIO