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wutbju · 6 months

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Joyce B. Blackstone, 97, entered her eternal rest, Wednesday, March 15, 2023, at the Aroostook House of Comfort, while surrounded by family. She was born March 21, 1925, in Houlton, the daughter of Roy and Maude (Anderson) Barton Sr.

Joyce grew up in Aroostook County and graduated from Fort Kent High School in 1942. She continued her education at Bob Jones College in Cleveland, Tennessee, where she earned a bachelor's degree in education. Joyce returned to the County and taught seventh grade English at Caribou Middle School. She married Clayton M. Blackstone on December 30, 1947. They shared sixty-two years of marriage until his passing in 2010. Joyce and Clayton lived and raised their children on the family farm where she kept the home and worked alongside Clayton.

Joyce was a longtime member of the Dunntown Advent Christian Church serving as a deaconess, church collector, and Sunday School teacher as well as being actively involved in the Women's Mission Circle. Her faith was the most important part of her life, and she and Clayton instilled those Christian values into their children.

She enjoyed putting jigsaw puzzles together, doing crossword puzzles and word finds, and reading. Clayton often told people he would be a rich man if it was not for Joyce's books and music. An accomplished cook, she was well known for her fudge. Joyce was known as the "Card Lady" and many people received a card and fudge as means of encouragement from her.

She is survived by five children: Rev. Clayton Blackstone Jr. and his wife Hazel of Pittsfield, MA, Dale Blackstone and his wife Cynthia of Washburn, Doug Blackstone and his wife Barb of Easton, Gary Blackstone and his wife Laurie of Washburn, Karen Wark of Fort Fairfield, a daughter-in-law, Vicki Blackstone of Summerville, SC, eleven grandchildren, twenty-four great-grandchildren and one great-great grandchild. She also leaves behind a brother, Roy Barton Jr. and his wife Joyce, a sister, Betty Tompkins both of Greenville, SC, and many nieces and nephews.

In addition to her parents, she was predeceased by her husband, Clayton Blackstone Sr., a son, David Blackstone, a great-grandchild, Liam Casey, a brother, Sherwood Barton, and two sisters: Phyllis Blackstone and Gloria Dinsmore.

Relatives and friends are invited for calling hours at 1:30 P.M. Monday, April 3, 2023, at the Dunntown Advent Christian Church. A celebration of life will follow at 3 P.M., with the Rev. Josh Cheney officiating. The family extends an invitation to a reception and continued fellowship at the church fellowship hall, immediately following the service. A committal service will be held at 10 A.M. Monday, July 3, 2023, at the Fairview Cemetery in Perham. In lieu of flowers, those who wish to remember Joyce in a special way may make gifts in her memory to the Dunntown Advent Christian Church (P.O. Box 491, Washburn, ME 04786). Arrangements were made by Duncan-Graves Funeral Home, 30 Church St., Presque Isle, ME 04769. Online condolences and memories may be shared with the family at: www.duncan-graves.com

#Bob Jones University #BJU Hall of Fame #Obituary #BJU Alumni Association #2023 #Class of 1946 #Joyce M. Barton Blackstone

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modmad · 4 years

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I know youve said in the past you agree with Paul F Tompkin’s casting as Gladstone but have you come across a better voice since? Or rather, is there a voice you think of/hear when you write him?

I think I mentioned it once before but I think Hugh Laurie’s version of an American accent in House is a very close match to what I imagined him sounding like originally; a big drawly, lethargic sounding, and very sarcastic! I just think it fits with his lazy/bitter attitude while still having that ability to pitch into zany at the drop of a hat. Hugh has great range for comedy!

#yet another show I've never watched but have seen clips of ggjghjf #but yeah it has that could-be-classy if he wasn't such an ASS vibe #gladstone gander #headcanon #va #special-agent-tits-akimbo

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hungryfictions · 3 years

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7, 20, 42, 50 :)

7. a book that you did not finish

idk why this is so hard to think of because i definitely do it a lot. ok, i tried to read Did You Ever Have A Family by Bill Clegg and wasn’t feeling it by like 1/3 of the way in. confession, i also almost never finish non fiction (tried briefly to read Jenny Odell’s How to Do Nothing: Resisting the Attention Economy) or short story collections (got maybe halfway through Homesick for Another World) because i get super bored.

20. a book that got you out of a reading slump

not to be basic, but most recently, when i reread The Secret History

42. a book that made you want to scream by the time you got to the end

i’m not exactly sure what KIND of scream this is referring to, but when i got to the end of Things Have Gotten Worse Since We Last Spoke i fully wanted to scream and cry and throw up. lmfao

50. a book that made you cry A LOT

the first book that ever made me cry so hard that i threw it at my wall was Catalyst by Laurie Halse Anderson, i will never forget it. more recently, What Comes After by Joanne Tompkins and No One Is Talking About This by Patricia Lockwood

#thank u thank u!!!#asks & answers #ask game

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abelkia · 3 years

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La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h: Knud Viktor "Le petit duc (Pt. I)" (7"/Institut for Dansk Lydarkæologi/1978-2019) NEU! "Für immer" (NEU! 2/Brain/1973) The Jimmy Giuffre 3 "The Swamp People" (Trav'lin' Light/Atlantic Records/1958) Ben LaMar Gay (Feat. A Martinez & Tomeka Reid) "I Once Carried a Blossom/In Tongues and in Droves" (Open Arms to Open Us/International Anthem/2021) Jac Berrocal & Vince Taylor "Rock'n Roll Station" (Fatal Encounters/Les Disques du Soleil et de l'Acier/1976-1993) Gil Scott Heron "I Was Guided (Interlude)/New York is Killing Me" (I'm New Here/XL Recordings/2010) The LAST POETS "The Shalimar" (Right On! (Original Soundtrack)/Juggernaut Records/1971) Nikki Giovanni "Ego Tripping" (Truth is on Its Way/Modern Harmonic/1971-2021) Francis Bebey "Souffles" (Ballades Africaines/Ozileka/1978) Ben Pritchard "Peals" (Up in Air/Okraina Records/2021) Richard Crandell "Goin' to Taiwan" (In the Flower of Our Youth/Tompkins Square/1980-2007) Mike & Cara Gangloff "Someone to Watch Over Me" (Black Ribbon Of Death, SIlver Thread Of Life/MIE Music/2014) The Black Heart Procession "A Light So Dim" (2/Touch and Go Records/1999) Migala "Times of Disaster" (Arde/Acuarela/2000) CAN "Spoon" (Ege Bamyasi/Spoon Records/1972) Cavern of Anti-Matter "Melody In High Feedback Tones" (Void Beats /Invocation Trex/Duophonic Ultra High Frequency Disks/2016) Even As We Speak "Bizarre Love Triangle" (7"/Sarah Records/1987) Tip Top (alias Jarvis Cocker) "Elle et moi" (Chansons d'ennui/ABKCO Music/2021) The Feelies "High Road" (The Good Earth/Rough Trade Records/1986) R.E.M. "World Leader Pretend" (Green/Warner Music/1988) Cardinal "You've Lost Me There" (Cardinal/Flydaddy/1994) Willis Earl Beal "Sambo Joe from the Rainbow" (Acousmatic Sorcery/XL Recordings/2012) Laurie Anderson "Big Science" (Big Science/Warner Music/1982) https://www.instagram.com/p/CWslf9rtXrv/?utm_medium=tumblr

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new-sandrafilter · 5 years

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True Romance: Saoirse Ronan and Timothée Chalamet on reuniting for Little Women

They may be posing in an airy lower Manhattan studio, but Timothée Chalamet and Saoirse Ronan have a way of making you feel right at home. “I made a little playlist this morning,” Chalamet announces to the room. He syncs up his cell phone to the sound system, his boyish grin widening as Marvin Gaye’s “What’s Going On” starts blaring. He returns to the camera, which snaps him and Ronan at a furious pace.

It’s their first joint cover shoot. He’s wearing a shimmery striped shirt with high-waist trousers; she’s rocking a shirtdress, fishnet stockings, and clear stilettos. He keeps cracking her up; she musses his hair with doting affection. During a break that follows, he wanders, gripping a paper bag stuffed with assorted bagels — from Tompkins Square Bagels, which Chalamet, a lifelong New Yorker, insists are the best in the city — and offering one to anyone in his path. He sings and dances — very Elio-in-the-town-square-like — to Bob Dylan’s “Tombstone Blues.” He creeps behind a distracted Ronan before spooking her with a yelp. “I didn’t even know you were there!” she exclaims, reddening from the fright but with a smile so lovingly at ease, you sense she’s used to the prank.

They’ve known each other, after all, for some time. About three years ago, Ronan, now 25, and Chalamet, 23, met filming Lady Bird, Greta Gerwig’s solo directorial debut, in which Ronan’s irrepressible heroine (briefly) romances Chalamet’s douchey amateur musician. They reunited with Gerwig last year, on the heels of Lady Bird’s Oscar-nominated success, for a bigger undertaking: a remake of the oft-remade Little Women (Dec. 25). Ronan and Chalamet slipped into the roles of tomboyish Jo March and buoyant Theodore “Laurie” Laurence, best friends who ultimately break each other’s hearts. Their courtship ranks among American culture’s oldest tales of unrequited love — made indelible by Katharine Hepburn and Douglass Montgomery, Winona Ryder and Christian Bale, and so many others — yet finds, in the hands of two of the most compelling actors of their generation, galvanizing new life.

That goes, in fact, for the whole of Gerwig’s Little Women. Her version certainly contains the snow-globe coziness of treasured adaptations past, but also carries a fizzy emotional authenticity and attention to detail. The film is remarkably lived-in, too: This take on Louisa May Alcott’s 1868 novel, which follows Jo and her three sisters pre– and post–American Civil War, feels plucked straight from the text in the best way, with siblings fighting like siblings, love and loss and hope and pain vividly experienced on screen.

Ronan and Chalamet’s charming big sister–little brother dynamic is not unlike the one that Jo and Laurie share in Little Women. Watch the actors play off one another, and the film’s tender realism clarifies itself: Their on-camera intimacy is just as palpable behind the scenes. Indeed, after shooting Lady Bird for a few weeks, the pair hung out regularly over the next year, making the awards-circuit rounds and scoring lead-acting Oscar nominations — Ronan for Lady Bird, Chalamet for Call Me by Your Name — before swiftly signing on to Little Women. In advance of filming in Concord, Mass. (the actual setting of the book), Gerwig and producer Amy Pascal gathered the large production’s cast and crew for rehearsals at a house just outside the town. For Ronan and Chalamet, the contrast between this and their early Lady Bird days was immense. “I felt very prideful… about how big it had gotten, how many people were there,” Chalamet recounts. “On Lady Bird it was, like, 25 people hanging out in a house!”

They fell back into each other’s rhythms instantly. “He keeps me on my toes — I’m never quite sure what he’s going to do next,” Ronan says. “That only progressed more and grew more. It helped that we do have a very natural rapport with each other…. These two characters physically need to be very comfortable with one another. They’re literally intertwined for half the film.” Chalamet adds: “In the least clichéd way possible, it really doesn’t feel like [I’m] acting sometimes [with her].”

Chalamet credits Gerwig, too, for establishing a playful, comfortable atmosphere. He thinks back to his first day of rehearsal: He reunited with Ronan. He introduced himself to Emma Watson (who plays the eldest March sister, Meg). He was guided into a third-floor conference room of a “random building” where, “all of a sudden, there was a full dance class going on.” He recalls fondly: “Everyone breaks down and becomes a little kid. This job is so trippy in that regard — you want to be serious, you want to be professional, and then it’s almost best when you’re able to be 12 years old. When it’s someone you’re actually friends with, it makes it easier.”

Ronan smirks, gearing up for a jab: “We’re not friends!” Delighted, Chalamet keeps the bit going. “We’re not friends,” he says, solemnly. For once, they’re not very convincing.

Greta Gerwig doesn’t remember a time before she knew Jo March. “[Little Women] was very much part of who I always was,” the writer-director, 36, says. “It was something my mother read to me when I was growing up. It’s been with me for a very long time.”

She joined Sony Pictures’ new Little Women adaptation when she was hired to write the script in 2016. Once Lady Bird bowed the next year, she emerged as a candidate to direct the film. “Greta had a very specific, energized, kind of punk-rock, Shakespearean take on this story,” Pascal says. “She came in and had a meeting with all of us and said, ‘I know this has been done before, but nobody can do it but me.’” She got the gig.

In her approach, Gerwig drew on her lifelong relationship with Little Women; beyond childhood, she discovered new, complex layers to the novel, and in turn to Alcott’s legacy. “As a girl, my heroine was Jo March, and as a grown lady, my heroine is Louisa May Alcott,” she says. It’s perhaps why Gerwig’s Little Women feels like the most adult — and modern — version of the story that’s reached the screen to date. The movie begins with the March sisters in adulthood — typically where the narrative’s second half begins — and unfolds like a memory play, shifting back and forth between that present-day frame and extended flashbacks to the childhood scenes etched in the American literary canon.

In that, Gerwig finds fascinating, fresh areas of exploration regarding women’s lives: the choices society forces them to make, the beauty and struggles of artistic pursuit, the consequences of rebellion. Jo’s journey as a writer anchors Gerwig’s direction; tempestuous Amy (Florence Pugh) gets more of a spotlight as she matures as a painter (and Laurie’s eventual wife); and Meg is realized with newfound nuance: “We felt it was important to show Meg juggling all her roles — a mother, a wife, a sister — whilst also celebrating her dreams, despite them being different to those of her sisters,” says Watson. But Gerwig doesn’t see herself as reinventing the wheel. “A lot of the lines in the film are taken right from the book,” she explains. “When Amy says, ‘I want to be great or nothing’ — she says that in the book! I don’t think we remember that, but she does say it.” Gerwig also loves one line spoken by the sisters’ mother, Marmee (Laura Dern), also revived in this version: “I’m angry almost every single day.”

Gerwig compiled a “bible” filled with cultural references: to Whistler tableaux of family life, to David Bowie–Jean Seberg hairdos that inspire the look of Jo’s mid-film cut, to Alcott family letters. “I wanted it to be footnote-able,” Gerwig says. “I wanted to point to it and say, ‘This is where this is from.’” She considers Alcott’s text sacred: “I wanted to treat the text as something that could be made fresh by great acting.”

Beyond those charged but less quoted Little Women lines are its famous ones — throw-pillow staples like Jo’s “Christmas won’t be Christmas without any presents,” that no adaptation is complete without. The actors rehearsed these “almost like a song,” pushing to move through them with a rapid musicality. “We [read] the book out loud,” says Dern. Gerwig expected the script’s words to be memorized precisely. “I knew I wanted them to get this cadence that felt sparkly and slightly irreverent,” she says. “I wanted to make them move at the speed of light.”

She poured the same love into iconic scenes, like Jo and Laurie’s ebullient dance that follows their first meeting. Here it goes on longer — and more vibrantly — than in any previous iteration. (Ronan says they filmed it at 3 a.m., to boot, adding, “We must have done it, like, 30 times.”) Then there’s the devastating moment when Laurie asks Jo to marry him and she rejects his proposal. Gerwig tasked the two actors to unleash here. “Emotions just bubble over,” Ronan says. “[Greta] just let us go with it, wherever it went, from take to take. What I loved about that scene is that every take would be different emotionally. It didn’t have the same trajectory.

“The two of us, it’s a relationship I have with no other director,” Ronan continues. “She makes me feel like I can try anything.”

As Ronan and Chalamet emerge from their photo-studio dressing area in impossibly chic new ensembles — she donning a form-fitting knit sweater, he a silky, ruffled top — their creative energy fills the space. They try out different poses, debating concepts and ideas with each other on the fly; at one point he wraps his arms around her waist, and she quips to no one in particular, “We’re expecting our first.” Camera snap.

They’re modeling a new brand of movie stardom — pursuing projects with a point of view, adamantly being themselves in the public eye, subverting gender norms. Their androgynous fashion performance here reflects their wardrobe shake-ups in Little Women: Gerwig and Oscar-winning costumer Jacqueline Durran (Anna Karenina) had the two actors swapping clothes throughout filming, to reinforce the masculine-feminine fluidity between Jo and Laurie. “They are two halves,” as Pascal puts it. “These are really bold characters that are really different than you’ve seen them before.”

And just as Gerwig expressed a need to direct Little Women, Ronan knew in her bones she needed to play Jo. She’d first encountered the story via the 1994 film when she was 11, and later read the book, feeling an immediate kinship with the young woman she’d come to portray. “When Louisa describes Jo, it felt like someone describing me physically: sort of gangly and stubborn and very straightforward, and went for what she wanted.” At an event for Lady Bird, she — in a very Jo kind of way — just “went at it” by approaching Gerwig. “I said, ‘So I want to be in Little Women, but only if I’m playing Jo.’” (Chalamet, for his part, was asked by Gerwig, “Hey, want to do another movie?” He responded: “Yes. Yes, please.”)

Over months of living in Concord with her castmates, Ronan discovered new depths within herself: “Jo’s ethos is ‘Everything everyone else is doing, I’m going to do the opposite.’ [I had] to try things that I’d never tried before. Be a bit messier with a performance.” Gerwig set up etiquette lessons for the cast; whatever the instructor said (“Don’t shake hands! Don’t gesticulate with your arms!”), Ronan made sure to ignore it. She speaks now of this as freeing, even transformative. “I felt like I had tapped into something I’d never gotten the opportunity to tap into before, or I just didn’t have the guts to tap into myself,” she says. “Finding that was just amazing.”

Shortly after wrapping Little Women, she filmed Wes Anderson’s next film, The French Dispatch — marking her third time costarring with Chalamet, who plays a central role. As for now? Ronan is taking a little break. “I’ll wait for the right thing to come along,” she says. “It’s lovely to be in a position at this moment where I can wait for the absolute right thing.” Same goes for Chalamet — he shot Netflix’s The King (out Oct. 11) right before Little Women and just completed production on Denis Villeneuve’s Dune adaptation. “It’s the first time in almost two years I’ve gotten a breath, so I’m savoring it.”

It’s been a long day. They’re back in comfy clothes; Ronan is taking a late lunch. It feels like both actors — as another whirlwind of acclaim and press and romance-shipping awaits — are at a kind of peace, exhausted but satisfyingly so. Little Women is the biggest movie either has done to date; more attention, as they inhabit such revered characters, is sure to follow. “I just haven’t thought about it that way,” Ronan admits. “Maybe because it’s just Greta — even though it’s on a much bigger scale, she wanted it to feel like Lady Bird.”

Ronan understands the timeless power of Little Women, of course: “It’s as important to tell Little Women right now as it would be at any point in our lifetime.” She points to this pop culture climate of “celebrating female friendships and sisterhood,” and continues, “It’s a story that’s full of love. That will always be relevant.”

She turns toward Chalamet, and you realize the love they brought to Alcott’s classic is what first blossomed between them on Lady Bird. “I love that in Lady Bird, you broke my heart,” she says to him softly. “In Little Women, I got to break your heart.” (Chalamet, ever the goofball, finds an obvious opening: “Yes, that’s true. Then I married your sister. Ha, ha, ha!”)

If this all sounds a little idyllic, well, neither actor — nor Gerwig, nor Pascal, nor the rest of the cast — can do much to convince you otherwise. Shifting back to Little Women’s timelessness, and reflecting on Ronan’s comments about it, Chalamet says, “I don’t know how to add to that.” Instead he turns back to his costar, his expression suddenly sincere, filled with gratitude. “But if I can add one little dose of information,” he says with a nervous laugh. “And not just because she’s sitting next to me.” He credits Ronan with bringing that “timeless energy.” He says “thank God” they were able to make the movie. “It’s so rare with Saoirse — I’m so f—ing grateful to get to work with her,” he says. “Whatever book I write for myself when I’m older, to look back on —” He stops himself. “Well, this is a bigger conversation.”

But Ronan, chuckling, doesn’t let him off the hook. “Will I have, like, a chapter?” And Chalamet laughs — another opening, another chance to act with his greatest scene partner, to see what journey of creation and discovery they’ll go on next. “A chapter of Saoirse,” he says.

At this rate, one chapter won’t suffice.

#timmy #timothee chalamet #saoirse ronan #little women

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gianttankeh · 6 years

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Id M Theft Able/ Ali Robertson & Joyce Whitchurch/ Lotterie-Collago/ The Russets at The Old Police House, Gateshead: 25/10/18.

You can find more about this show here.

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mbarnshaw-blog · 5 years

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Readerly Exploration - April 15th

Reading One: Tompkins, Chapter 12, “Reading and Writing Across the Curriculum”

Biggest Takeaway: The most effective teachers are able to connect reading and writing to the other content areas through mini lessons, themed units, read alouds, etc...

Nugget: Content Area textbooks are not enough because they only look at the surface level of topics. Incorporating other texts adds depth, deeper understanding and allows students to here different perspectives.

Reading Two: Shanahan & Shanahan, (2014), “Does Disciplinary Literacy Have a Place in Elementary School?”

Biggest Takeaway: Disciplinary literacy can start in the elementary grades and prepares students to better understand vocabulary from different content areas early on.

Nugget: Disciplinary literacy is the “idea that we should teach the specialized ways of reading, understanding, and thinking used in each academic discipline, such as science, history, or literature.”

Readerly Exploration Experience: For this readerly exploration I decided to explore the world through reading by using texts to answer questions about the world or generating new questions about the world from texts that are read, specifically by taking myself on a field trip to a place off campus that connects with the big ideas of the assigned reading.

For my off campus field trip, I went into Harrisburg city and visited the Midtown Scholar bookstore. I peered through the shelves of all different sections finding all different books that could relate to different content areas in the classroom. I looked through diaries, poetry books, historical fiction, novels, picture books, devotionals... you name it. I can so easily get lost in a bookstore. It was so neat to recognize that all different genres can play a part in telling the same story, just from different perspectives.

With these readings in mind, I thought about how I could use texts to connect science in my classroom. Two standout books I found right from the covers were Ada Twist, Scientist and The Girl with a Mind for Math: The Story of Raye Montague (Amazing Scientists). Both books were extremely visually appealing and specifically told stories of characters going against the stereotype of only males as scientists who were instead, females! I could easily see myself using these books and books like it to bring science content into my classroom through reading.

After looking for books focusing on science, I thought about social studies, specifically history. There are sooooo many options and really neat opportunities for using different kinds of texts to teach social studies content. I really loved the series I found that included a whole bunch of different diaries, I could easily see myself incorporating those. There are also a ton of options in historical fiction. One of the series I found in the store, which is an absolute favorite series of mine, is by Laurie Halse Anderson, including the books Chains, Forge, and Ashes. The books are historical fiction and come from the perspective of African American slaves escaping from their masters in the United States. I found that, while I probably wouldn’t have enough time to use the whole text, taking out quotes or sections from the stories could be really powerful in my teaching of the content.

Reading about how we can use other kinds of texts to promote better content understanding and then actually going somewhere to look for texts that would achieve that goal, really helped me understand first-hand why that works so well and why it’s important for us, as teachers, to do more than teach from a textbook. Using different genres, may allow for different students to connect to the material and get excited the way I did when I found one of my favorite historical fiction series or really interesting picture books.

Multimedia: These are the covers of the series of books I found in the bookstore that I love!

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tinymixtapes · 6 years

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Interview: Oliver Coates

Composer, producer, and cellist Oliver Coates recently released Shelley’s on Zenn-La, his third solo full-length and first on RVNG Intl. The album relies on a peculiar splicing of IDM, distilled pop, and faint folk that manifests a multicolored, amaranthine microcosm. Located on the fictional planet Zenn-La, it is home to an apocryphal amalgam of Shelley’s Laserdome, the fabled Stoke-on-Trent nightclub from the late 80s/early 90s, and a futuristic dance floor whose inhabitants are possessed by a perpetual, time-displaced dance to the sounds of early rave, electronica, and minimalism. Shelley’s on Zenn-La is both a synthesis of previous works and a departure in Coates’s diverse and fruitful career, his projects and collaborations almost too many to mention. In the realm of classical music, he is the primary cellist for the London Contemporary Orchestra and has worked with the likes of Laurie Spiegel and John Luther Adams. Outside of it, he has collaborated with Mica Levi on 2016 album Remain Calm and with Laurie Tompkins on 2018’s Ample Profanity; contributed to Radiohead, Laurel Halo, and Mark Fell records; and performed with Steve Reich, Terry Riley, Dean Blunt, Actress, and Genesis P-Orridge. He has also participated in the making of several film scores, including those for the masterful Under the Skin with Mica Levi and The Master and Phantom Thread with Jonny Greenwood. But on Shelley’s on Zenn-La, Coates is alone, acting as both a playful tinkerer and a studious composer. Coates builds the record’s song structures by challenging himself, looking for noises that sound gorgeous and meticulously incorporating curious segments into wider narratives. Tinkling FM synthesis and drum sequences composed in Renoise are contrasted and augmented by processed and transformed cello lines. Here, his trademark cello becomes another source of samples, equipotent with all other effects he employs. In a way, Coates creates his own all-encompassing instrumentarium of sounds, as idiosyncratic as the fictional world he explores and one that is only occasionally visited by Kathryn Williams’s enveloping flute, Chrysanthemum Bear’s ethereal vocal lines, and Malibu’s spoken word. We caught up with Coates to talk about Shelley’s on Zenn-La, among other things. --- Shelley’s on Zenn-La emanates a warm and welcoming feeling, a certain sense of optimism. Thanks! At the mastering stage, I asked for it not to be squeezed like commercial electronic music, so that we might preserve the internal dynamic balances as much as possible. I think coldness perceived in electronic music may partly be connected to listening fatigue, where pounding transients are all peaking at the same level and eliminate dynamic relationships between instrument groupings. I’m anti music feeling as if everything is brick wall limited. I don’t need the kick drum to shake anything. It connects back to the music: I have this background playing Bach cello suites where some of the best bass notes are imagined or implied rather than heard because there’s not so much scope for polyphony on a monophonic instrument. I sometimes like skeletal textures, where the listener is coaxed into imagining parts of the music image. More room for fantasy that way. The album and its title evoke a sort of British retrofuturism. It sounds bittersweet and melancholy, but ultimately optimistic. Like something that Sun Ra would have made had he been clubbing and raving in the late 80s and early 90s. Were you guided by a concept while working on the record? There was no concept, just having fun making tracks for RVNG. Towards the end, that title came to me. The tracks were describing the environment of this impossible space. I edited the album down into something tighter against that image, depicting a series of buildings, public pleasure activities like in Brave New World, and the topography of the outlying countryside and nature. The music also seems to be a personal reflection, a soundtrack devoted to certain places, London chiefly. Is this something you’ve consciously tried to achieve — using the music to capture and channel subjective impressions of certain areas, neighborhoods, and cities? Is it at all nostalgic? Perhaps. London is not that important to me culturally. It’s fun to be with your friends or singing in a choir or something. I see failure and friction and busy-ness for its own sake. The terror of being still. I wasn’t consciously describing anything when I was coming up with the music, more listening and seeing what happens. Shelley's on Zenn-La by Oliver Coates I sometimes like skeletal textures, where the listener is coaxed into imagining parts of the music image. More room for fantasy that way. Has your work with Lawrence Lek, which must have been impressionistic on some level, provided you with any guidance while constructing Shelley’s? I think Lawrence and I have always shared a similar fondness for the adoption of real spaces and transforming them into fantasy. In that context, does any of the day-to-day sociopolitical stuff seep into your work? Making a music LP, I hope to constitute an experience more than a takeaway message. My nature seems averse to tribal or ideological thinking. I’m more interested in friendship and family and effecting change through relationships. More interested in chatting about Beckett than Br_x_t. Shelley’s often reminds me of a contemporary (re)interpretation of the IDM/techno/dance scenes of the late 80s/early 90s. Were you chasing that particular sound? Nah, none of that first part rings true. I wasn’t reinterpreting or interpreting anything. I was guided by pleasure, which sounds a bit dodgy, but also giving myself mini-technical challenges such as two simultaneous bass lines (“A Church”), two imaginary drummers in different acoustics going crazy to one click track (“Cello Renoise”), wonky scales, and fake Gaelic folk music (“Charlev”). The album has a very distinct flow that feels quite deliberate. Yet, given some of your previous work, I can’t help but wonder whether any of its parts were improvised? Improvising is there, for sure. I have just enjoyed this twix bar a great deal. On this release, I edited it quite heavily. The residual ghosts of improvisation are sometimes what fascinate you; they somehow have higher authority over your conscious self. I might edit over and over, then go back 10 stages to find a set of performance actions you made when you weren’t remotely aware of what you were doing or what the shape was going to be — these always seem to be more compelling. Many of the tracks were much longer, and I was heading for double-album territory. I had a good chat with Matt [from RVNG] and decided to cut it into a manageable form. Eight hours of ambient cello patterns bouncing around in Pure Data can come later. Do you prefer working within improvised contexts like Remain Calm with Mica Levi or fully composed and premeditated? Changes all the time. I feel comfortable with certain people around, being in a room with certain people gives me a good amount of ideas that seem fresh. Sometimes I like the hard and fast decisions that have gone into composition, because they’ve been made painstakingly. Looking at your solo releases, there appears to be a progression in your approach to the cello. You use its unaltered sound on Towards the Blessed Islands and subvert it to produce unexpected sounds on Upstepping, while on Shelley’s you rely more on sound synthesis and electronic effects with the cello pushed back. That first solo record is an album of performances of music written by other people (David F/Hennessy, Laurence Crane, Larry Goves, Max de Wardener, Iannis X). I think the answer to this question lies in live performances that are centered around live cello performance. I play a New Age melodic sound with ambient synths, Romantic cello lines juxtaposed with aspects of digital music which I trigger and manipulate with my foot controller. I hope I can make more music for records in the future that is actually closer to my live stuff and more about nuanced live cello playing and computer music juxtaposed. More interested in chatting about Beckett than Br_x_t. In that sense, “Prairie” is somewhat of an outlier, with the cello its sole actor. Is there some kind of story behind this specific joyful cut? Years ago, I was approached to make music for an app about the Apollo 11 moon landings. The project got shelved, and I was left with some music I really liked, so I used this one. It was what this record needed. With your focus shifting to electronic music, do you still enjoy the performative aspects of interpreting someone else’s work as a cellist? Yes. Working with Larry Goves, Alexia Sloane, Laurel Halo — there are so many good composers out there. Has your background in classical music influenced your musical journey outside that specific realm? Realms, moving outside, journeys; I like all these connotations of physical play set against music. Classical Music functions a bit more like an industry. I don’t think it’s a type of music, for sure. There’s 800 years of notated music. I turn up on time because of my background in orchestral structures. As both a performer within LCO and someone who creates music using computers, how do these two aspects of your art relate? They both feel like second nature. My relationship with LCO has never been formalized; it’s nice and chill. Editing sound on the computer is about taste ultimately, same goes for how you play the cello. Your music appears in a constant state of flux, yet I wonder if there’s some other overarching theme in your work? There is, actually, but I’m holding it back for the time being — you can’t control things so much on the surface — but yes, there’s a backbone to the progression of each release. Tell me a bit about Ample Profanity with Laurie Tompkins. I’m aware that Tompkins has a very intense and unique creative process. As far as I know, this is the first time you’ve sung on a record, and your playing seems to be pushed even further than usual. We’re old friends, and Laurie T is a fine composer. His music is more extreme than mine (hence the shouting and so on at the start and the arrhythmia), but it’s fantastic to play in a live duo with him. He’s a subversive kind of performer, nuts skills he has, and I honestly don’t know where it comes from. By the way, I sang on track 1 of the first album, Towards the Blessed Islands, “The room is the resonator.” You’ve collaborated with a multitude of musicians from different scenes in different contexts. Do these collaborations affect your solo music? For example, certain elements of Shelley’s on Zenn-La’s sound seem to be hiding in pupal stage on cuts from Remain Calm. No overlap between RC and SOZ-L. Cello playing is there in both, but RC was a quick, fun, lo-fi thing. I can’t accurately say what has been transformative for me — meeting Genesis P-Orridge and improvising/underscoring her reading out Burroughs at Sophia Brous’s Dream Machine event in NYC taught me a lot, just on the unconscious level. Having moved to a fairly remote part of Scotland, are we going to hear more folk influences in your work? Perhaps for the first part. Scottish Gaelic music is very beautiful to me. http://j.mp/2CCRVNn

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papermoonloveslucy · 3 years

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PHILIP BRUNS

May 2, 1931

Philip Bruns was born on May 2, 1931 in Pipestone, Minnesota. He graduated from Augustana College in South Dakota and earned a Master's Degree from the Yale School of Drama. He also studied at the Old Vic Theatre School in London, England.

Off-Broadway, he received the 1964 Obie Award for his performance in the play, Mr. Simian. He also appeared on Broadway. He made is TV debut in a 1964 episode of “Car 54, Where Are You?”

On “December 30, 1968, he played a grizzled old prospector named J.C.C. Tompkins on “Here’s Lucy” in “Lucy and the Gold Rush” (HL S1;E13). To turn him into the stereotypical old prospector, he wore a beard and old age make-up.

This was his only time acting with Lucille Ball.

He is probably best remembered for his role as Mary Hartman’s father George Shumway on the Norman Lear satire “Mary Hartman, Mary Hartman” from 1976 to 1977.

He appeared as Morty Seinfeld in the sitcom “Seinfeld”, in a first-season episode entitled "The Stake Out", but was replaced in the role by Barney Martin after Larry David and Jerry Seinfeld decided they wanted the character to be harsher, as they thought Bruns was too laid-back for the role.

His final role was on a February 1999 episode of “Just Shoot Me”. He died on February 12, 2012, at age 80. He was survived by his wife Broadway actress Laurie Franks.

#Lucille Ball #Philip Bruns #TV #Here's Lucy #Gale Gordon #Seinfeld

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anniehuihsinhsieh · 5 years

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Kathryn Williams’ album ‘Coming Up For Air’

Kathryn Williams' album Coming Up For Air is out for your enjoyment! Featuring 40 pieces by 40 composers, this is a gem of a volume filled with one-breath pieces KW has commissioned in the last few years as part of her Coming Up for Air project, including the prototype of our collaboration which eventually became known as Pixercise. You can order the physical album now at NMC Recordings

(and stream it on Spotify while you wait for the physical CD to arrive at https://open.spotify.com/album/6uScpnx1mfd3tHXe9ZDxx7)

Tracklist and composers:

1 Joanna Ward - One, Breathe 2 Newton Armstrong - Two Canons for Kathryn 3 Patrick Ellis - Breath, Patterns, Bends 4 Megan Grace Beugger - Asthmatic inhalation & exhalation 5 Angela Elizabeth Slater - A Moments Breath 6 Jack Sheen - (it's really you strolling by) 7 Matthew Welton - Poem in a single breath 8 Daisy Ellen Holden - Waves 9 Chaya Czernowin - breating etude I 10 Jenny Jackson - Expel 11 Nina Whiteman - Thread 12 John Aulich - Just a different wolf 13 Laurie Tompkins - Bistro Legende 14 Stephen Chase - Feet. Can't. Fail. (slight return) 15 Charlotte Marlow & Chrissie Pinney - Breathless 16 Cee Haines - DOOO 17 Cevanne Horrocks-Hopayian - Breathing Up 18 Emilia Williams - Gerbil Behaviour 19 Amber Priestly - It involves beautiful tightropes of logic on which one has to walk 20 Andy Ingamells & Kathryn Williams - Aquafifer (after Hermeto Pascoal) 21 Larry Goves - Air Pressure (after Bruce Nauman) 22 Ewan Campbell - Polar Vortex 23 Lucio Tasca - One breath 24 Mark Dyer - Memento for Kathryn (and being able to hold that forever) 25 Lucy Hale - When we breathe 26 David Pocknee - Gray Winter Grimes 27 Scott McLaughlin - Like skipping stones on a lake 28 Lauren Marshall - SUCK/BLOW 29 Annie Hui-Hsin Hsieh & Kathryn Williams - PIXERCISE 1 30 Max Erwin - Inventory 31 Lavender Rodriguez - I didn't say that he did 32 Alex Bonney - Resonant Ripples 33 Mary Bellamy - Atom 34 Robert Crehan - Save Your Breath 35 Eleanor Cully - Snow geese 36 Oliver Coates & chrysanthemum bear - Leif 37 Mauricio Pauly & Gabriel Montagné - H-Yodo Draft 4 38 Brian Ferneyhough - excerpt, Unity Capsule (Senza misura, page 19, third system, to the end) 39 Sarah Hennies - Packing it in 40 Vitalija Glovackyte - Untitled

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356mission · 7 years

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List of individuals and groups who have participated in an event at 356 Mission

LeanThe New Dreamz (Rose Luardo and Andrew Jeffrey Wright)

Andre Hyland

Whitmer Thomas

Jessica Ciocci

Michael Webster

Asha Schechter

Gabu Heindl & Drehli Robnik (screening)

Rachel Kushner (with parts read by Barry Johnston, Gale Harold, Karen Adelman, Paul Gellman, Stuart Krimko, Stanya Kahn, Alex Israel, Milena Muzquiz)

Mina Stone

Ken Ehrlich & Emily Joyce

Flora Wiegmann with Alexa Wier

James Lee Byars (screening)

Trisha Brown (screening)

Ei Arakawa (screening)

Jennifer Phiffer

Euan MacDonald and Henri Lucas

Fundación Alumnos47

ForYourArt

Derek Boshier

Alex Kitnick

Cherry Pop

De Porres

Aaron Dilloway

Jason Lescalleet

John Wiese

Final Party (Barry Johnston)

Crazy Band

Aram Moshayedi

Bruce Hainley

Gary Dauphin

Kathryn Garcia

Leland de la Durantaye

Sohrab Mohebbi

Tala Madani

Tiffany Malakooti

Negar Azimi

Barbara T. Smith

LeRoy Stevens

Joe Sola and Michael Webster

Math Bass and Lauren Davis Fisher

Angel Diez Alvarez (screening)

Hedi El Kholti

K8 Hardy

Anna Sew Hoy

L.A. Fog

Trinie Dalton

Rita Gonzalez

Alex Klein

Mark Owens

Tanya Rubbak

AL Steiner

C.R.A.S.H.

Lao

Mexican Jihad

Zak-Matic

Laura Poitras (screening)

Parker Higgins

Domenick Ammirati

John Seal

John Tain

Bruce Hainley

Lisa Lapinski

Kate Stewart

Sarah Lehrer-Graiwer

Ian Svenonius

Entrance Band

Allison Wolfe

Geneva Jacuzzi

Chain & the Gang

Shivas

Hunx

Jimi Hey

Tim Lokiec

Scott & Tyson Reeder

Total Freedom

Prince William

Kingdom

SFV Acid

Jesse Fleming

William Leavitt

Lucas Blalock

Oliver Payne

Meredith Monk

Jessica Espeleta

Rollo Jackson (screening)

Jack Smith (screening)

Noura Wedell

Sylvère Lotringer

Jesse Benson

Zoe Crosher

Alex Cecchetti

Patricia Fernandez

Jeff Khonsary

Ben Lord

Shana Lutker

Joseph Mosconi

Suzy Newbury

Scott Oshima

Kim Schoen

Clarissa Tossin

Mark Verabioff

Brica Wilcox

Michael Clark

Ben Brunnemer

Ted Byrnes / Corey Fogel

Kirsty Bell

Johnston Marklee

Emily Sundblad & Matt Sweeney

Kevin Salatino

Wooster Group (screening)

Shannon Ebner

East of Borneo

Sue Tompkins

Alexis Taylor

Leslie Buchbinder (screening)

Odwalla88

Dean Spunt

Bebe Whypz

Saman Moghadam (screening)

J Cush

Hive Dwellers

Bouquet

Dream Boys

Jen Smith

Thee Oh Sees

Jack Name

Alex Waterman and Will Holder

Jonathan Horowitz

Ali Subotnick

Brian Calvin

Dean Wareham

Gracie DeVito

Indah Datau

Jake DeVito

Sara Gomez

Luke Harris

Sarah Johnson

Julia Leonard

Jillian Risigari-Gai

Joseph Tran

George Kuchar (screening)

Andrew Lampert

Reach LA

Oscar Tuazon

Black Dice

Danny Perez

Avey Tare

Shinzen Young

Jesse Fleming and Lewis Pesacov

Mecca Vazie Andrews

Mira Billotte

Julian Ceccaldi

Oldest (Brooks Headley & Mick Barr)

DJ Andy Coronado

François Ceysson

Amanda Ross-Ho

Raphael Rubinstein

Wallace Whitney

Bradford Nordeen

Chris Kraus

Samuel Dunscombe & Curt Miller

Jay Chung

Lev Kalman & Whitney Horn (screening)

Maricón Collective

The Shhh

Alice Bag

Martin Sorrondeguy

Sex Stains

Kevin Hegge (screening)

Rhonda Lieberman

Lisa Anne Auerbach

David Benjamin Sherry

Eric Wesley

Tamara Shopsin, Jason Fulford, and Brooks Headley

Deborah Hay

Becky Edmunds (screening)

Kath Bloom

Erin Durant

Ben Vida

Charles Atlas

Laurie Weeks

Kerry Tribe

Renée Green

Fred Moten

The Office of Culture and Design / Hardworking Goodlooking

YUK, MNDSGN, and AHNUU

PATAO

Michael Biel

Mark Von Schlegell

Graham Lambkin

Lex Brown

Jibade-Khalil Huffman

Dan Levenson

Sarah Mattes

Carmen Winant

Gloria Sutton

John Musilli (screening)

Pieter Schoolwerth and Alexandra Lerman (screening)

Nate Young

Safe Crackers

Frances Stark

Liliana Porter (screening)

Adam Linder

Corazon del Sol

Gary Cannone

Ben Caldwell

Jacqueline Frazier

Jan-Christopher Horak

Haile Gerima (screening)

Barbara McCullough (screening)

Jon Pestoni

Andrew Cannon

David Fenster

Dick Pics

Seth Bogart

Lonnie Holley

Rudy Garcia

Dynasty Handbag

Christine Stormberg

Anthony Valdez

Kate Mosher Hall

JJ Stratford

Diana Adzhaketov

DJs Cole MGN and Nite Jewel

Casey Jane Ellison

Gary Indiana + Walter Steding

Kate Durbin

Michael Silverblatt

Hamza Walker

Wynne Greenwood

Robert Morris

Maggie Lee (screening)

Brendan Fowler

Susan Cianciolo

Aaron Rose

John Boskovich (screening)

Michel Auder (screening)

Lauren Campedelli, Leo Marks, and Jan Munroe

Klang Association feat. Anna Homler (Breadwoman), Jorge Martin, Jeff Schwartz

sodapop

Hoseh

Miles Cooper Seaton & Heather McIntosh

Drip City

Geologist

Deaken

Brian Degraw

$3.33

Angela Seo

George Jensen

Carole Kim & Jesse Gilbert & Friends

Aledandra Pelly

dublab

Mariko Munro

Emily Jane Rosen

Lana Rosen

Max Syron

Mark Morrisroe (screening)

Ramsey McPhillips

Stuart Comer

Jordan Wolfson

Kiva Motnyk

Samara Golden

Sam Ashley

John Krausbauer

Kate Valk

Elizabeth LeCompte

Lewis Klahr

Barbara Kasten

Martine Syms

Margo Victor

Studioo Manueel Raaeder

Mary Farley

Wayne Koestenbaum

Jibz Cameron

Sean Daly

Kendra Sullivan

Trinh T. Minh-ha

Johanna Breiding + Jennifer Moon

Tisa Bryant

Cog•nate Collective (Misael G Diaz + Amy Y Sanchez-Arteaga)

Bridget Cooks

Michelle Dizon

Anne Ellegood

Shoghig Halajian

Katherine Hubbard

Simon Leung

Amanda McGough + Tyler Matthew Oyer

Dylan Mira

Litia Perta

Eden’s Herbals

Matt Connors

Flat Worms

Susan

Lucky Dragons

Dos Mega

David Korty

Monica Majoli

Forrest Nash

Sophie von Olfers

Rudolf Eb.er

dave phillips

Joke Lanz

The Dog Star Orchestra

The Edge of Forever (Elizabeth Cline + Lewis Pesacov)

Lutz Bacher (screening)

Agnes Martin (screening)

Marisa Takal

Moyra Davey (screening)

Suzanna Zak

Wu Tsang, boychild and Patrick Belaga

Snake Jé

VIP

Fictitious Business DBA The Geminis

DJ M.Suarez

Asmara

Weirdo Dave

Mission Chinese

Veronica Gonzalez Peña

Thomas Bayrle

Bernhard Schreiner

Bob Nickas

The Cactus Store / Christian Herman Cummings

Atelier E.B

Iman Issa

Diana Nawi

Sqirl

Downtown Women’s Center

Earthjustice

Juvenile Justice Clinic at Loyola Law School

Loyola Immigrant Justice Clinic

N.eed O.rganize W.ork

Planned Parenthood

SoCal 350 Climate Action

St. Athanasius

WriteGirl

Sean/Milan

John Santos

Thomas Davis

Twisted Mindz

Adrienne Adams

Evan Kent

Jasmine McCloud

Gia Banks

Ace Farren Ford

Dennis Mehaffey

Fredrik Nilsen

Paul McCarthy

Joe Potts

Rick Potts

Tom Recchion

Vetza

Oliver Hall

Rigo 23

Gil Kenan & Vice Cooler (screening)

Cassie Griffin

Clara Cakes

Clay Tatum + Whitmer Thomas (Power Violence)

DJ AshTreJinkins

DJs Protectme

Crush

Sara Knox Hunter

Dodie Bellamy

Miranda July

Alexander Keefe

Thomas Keenan

Kevin Killian

Silke Otto-Knapp

Calypso Jete, Essence Jete Monroe, Virginia X, Leandra Rose, Naomi Befierce, Tori Perfection, Foxie Adjuis

Brontez Purnell

Kate Wolf

Adam Soch (screening)

Dar A Luz

ADSL Camels

Cold Beat

Tropic Green

No Sesso

Michelle Carrillo

Ruth Root

Timothy Ochoa

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thisdaynews · 5 years

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Buttigieg’s top fundraisers include McKinsey partner, Wall Street execs

New Post has been published on https://thebiafrastar.com/buttigiegs-top-fundraisers-include-mckinsey-partner-wall-street-execs/

Buttigieg’s top fundraisers include McKinsey partner, Wall Street execs

Democratic presidential candidate Pete Buttigieg. | Win McNamee/Getty Images

Pete Buttigieg’s campaign released a list of his biggest financial supporters Friday night, after facing pressure earlier this week from Elizabeth Warren and Democratic activists.

Buttigieg, who has shot from little-known, small-town mayor to become one of the most prolific fundraisers in the Democratic presidential primary, named a list of 113 bundlers — high-dollar donors who have also tapped into their personal networks to raise money for the candidate. The list, released late Friday night, covers everyone who has raised at least $25,000 for the campaign, including several heavyweights in the financial industry.

Among them was Hamilton James, executive vice chairman (and former president) of the private equity giant Blackstone, and his wife Aimee, as well as Orin Kramer, a hedge fund manager and major Democratic fundraiser. New York socialite and philanthropist Agnes Gund, dubbed “the homecoming queen of the philanthropy world” by The New York Times in a recent profile, is another bundler for Buttigieg. Gund gave more than $400,000 to efforts supporting Hillary Clinton in 2016.

Another supporter helping Buttigieg, Adam Barth, is a Houston-based partner at McKinsey and Co., the management consulting firm where Buttigieg once worked. Barth does not have any significant history donating to federal campaigns, according to campaign finance records.

Other notable Democratic donors serving as Buttigieg bundlers include Susie Tompkins Buell, a major supporter of Hillary Clinton in 2016; Laurie David, a documentary filmmaker; Bryan Rafanelli, another major Clinton supporter; Tod Sedgwick, a former U.S. ambassador to Slovakia; and Rep. Don Beyer (D-Va.), a wealthy auto dealer who was the first member of Congress to endorse Buttigieg earlier this year.

The roster includes a number of former fundraisers for Hillary Clinton and Barack Obama — but it is heavy on bundlers who did not raise big money for the previous Democratic presidential nominees.

The publication of Buttigieg’s bundler list came after Buttigieg and Warren traded a week’s worth of attacks over transparency, each accusing the other of not being forthcoming about aspects of their campaigns and past employment. Warren, who has forgone private fundraising events altogether, criticized Buttigieg for his private events and for not releasing his Bundler list since April. Buttigieg, meanwhile, has needled Warren for not disclosing her pre-2008 tax returns detailing legal work she did for corporate legal clients, though she released the client list and the amount of money she made from them.

Warren sharpened her attacks against Buttigieg and Joe Biden in recent days, culminating in a blistering speech on Thursday when she targeted both her opponents for giving donors “regular phone calls and special access.” “When a candidate brags about how beholden he feels to a group of wealthy investors, our democracy is in serious trouble,” she said in the speech.

Buttigieg responded Friday, criticizing Warren for setting up a “process purity test” around fundraising.

#execs #Foreign #Politics #Street

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