#michelle weinberger

[scottstiles]

Uh, you can't go in without a name tag. Fuck off! Heather Mooney? Oh, my God, you're exactly the same.

[danceblr]

Look, it's the Madonna twins.

[heartlandians]

Video by: Michael Weinberg

[savage-kult-of-gorthaur]

LEGGY BEAUTIES APPRECIATION HOUR IS NOW -- ROMY & MICHELLE EDITION.

PIC(S) INFO: Spotlight on one of the most quotable, fashionable, and iconic dynamic duos of the last century, Michele Weinberger (played by Lisa Kudrow) and Romy White (Mira Sorvino) in the ditzy buddy comedy, "Romy and Michelle's High School Reunion" (1997), directed by David Mirkin.

Resolution at 1842x2763 & 1600x2345.

"They were loosely based, just visually, on these girls I used to see going into a club on Sunset Blvd.,” Schiff says. “You’d see these two friends, and they looked like they got dressed together and were wearing different versions of the same thing.” She was shocked to see the characters earn “a huge laugh and applause” on opening night from their entrance alone: “I’m standing in the theater going, why? I’m still fascinated what made them applaud just by seeing them.” And the laughs kept coming —especially when Romy admitted that she hates throwing up in public, and Michele replied, "Me too.""

-- VANITY FAIR, "The Woman Who Created "Romy and Michele" Never Thought They’d Be So Popular," by Garin Pirnia, c. April 2017

Sources: www.vogue.co.uk/arts-and-lifestyle/article/romy-and-micheles-high-school-reunion & Vanity Fair.

[rpfd]

Romy and Michele’s High School Reunion is one of Jenn’s favorite movies, so I’ve seen it a good amount. But I’m okay with it, because it’s hilarious, so here’s a drawing from it.

[stydixa]

LISA KUDROW AS MICHELE WEINBERGERROMY AND MICHELE'S HIGH SCHOOL REUNION (1997) Dir. David Mirkin

[jarenka]

Couple of months ago Spanish Fundación Juan March made a musical youtube channel, and it's so good! They post excerpts from their concerts, and they have a nice range from early European music to contemporary Cuban jazz.

So, here is the selection of their videos.

Latin American Lullabies. Performed by Betty Garcés, soprano and Sophia Muñoz, piano

Others are under the cut

Buenos Aires piano: Tristes and Tangos. Performed by Horacio Lavandera, piano

The Cuban-Spanish Real Book. Performed by Pepe Rivero, piano, Ariel Brínguez, saxophone, Reiner Elizarde, "El Negrón", double bass, Michel Olivera, drums.

Instrumental Rarities: Virginal & Clavichord. Performed by Bruno Forst

Albéniz: Flamenco on Guitars. Performed by José María Gallardo del Rey, classical guitar and Miguel Ángel Cortés, flamenco guitar

Shostakóvich & Weinberg: under the Soviet Yoke. Performed by Varvara Nepomnyaschaya

Bach and Vivaldi on Violone, an Extinct Instrument. Performed by Ismael Campanero, violone, Miriam Hontana and Sònia Benavent, baroque violin, Íñigo Aranzasti, baroque viola, Ramiro Morales, baroque guitar and archlute, Daniel Oyarzabal, positive organ and harpsichord.

Bossa Nova Classics. Performed by Fred Martins, voice and guitar and Sergio Menem, cello.

Dowland and the English Renaissance Lute. Performed by Hopkinson Smith.

 The Art of Portuguese Songs. Performed by Ana Quintans, soprano and Filipe Raposo, piano.

[influencermagazineuk]

Are Demi Moore and Joe Jonas Dating? Rumored Couple’s Flirty Appearance at Cannes Sparks Speculation

Image: Instagram / demi moore Demi Moore and Joe Jonas were recently spotted spending time together and enjoying lunch at the Cannes Film Festival, igniting rumors of a potential romance. The sighting has led many to wonder if the two stars might be Hollywood's latest 'It' couple. The 61-year-old actress and the 34-year-old singer appeared to be in high spirits as they caught up at the prestigious event in the South of France. Their playful interactions and lunch outing have been widely discussed on social media, adding fuel to the speculation about their relationship. Demi Moore and Joe Jonas’ Flirtatious Bonding at Cannes Demi Moore attended the Cannes Film Festival for the premiere of her upcoming horror film, "The Substance." Joe Jonas made a surprise appearance on stage during his brother Nick's performance. Demi was seen in the audience, dancing and enjoying the show alongside actress Michelle Yeoh. The pair were later photographed having lunch and chatting at the Hotel du Cap-Eden-Roc in Antibes, France. They were joined by Kevin Jonas and model Heidi Klum. Reports suggest that Moore and Jonas met through mutual friends, as Joe is well-acquainted with Demi’s stylist Brad Goreski and her manager Jason Weinberg. Platonic Friendship or Romantic Relationship? Sources close to Demi and Joe are divided on whether their bond is romantic or simply a close friendship. One source indicated that there were romantic vibes, while another suggested their interactions were friendly and flirtatious. “Demi and Joe have struck up a friendship. They have mutual friends, and they bonded,” a source told PageSix. Joe Jonas has been in the news following his high-profile divorce from "Game of Thrones" actress Sophie Turner, with whom he shares two daughters. He briefly dated model Stormi Bree at the beginning of 2024 but the relationship ended after five months. While the exact nature of Demi and Joe's relationship remains unclear, their recent appearances together at Cannes have certainly caught the public's attention. Fans will be watching closely to see if this rumored romance blossoms into something more. Read the full article

[dalt20]

Tooning In 14 Greg Bailey Part 4 of 10

DL:So how was the power couple of CiNAR, Ron Weinberg and Michelle Charest?

GB:That's kind of a wide open question. But I can say that they were amazing business people and I got along well with them and enjoyed working with them at least until the scandal that is.

DL:So how did you feel about the couple's goal of nonviolent,educational, children's television?

GB:I think it was merely a sales slogan really. Don't all children's shows need to follow the same old booklet of standards and practices that already forbid violence in kid's shows? I think the educational aspect was a worthy goal and we did always manage to add more content in the shows we did which is a good thing. So many kids' shows are exploitative and really have no point or purpose to them other than to sell toys. If we did do stuff that was not educational then it was a shortfall that I know we were guilty of in a lot of the series we did. It would have been interesting to see what would have happened given more years of Cinar because we had reached a crossroads where more edgy or older audience shows were getting more mainstream. So we were just starting to look at shows that might not have fit the company boilerplate. Ron used to say he would open up a side company called Ranic to do other types of more edgy shows. The name idea was a joke but it was looking like it might soon get in the way of doing other types of shows.

DL:Ah. And so did you work on Robinson Crusoe? For CiNAR and France Animation?

GB:I didn't. I think it was done before I went to Crayon because I don't remember seeing anything in the studio even. Unless it was all at France Animation. What year was it made?

DL:1994.

GB:I was there in 1992 so it should have been just finishing production still when I was there. Perhaps Cinar only did the post-production on it. That was in a different studio at the time and I didn't have much contact with the post-prod people until a few years later. We were only doing Munch and White Fang at the Crayon studio when I started. Favorite Songs were done just before I arrived. I've never spoken to any animation artists that said they worked on Robinson Crusoe so now I am curious where it was done.

DL:Well that got into a big lawsuit in 2009 with CiNAR's successor, Cookie Jar that got sued by the original character over copyright infringement. According to him, he met with the couple in 1985 to pitch the show, but they rejected it. So then in 1995 he saw the program on TV and had a panic attack.

GB:Definitely. And Claude Robinson finally won that case after so many years of fighting for that. It was called Robinson Sucroe. It was great that he finally won that and it's a shame he had to fight so long and hard to get it. In the end, he probably got nothing financially for it.

DL:Oh No, he got a 4 million reward and now receives residuals from the series now.

GB:For the record Cookie Jar was NOT a company that bought Cinar or anything. Cinar was merely renamed as Cookie Jar. So any lawsuits or assets or any business just continued under a new name.The 4 million after 18 years in court would have only covered his expenses. His personal time spent fighting it probably works out to a few dollars per hour if anything. The residuals after 2013 would be pretty small for an old show but I'm glad he got those at least and hopefully he got all the back money from SACD for being the creator instead of all of it landing in the pocket of Christophe Izard and Ron Weinberg.

DL:Who is Christophe Izard?

GB:France Animation president.

DL:Ah ok. Did you interact with him during the co-productions?

GB:No, I never met him. Or maybe said hi on a studio tour or something.

DL:Oh. Thoughts on france animation and their own productions like Code Lyoko, and Spartakus?

GB:Never heard of them. Are they good?

DL:Yes, they're really critically acclaimed.

GB:I will check them out sometime.

DL:I mean thoughts on the studio as a whole from the co-productions with CiNAR.

GB:The only time I had any dealing with them was on the first season of The Busy World of Richard Scarry. They did the middle story blocks of Busy World. I thought it was pretty cheap looking compared to what we were doing in Montreal for the rest of the show. But I have seen reviews that said they liked those sections of the show because of the detective characters. Usually, the companies in France could do good storyboards and designs at that time. It became quite noticeable that France Anim would do great work on the shows that they were a majority holder of,but when they did a part of the show that we were majority holders of it was another story completely.

DL:So, how was the CiNAR scandal? And were you involved?

GB:It was pretty horrible, to say the least. It was a really long slow death. I wasn't involved with it because it was an issue with the executive people in the company, not the animation people or artists. I believe I worked under 5 different CEO's during that period of 6 or 7 years. It was pretty relentless bad news and it was hard enough to direct the shows and then we had that hanging around the workplace 24/7. I lost money on shares I had bought of course.

DL:So thoughts on Ron Weinberg and Michelle Charest after their firing?Do you think they're bad people for starting offshore bank accounts in the Bahamas?

GB:Definitely, it was a bad thing to invest the money that belonged to the shareholders without the knowledge and approval of the board. I don't know that investing in the Bahamas is a great thing for Canada because it is usually done by big companies to avoid taxes. But most companies don't go to court for investing in tax havens. Unfortunately, it's too common but I would never have thought they were bad if they hadn't lost all that money. What was bad was that the money was invested in investments that went bad and then Weinberg was unable to replace the money that was stolen from the Cinar corporation without anyone's knowledge. The con men

John Xanthoudakis of Norshield Financial Group and Lino Matteo of Mount Real Corp. that convinced them to do this are certified bad people because they saw a sucker to take the money from and did it. Ron couldn't resist treating the corporation like it was a personal cookie jar. He definitely deserves jail time because a lot of people lost money they had invested in Cinar because greed was a problem for Weinberg. I don't know that Micheline ever had any involvement in this brilliant idea. The story in the studio was that she was livid when the news came out and had quite a loud dressing down on Ron and Hasanain the CFO in her office. I didn't witness it so that can only be considered as hearsay.

DL:So what you are saying is that you believe that Ron and Michelle were the scapegoats?

GB:Scapegoats no. No definitely Ron knowingly took the money which he knew was not his to play with. He tried to pull a fast one. If he was on the level he would have approached the board of directors before moving the money but then he would have had to share the potential windfall that he was banking on. You can only assume that he was going to pocket any proceeds of his crime. I really agree that he should have received the conviction for securities fraud and deserved substantial jail time. It really destroyed the animation industry in Montreal that was rising up during the time Cinar was making big gains, and the greedy actions of a few individuals destroyed the thing and the livelihood of the animation artists that were feeding them.

DL:Thanks to the downfall of CiNAR, many animators moved to Toronto and Vancouver.

GB:And a lot of animators moved to the gaming industry which took off at the same time. Montreal is now a major hub for gaming companies in the world. Also the major animation software companies Unity and Toonboom are located here.

DL:Like Ubisoft. And a new animation studio opened up called Mikros Image,they worked on The Little Prince,Captain Underpants and the new Ninja Turtle movie, Mutant Mayhem.

GB:Gaming like Ubisoft and Warner Bros. It seemed like a new gaming company opened every month for a few years. There are also a few CGI animation companies like you mentioned, and there are a lot of special EFX companies. Just about every show I see on Netflix now has a Quebec credit at the end for one EFX company or another. At least all the movies and shows with EFX in them which is just about everything now..

DL:Yeah, I know.so any projects at CiNAR that you were involved with that never went into production?

GB:Many. I can only remember a few offhand. Suzie Zoo and I also did a demo and pitch bible for a series called Bronco Teddy which is an old Jim Woodring comic. This was after we became named Cookie Jar. We did a demo to do the Arthur 3D movie that was made and is absolutely horrible. But Marc Brown and WGBH were determined to do the movie without us regardless of what we did.

I guess nothing else was very memorable.

Usually, you forget the ones that don't go anywhere. Mostly because there is no one you can ever talk to about it because no one ever saw it obviously. One time we did a really great demo for an older teenage audience film. It was an action-adventure kind of thing and the animation demo was already done and looked really great. I remember going over to record the actor doing a voice-over for it. I had hired an actor with a very deep gravely tough guy-sounding voice for it. He was giving a great read that built up to a nice crescendo, but at the end of the script it said something like " from the producers of Paramount and ... Cookie Jar>" no matter how he tried to do it we would just crack up when he had to say 'cookie jar'. It sounded so milk toast, and we were trying to promote this really awesome action-animated movie. It was insurmountable.

DL:Well it would've sounded fine if the company was still CiNAR. as if it said "from Paramount Pictures and CiNAR" he would keep a straight face and it would look presentable.

GB:Yeah, exactly! Or Ranic. Yeah it was his joke. Cinar backwards. Oh yeah the last line was "from the writers of Die Hard and produced by,,,,Cookie Jar." They were intending to hire a writer that wrote Die Hard 2. He was a contact from Toper Taylor of Cookie Jar and he was trying to find a spot for him on this new show or feature. I just remember this really great anime kind of animation with lots of Japanese EFX so perhaps it was a show that was already quite developed when it came my way. I wish I had kept a copy of that trailer. It was just great to play it for the humor of it besides having great animation.

DL:Exactly! That was Ron's proposed name for its young adult division.cookie Jar reused that idea and came up with The Jar division.

GB:The Jar. I still have an old coffee mug with that at my cottage.

DL:Steven E Souza? Cookie Jar was working on a show with him called Spyburbia.

GB:Yes, Steven de Souza. We tried doing a few things with him. I think he ended up writing the Santa Clause special that had Willian Shatner doing the voice. I had started directing it very very briefly and then Arthur came back for another season so I was able to avoid that one. Steven could recall every scene from every action movie ever written. His scripts are like a stream of references from different scenes from different movies all strung together into one script.

DL:Yeah. So how were the years at CiNAR from 2000-2004 when Ron and Michelle were kicked out?

GB:Those were probably the worst years there. Everyone was getting laid off and different parts of the company were being dissolved and we had a revolving door of CEOs coming in to save us. Finally, we hit a new low when Stuart Snyder came in to make everything in his vision of pro wrestling and pretend he was some kind of big-time slimy entertainment producer as you see in movies. My memory of the dates is not precise anymore for that time frame, but I am assuming by your question that 2004 was when Cinar found a new owner and was renamed Cookie Jar. So you are talking about just before Michael Hirsch and Toper Taylor came in.

DL:Wait, you had Stuart Synder, the cartoon network guy as CEO?! And yes before Hirsh and Taylor.

GB:It's funny that in the years you mentioned that we were still in the height of the series Arthur. We won Emmys for Outstanding series in 2001 and 2006 and a Bafta in 2002. So even with all that stuff going on it's amazing that we were able to block out all that noise and still do a great show. Yes we did have Stuart before M. Hirsch came into the scene at Cinar. Stuart was the one that made the sale of the company and he had just come from WWF. I always wondered if he was at WWF when Owen Hart the wrestler died in the wrestling stunt that went bad, but I didn't have the nerve to ask him.

DL:Well,he had a good run with the Cartoon Network weirdly when he was president.

[welcometowowsville]

#romy and michele's high school reunion #lisa kudrow

#michele weinberger #i couldn't find my top

[danceblr]

See, I told you it would pay off to go to those clubs every night.

[heartlandians]

Heartland fans truly are the best! We had an amazing Season 18 Fan Extras Day with hundreds of fans who traveled near and far to be with us for the day.

Michelle Morgan was directing. Amber Marshall and Kerry James were on the mic guiding us through the day. Shaun Johnston, the Spencer Twins, Michael Weinberg, Drew Davis, Jessica Steen, Chris Potter and many others also made an appearance to make the Fan Extras Day even more exciting.

Thank you to all the fans who came out to join us. Stay tuned to Heartland Season 18 which will air in the Fall, and don’t miss Episode 1805 for a chance to see yourself on TV!

📷 credit: HEARTLAND / David Brown

[hpmoon]

Talea Ensemble: James Baker, conductor Barry Crawford, flute Yoshi Weinberg, flute Michelle Farah, oboe Rane Moore, clarinet Marianne Gythfeldt, clarinet Erin Rogers, saxophone Adrian Morejon, bassoon Nicolee Kuester, horn Sam Jones, trumpet Mike Lormand, trombone Alex Lipowski, percussion Bill Solomon, percussion Nuiko Wadden, harp Steve Beck, piano Bill Schimmel, accordion Karen Kim, violin Johnna Wu, violin Leah Asher, viola Josh Henderson, viola Christopher Gross, cello John Popham, cello Greg Chudzik, bass

Video Production: H. Paul Moon, cameras & editing Kyabell Glass, additional camera Abigail Hoke-Brady, lighting designer Caley Monahon-Ward, recording & sound mix

Festival Staff: Thomas Fichter, Executive/Artistic Director Caley Monahon-Ward, Director of Production Kayleigh Butcher, Program Coordinator Carly Levin, Production Manager Chris Griswold, Assistant Production Manager

Recorded at Mary Flagler Cary Hall, DiMenna Center for Classical Music, New York City on August 26, 2023. Produced for TIME:SPANS 2023 by the Earle Brown Music Foundation Charitable Trust.

[kopystiansky]

Igor and Svetlana Kopystiansky. Double Fiction. 2008. Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023-2024.

"Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock. …“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning. Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”

Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky By John G. Hanhardt, (Senior Curator for Media Arts, Smithsonian American Art Museum)

Published in: "Igor & Svetlana Kopystiansky". The Lithuanian National Museum of Art. 2023. Foreword: Arūnas Gelūnas. Texts by Michel Gauthier, John G. Hahnhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg.(Lithuanian, English, French) ISBN 9786094261824

Published in: 2010 Kopystiansky. Double Fiction/Fiction Double. Musée d”Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel

[antonio-velardo]

Antonio Velardo shares: How Can Biden Woo Moderates? by Michelle Cottle, Patrick Healy, Jillian Weinberger and Vishakha Darbha

By Michelle Cottle, Patrick Healy, Jillian Weinberger and Vishakha Darbha After New Hampshire, the Never-Trump voters could be looking for a new home. Published: January 24, 2024 at 12:07PM from NYT Opinion https://ift.tt/uOsefU2 via IFTTT

[kopystianskybooks]

"Igor & Svetlana Kopystiansky". The Lithuanian National Museum of Art. 2023. Foreword: Arūnas Gelūnas. Texts by Michel Gauthier, John G. Hahnhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. (Lithuanian, English, French) ISBN 9786094261824

Available at Printed Matter

The catalog does contain a documentation about exhibitions at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Kunsthalle Düsseldorf, Reina Sofia, Henry Art Gallery, about installation work The Day Before Tomorrow from the Whitney collection, video installation work at the Documenta 11 and installations at the Lithuanian National Museum of Art, Radvilai Palace Art Museum in Vilnius.

Regarding the purchase and shipping of the publication abroad, please contact us by e-mail dovile.zubaviciute@lndm.lt