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areysololife · 4 years

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Hey love! Do you have any good modern AU recommendations? Thanks in advance!

I do. Here are some of my favorites:

Best Reylo Modern AU Adaptation (these first two do very well at translating canonverse arcs and characterizations into a modern AU) …

Public Participation by @angharabbit

A trope soup modern day telling of Reylo that plays on canon dynamics and a well structured subplot that drives the feel of canon Reylo to the modern day. It is complete with Rey being “swept up” by a masked Kylo at first meeting, Rey scarring his face, Rey taking up residence in the Falcon, Luke “catching” them, Han’s death, Leia’s “resistance”, etc., I could go on comparing so many scenes in this fic and where they were derived from in canon. The author did a thorough job of imagining how scenes of Kylo and Rey from canon could be reimagined in a modern setting. As this was written prior to TRoS, the “Bendemption” arc concludes in an original and satisfying manner, but I recommend this for enjoyable fic that carries Reylo into the modern day with many nods to canon.

A Study in Movement by @r-e-a-l-m-a-t-h violethoure666

violethoure666 also does an excellent job of translating the feel of canon Reylo into a modern day setting, but does so using contemporary social stigmas with a subplot that supports the characterizations. Ben is on the spectrum, which makes him a valuable asset to Snoke and Hux at the financial firm they work at, but he is socially alienated and kept at a distance by a family that doesn’t understand how to connect with him. Rey is a stripper aspiring to be a classical dancer. She faces social stigmas from an occupation that she struggles to rise above, but financially is in no place to escape her circumstances. Ben and Rey and the challenges they face from modern society woven with fleshed out characterizations produces the feel of canon Reylo in a modern setting as they find understanding with each other and realize they are no longer alone.

The following are a fave of each of my Modern AU rec posts.

Fake Relationship Fave …

How Much Can Kylo Ren Endure This Christmas? by @reylos-stole-star-wars reylology

Here’s a secret about me: RomComs are a guilty pleasure of mine … and this Reylo reads like a RomCom. Checks every box in the fake relationship and holidays tropes with a satisfying dose of the Solo Family Feels.

* For more of my Modern AU Fake Relationship Fic Recs, click here.

Strangers Stranded by the Snow Fave …

the man, the stallion, the wind by @voicedimplosives

Hitchhiker Ben, Road tripping Rey, Canadian snowstorms. Somber, sweet and sexy.

* For more of my Modern AU Strangers Stranded by the Snow Fic Recs, click here.

College AU Fave …

Unknown Number by @okaaragem (BurnedStars777)

College AU. Everything about Ben and Rey’s relationship in this is so wrong … (but so, so right). ;) Ben’s carnal desires and filthy mouth make it sexy, but it’s his conscience tearing him between what he wants and what is the right thing to do that makes it steamy. I like these edgy portrayals of a Ben who is a good, honorable man, but completely filthy and dominant in the bedroom.

* For more of my Modern AU College or HS Fic Recs, click here.

Co-workers Fave …

Serotonin and Dopamine by pontmercy44

Office AU. Rey pursues a seemingly socially awkward coworker, Ben Solo. Ben’s quiet with a vulnerability that draws Rey to him. His bluntness and insecurity is endearing, but Ben’s hiding a mental illness from Rey, from everyone. It’s already alienated him from his family and he worries revealing it could shake the ground of the stability he’s been able to build. This is a much more somber toned Reylo that deals with how society projects and exacerbates fears of mental illness due to a lack of understanding them. Emotionally heavy Ben POV as he struggles to understand why Rey would want him. Conversely, after being abandoned by her parents when she was a child, Rey struggles with why they didn’t want her.

* For more of my Modern AU Co-workers Fic Recs, click here.

Modern AU Slow Burn Fave …

A Place to Go by @delia-pavorum

Secluded cabin, snowstorm, strangers. Beautifully written, banter is foreplay. Jane Austen in the background and between the lines.

* For more of my Modern AU Slow Burn Fic Recs click here.

Here are a few from my rec lists that are in the works for planned posts …

Neighbors Fave …

Flux & Solder by @angharabbit

Rey leads a quiet life, relationship free … until she takes an interest in her new mysterious neighbor - who seems to have secrets and demons from his past.

Unplanned Pregnancy Fave …

Unexpected by pontmercy44

Kylo is a wealthy playboy wasting his life in night clubs with meaningless hook-ups until a one night stand delivers something that could bring meaning to his life.

Inspired by a RomCom Fave …

Conscience & Unconciousness by pontmercy44

I am Reylo trash and a total whore for RomComs. This While You Were Sleeping AU checks so many of my boxes. ;)

If you’re ready comic get it by @r-e-a-l-m-a-t-h violethoure666

This You’ve Got Mail AU is as much a guilty pleasure of mine as wasting an afternoon watching the movie is. (And I’ll even admit, I enjoy the Reylo version more).

@smisushi Enjoy!

#reylo #reylo fanfic rec #reylo fanfic recs #reylo fanfic #reylo fanfiction #reylo fandom #modern #request #kylo x rey #reylo trash #reylofic

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cayenne-twilight · 4 years

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A fic about Uncle Randall interacting with Flora and/or Kat and Alfendi?

Flora peered dreamily out the car window, as she usually did when she could actually convince the Professor to take her places. Three days ago she organized a persuasive presentation proving that she was responsible and capable enough to accompany him on his trip to the city of Monte D’Or. It took informative posters on an easel and ten minutes worth of speaking, but soon enough Flora was packing her bags. Of course, by the Professor’s earnest recommendation, she regretfully pruned her luggage down to one suitcase and one duffel bag. Packing lightly may be befitting of a gentleman, Professor, but not a lady. Am I supposed to wear the same outfit in the morning AND the evening?

She watched the view transition from the metropolis near the airport to rusty desert. Apparently one of the Professor’s secondary school friends built the city, and the rest of their clique lived there as well. He always associated with the most curious people. Flora couldn’t help but imagine what the Professor must have been like as a teenager. Was he already obsessed with being the perfect gentleman, or did he act a tad immature at times like Luke did? Was he in the robotics club like she was now? And what sort of friends did he spend time with? She heard him mention some names over the phone with Emmy, but what were they like? She imagined a bunch of history nerds discussing the Azran over tea. Did they all wear top hats as well? Flora suppressed a giggle at the mental image.

“This is no Laytonmobile, but it has been keeping up just fine,” Layton said. The rental car was a much more modern model than his beloved little Citroen. With its neutral paint job and contemporary luxury features, the Professor almost seemed out of his element driving it. Flora would never say it out loud, but she preferred this car to his usual rickety ride, although she could admit it had its own brand of charm.

“So you’re visiting your old friend to share your findings on the Azran?” Flora asked, hoping to get more out of him than the last two times she asked this question.

“In part. Ever since- well. For the past few years my good friend Randall has had an aversion to the Azran despite his interest in the civilization in our youth. Recently, though, the spark seems to have reignited. I’m bringing over the thesis I published as well as Desmond’s, who turned down the invitation to come here seeing as his relationship with Randall is rocky. (I believe I will force them to reconcile one of these days.) The timing of it all is really quite queer now that neither Desmond nor I want anything to do with Azran research.”

“Wow. It took you two whole years to get your paper published and you aren’t even interested in the topic anymore?” Flora couldn’t imagine what it must be like to be so spontaneous. If she were to write an entire academic thesis, it would be on a topic she would never get tired of learning more about.

The Professor said nothing. He just drove on along the dusty road until Monte D’Or was visible in the distance like an island surrounded by all this empty sand. As they pulled closer Flora marveled at the flamboyant hotels and casinos. Up until recently she felt like a tourist in her own city, but this was the real deal.

Flora sat on a couch in the Reunion Inn lobby while the Professor checked in and arranged for their luggage to be brought up. She could hardly call this an inn. The establishment Beatrice ran was an inn. This place was massive enough to house all the residents of her little village.

“Now that that’s settled, my dear, let’s head down to the Ledore mansion to say hello. I’ll introduce you to my old friends.”

Flora nearly fell over because of the way she was trying to absorb every detail of her surroundings. She heard there was supposed to be an absolutely darling parade on this street at night, and she asked if they planned on watching it.

“Ah, I remember the parade from the last time I visited. They run it once a week, but it feels awfully special when you’re a tourist. Of course we’ll see it,” Layton said.

He rang the doorbell to the mansion, and a woman with blonde hair done up in curls answered, “Hershel!”

“It’s good to see you, Angela. Have you three been well?”

“Yes, of course. And you must be Miss Flora,” she said, extending a hand. Flora shook it. “I’ll call Randall and get Henry to set the kettle for tea. Make yourselves at home.”

The Professor took a seat on the expansive couch, sorting through the folder he brought along, while Flora examined a curio cabinet set into the wall. Randall must collect these pieces of archeological memorabilia, all sorts of carved pots and ancient coins and whatnot. She remembered talking to Luke’s father about how there was more of this stuff out there than one might think, hence how much of the museum’s collection was archived.

“HERSHEL!” a man with slicked back red hair and glasses entered with his arms outstretched. The Professor turned his hug into a handshake.

“I must admit, I missed this Randall,” the Professor said.

“And which one might that be?”

“The one that would rather excavate cities than bury them-“

“Oh bug off, Hersh.” Randall turned to Flora. “You must be the girl from the robot town.”

“Um. Yes I suppose that is me.”

“I’d love to visit one day. How do they work? I hear they’re indistinguishable from humans! Are they modeled after the ancient golems?”

“Leave her be, Randall. So what have you been up to these days? Not farming, I presume.”

“No, not quite,” he laughed. “That’s just the thing. Angela and Henry have the mayoral duties covered, and I don’t think they would want me to intervene anyways. And I’d make an awful stay at home husband.”

“He would,” Angela and Henry said in unison. Henry carried a platter with tea to the coffee table and poured five cups.

“You haven’t done the one thing I asked you to do today,” Henry said.

Randall stared blankly. “And what might that have been?” He smiled like a child caught in a lie.

Angela facepalmed. “Do you even enter the kitchen? The sink is piled up with dishes. I hate to grill you in front of guests, but if you won’t help out around the house in the slightest, you better get a full time job.”

“Yes, about that. I was thinking of curating the Monte D’Or museum. We have an impressive painting gallery, but I think it could do with a more historical exhibit. The city itself is quite new, but the area is rich in Azran history.”

“Well I think that’s a splendid idea,” Layton said. I do hope my research will be of help to you.”

Layton left with Angela and Henry to their office where they showed him the building plans for a new designer brand shopping mall. Randall remained on the couch, essays in hand, until his attention span promptly gave out ten seconds later. He looked to Flora, who was inspecting a still life on the wall.

“You haven’t even touched your tea yet,” He said.

“Ah. I didn’t realize Henry brought some for me too.”

“How’s Hersh been as a dad?”

Flora looked a bit startled. “A dad? Gee, I don’t know if that’s quite right. He’s more like a foster parent, really. I’m not sure how much you heard about his trip to my village, but when he arrived to solve a treasure hunt he wasn’t expecting to bring me home instead.”

“I did hear about the hunt your father arranged. I’m sorry for your loss, by the way.”

“It's been sort of a long time, but thank you.”

Randall’s eyebrows arched since Layton told him the Baron was recently departed. He didn’t pry in fear of touching on a sore subject. “Have you been liking the city life more so than the village?”

“I’m glad the Professor lives on a relatively quiet street, and I do like secondary school more than reading textbooks on my own. Quite frankly, it’s been hard for me to adjust to social situations, but I like working with my classmates more than studying alone.”

“And I gather you’ll be going to college not too far from now. Do you know what you’re going to take in uni? Not to alarm you, I’m sure you get asked that a lot these days.”

“That’s tricky. I was thinking maybe software engineering? Or robotics. Or perhaps criminology as well? I’d like to take some sort of design course if there’s room in my schedule, but at this rate there might not be.”

“I’m sure you’ll figure it out soon enough. You know, I don’t believe I actually ever finished my compulsory education because I fell into that chasm. No matter, trade skills served me well enough.”

“You what?”

“Look, it’s already gotten dark out. We should leave right about now if you want to catch the parade.”

Flora, Randall, Layton, Angela, and Henry left the mansion and made their way to the crowded sidewalk of the boulevard where many visitors awaited the procession. The sound of brass instruments pealed from the distance, followed by the drumming and jangling of marching band music. Flora clasped her hands and leaned forward, trying to gauge where the start of the parade was.

Squadrons of dancers and acrobats dressed up as suits of cards waltzed around the pavement, doing flips and spinning batons. The crowd cheered as they quickly assembled into a human pyramid and gracefully collapsed like dominoes. The marching band followed, and Flora had to cover her ears when they were right in front of them. Four floats rode by, driven by characters resembling the jacks, queens, and kings of each suit. They waved and popped confetti at the viewers. Finally, the giant clown balloon glided forward, attached to an equally large float. It looked like a tiered cake, with dancers standing on each level moving in perfect unison.

“You know, the performers on the clown float are all animatronics,” Randall yelled over the blaring band.

“For real?” Flora responded. “But they’re moving so naturally! It’s hard to believe they’re not human!”

“You’re one to doubt it, having grown up with robots. The float is actually an optical illusion in a sense. In reality, dancers on the top are a lot larger than the ones on the bottom, and same with the height of the platforms, but because of our perspective they look the same.”

“Really?” Flora shouted. “That’s so cool! Can I get a closer look at them another time?”

“Of course!” Randall yelled back. “I can take you to the garage tomorrow.”

The eardrum-shattering upbeat music faded, and the crowd began to disperse.

“Did the parade meet your expectations, my dear? Layton asked.

“I believe it surpassed them!” Flora responded.

They parted ways with Randall, Angela, and Henry and headed back to the Reunion Inn for the night.

“You told me you and Randall used to be best friends, but you drifted apart.”

“Yes, that is true. Why do you bring that up?”

“Well I think you should mend that friendship. He seems like a swell guy after all.”

Layton smiled. “Is that so? In any case, you are correct. I should make an effort to reconnect with him. Maybe I should challenge him to a sparring match like those from our youth. He was awfully quick, but now that he’s rusty I bet I stand a good chance.”

“Randall fences?”

“Yes. In fact he’s the one who got me interested in the sport myself. He also sparked my interest in archeology.”

“Wow. I didn’t realize the impression he made on you was so big.”

“That’s not all, he also introduced me to the world of puzzles.”

“RANDALL is the one who got you hooked on puzzles?!” Flora exclaimed. She should be trying to make friends like these in secondary school herself. Even if it’s just through impact on one’s character, friends really had the potential to last forever, huh.

@101flavoursofweird

#randall ascot #flora reinhold #hershel layton #angela ledore #henry ledore #professor layton #professor layton fanfiction #CT writes #professor layton fanfic #layton fic #long post #omg this is so much longer than advertised #sorry to everyone who sees this and is too lazy to read it lol #it’s dumb that you cant put a read more on mobile #anyways sorry this took so long #I wrote it in like three sittings wheras the previous fic only took one #sorry for no kat/al ‘cause I wanted to write Flora’s first time meeting these three #this fic is blatant dalston erasure and thus sucks #thank you for requesting!

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quarantineroulette · 5 years

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Minor Disappointments’ Least Disappointing Releases of 2018

Preamble: I had a bit of a low (not Low, although that would’ve been preferable) period in 2018 that went on for several months. I didn’t really listen to music during that time, and so I missed out on a lot of things. I’m kind of too scatterbrained from holiday hysteria to really take in anything new. So these lists probably don’t designate “the best”, but they’re decent documents of what I wasn’t too distracted or down to take serious notice of.

Secondly, my own band released an album this year, and that occupied a large amount of time normally reserved for listening to other bands. I won’t rank it because I don’t want to be that conceited...but if you want to check it out for yourself, the highlights for me are “For the Rest to Rest”; “Open Up the Ways”; “Screen Test”; and “Suspend Disbelief”. One of my favorite reviews of it described our sound as being a “unique blend of post-punk, brit-pop, indie, and a little post-rock too.” and said we’re “one of the smartest bands to come out of Brooklyn in a very long time.” This is both why people should listen to it and also why they might not.

Thirdly, one of the things I listened to the most this year was Protomartyr’s Consolation EP, but I’m refraining from listing it as it’s not a full-length. That said, I think it’s as good as nearly anything I’ve heard this year, Protomartyr are the best and both of their live sets I caught were my favorite gigs of 2018. TLDR: Protomartyr = good. Most other things on this list = equally good but not Protomartyr. Let’s get started shall we?

10 Songs That Were Good:

10) Neko Case & Mark Lanegan - Cures of the I-5 Corridor. How has a Neko Case / Mark Lanegan duet not existed until 2018?? No matter the year, something this gorgeous and heartbreaking is always worthy of making the cut.

9) Lana Del Rey - Mariners Apartment Complex . I remember Spencer Krug tweeting something kind of snarky about “Venice Bitch” a few months back, then deleting it, and damn well he should’ve because both that and “Mariners Apartment Complex” are blinders. “Venice” may be the most low-key epic ever, but the way “Mariners” takes hints of Leonard Cohen and Lee Hazlewood / Nancy Sinatra and places them in a pop context is perhaps even more admirable. It’s truly inspiring to hear mainstream music this nuanced.

8) Parquet Courts - Tenderness . I love the jaunty piano, and how Andrew Savage’s vocal take is simultaneously forceful and lax. But most of all I love how all its elements converge to create a sense of hard-won optimism.

7) Iceage - Thieves Like Us . Iceage do a swamp cabaret song and I just can’t love it enough.

6) MGMT - Me and Michael . Yes, it’s ridiculously ‘80s, but you would have to be a very dour person to not smile whenever that opening synth riff kicks in.

5) Shame - One Rizla . Riff of the year. Hands down.

4) Bodega - Jack in Titanic . One of the great things about 2018 was witnessing Bodega’s success. To me, they’ve always been one of the few up-and-coming indie bands with the charisma to be actual stars, and it’s been a joy seeing the rest of the world take note of this. From the moment I heard “Jack in Titanic”, I just knew it was destined to show up on a BBC Radio 6 A-or-B list at some point in the near future (and it did!). And yeah, they’re my good friends, but even if they were strangers I’d appreciate the smartness, melodic hooks, and sexiness all the same:

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3) Preoccupations - Disarray . Click on that link because the song is really good, but be warned -- the vocal melody is never, ever going to leave you.

2) Protomartyr - Wheel of Fortune . This song has everything: a nerve-wracking stop and start guitar part, an at-once badass and terrifying refrain, Kelly Deal, and the exact sense of urgency that’s needed right now. Powerful, timely, and a rare example of a song that puts its guest star to highly effective use.

1) Janelle Monae - Make Me Feel . This song combines about five different Prince songs but Janelle Monae’s personality is so strong that the end result is something wholly her own. And if the song weren’t a blast on its own, the technicolor video is almost lethally fun:

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10 Albums That I Loved A Lot:

10) Arctic Monkeys - Tranquility Base Hotel and Casino . I really loved this album but I’m ranking it as 10 just because it’s the Arctic Monkeys and I can’t believe I enjoyed anything they’ve produced *this* much -- especially a lounge album about a casino on the moon. I find Alex Turner overrated as a lyricist and cosplaying a Bad Seed isn’t endearing to me, but he obviously loves Scott Walker a lot so I guess he gets some sort of pass.

9) Moonface - This One’s of the Dancer and This One’s for the Dancer’s Bouquet . The only reason this isn’t ranked higher is because I haven’t been able to give it the attention it deserves. This is a concept album where some songs are sung from the pov of the Minotaur and others from Spencer Krug, and both these creatures are enigmatic are too enigmatic to be given mere surface reads. This all said, I’ve listened enough to glean that, as always, Spencer’s lyrics are awe-inspiring, the marimba is implemented well, the alternate version of “Heartbreaking Bravery” is excellent, and comparing and contrasting its themes with those found on Wolf Parade’s 2017 release Cry Cry Cry is a fun past time if you’re me or seven other people. Looking forward to delving deeper in 2019.

8) Janelle Monae - Dirty Computer . To be honest, I *was* a little disappointed in this. It’s not as cinematic or stylistically adventurous as Monae’s previous full-lengths, but I think Monae herself is extremely talented and I wish she was a much bigger star. Furthermore, when considered against the drek of the general pop landscape, this is still a bold, unpredictable, and intelligent pop record from a true enigma.

7) Luke Haines - I Sometimes Dream of Glue . Like “Kubla Khan” if it had been written after huffing a river full of glue, but instead of Xanadu it’s an English village full of miniature people having a orgy:

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6) Parquet Courts - Wide Awake! . No other song better captures the frustrations and anxieties of living in NY in 2018 than “Almost Had to Start a Fight / In and Out of Patience”, and for that alone this album would make the year-end cut. But it also happens to be brilliant start to finish, with the two closing statements, in the form of “Death Will Bring Change” and “Tenderness” respectively, being among PC’s best.

5) Low - Double Negative . Mimi Parker’s voice emerging from a sonic cocoon on “Fly” is one of the most gripping moments of Low’s fantastic career. This album challenged me the most in 2018, but it’s also one I frequently returned to, determined to crack its code.

4) Preoccupations - New Material . I suppose some would dismiss this as too trad. post-punk, but holy hell - these trad. post-punk songs have got some hooks! And there isn’t quite another singer like Matt Flegel, who somehow manages to channel Bowie and Mark Lanegan at the same time. I’ve listened to this so much that New Material already feels like a well-loved classic.

3) Gazelle Twin - Pastoral . I would argue that Pastoral is the closest anyone’s come to making something comparable to PJ Harvey’s Let England Shake. An electro-pagan examination of Britain’s heritage and history (and the whole Brexit thing) that manages to feel thorough despite only being 37 minutes long, Pastoral moves beyond being just “a record” and becomes something closer to contemporary art. Elizabeth Bernholz’s vocals, whether warped or unconstrained by processing, are remarkable throughout. A mash-up of folk traditions and modern beats that somehow works shockingly well:

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2) Idles - Joy as an Act of Resistance . Boyfriend / bandmate James and I have discussed this album more than any other this year, and it’s been a pleasure hearing his love for it and forming my own appreciation of it in the process. What sealed it for me was James’ description of “Idles” as pagan, and how the band’s use of repetition and simple melodies (as well as their bacchanalian stage presence) created an air of ritualism. In their primalness, they even remind me of The Birthday Party - a “woke” Birthday Party, but a Birthday Party all the same. My favorite musical moment of the year may very well be Joe Talbot’s first shout of “UNITY!” in “Danny Nedelko”, primordial, raw, unpretentious, and completely punk. We *need* these guys right now:

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1) Suede - The Blue Hour . There is a joke in the TV show 30 Rock in which Jack Donaghy -- Alec Baldwin’s network head character -- says he attended Harvard Business School, where he was voted “Most”. The Blue Hour could be considered “Most” -- it’s meant to be taken as one piece, it’s insanely grandiose and, like its predecessor Night Thoughts, listening to it makes everything in my life seem 18 times more dramatic and tragic. I don’t know how, but this bizarre mashup of Kate Bush, Jacques Brel, Pink Floyd, Scott Walk, Gregorian chanting, classic Suede, spell books and (of course) David Bowie somehow seems bizarrely in step with 2018. Seeing as this top three consists of albums that are arguably “pagan”, and folk horror’s representation in popular 2018 films like Hereditary, The Blue Hour feels accidentally on trend. It’s crazy to think that a band whose first release happened 25 years ago could still be relevant in 2018, but Suede somehow are so please give these dads a hand and then listen to The Blue Hour’s glorious closing trio of songs a lot, because boy are they “Most”.

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deanndotson · 3 years

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Top 5 Poi Dance Moves You Should Know!

Learn the most stylish poi dance moves that I have at my disposal! In this list of poi tricks and poi transitions, I'll show you some of my favorite moves for poi dance that I've worked with in my years of poi dance performance and flow! A lot of these are pretty specific to my style (which is heavily influenced by contemporary modern dance), but I think there should still be plenty of inspiration here to go around for all of you budding poi dancers out there! If you'd like to learn some of my poi choreography you should check out this list of tutorials I've done on the topic. If you'd like to learn more about my technique for poi spinning basics, check out this playlist: #PoiDance #PoiDancing #PoiSpinning #DrexFactorPoi Support these videos on Patreon: Big thanks to the Friends of the Channel: Dark Monk: Flow DNA: Flow Fests: Flowtoys: Juggling Calling: Pyroterra Lighttoys: Spinballs: Ultrapoi: Use the promo code "drexfactor21" for a discount on your order from Flowtoys Use the promo code "drexfact0r" for a discount on your order from LanternSmith or Ultrapoi or Emazing Lights Check out my 1-minute tutorials for bit-sized snippets of poi spinning knowledge: Be sure to follow me on Instagram for the latest cutting edge tricks I'm working on: 0:00 Intro 2:40 The Two-Step 3:44 Antispin Chaines 4:55 Pirouettes 6:33 Tour Jete Fountain 7:46 Fantastic Four Footwork 9:24 Conclusions A huge thank you to this month's Flow Supporters: Lane Lillquist Andrew Hammond Ky Lee Victoria Danger Rose BJ ✨ LiHao Zhang josh bernard Alexey Gilman Clayton Burke Daniel Popescu Michael LaHood Ben Reynolds Kathleen Griswold Kimmie Cherry John Gruber Phlip Purple Jennifer Packard Cory Lund Luke Wuertemberger Maxim Fateev Brandi Hine Vinny Perez JF Alison Keroack Aric Allen Sarah G Lauren Pontbriant Ziege Ray Castillo Jim Martin Tyrone Phillips William David James A Hughes Liene Verzemnieks Mikey Kelsea Mavety Hannah Boler Christaff Anna Gerus Tina McDonald Dom Luke karina Mikael Ma Li Candace Sinclair Mark Fingerhuth Christoph Mau Alan Sam Jodi Thibeault Jason Kupski Erin Nope Carmen Taylor Zachary Stephens Jessica Nunno Aurora Parodi David Hill Minh A Dam Russell Paac Mindi Luke Siryn '@whistlepunk.labs Justin Allen Patricia Lee Auron Wyse jimid Yvonne Harlacher Finn Bell Blake Westmoreland Kate Farah Randall Morgan Aleksander Poppe Matthew Riordan Parmita Dalal Moriah Jeremiah Johnston Karen Jane Steffi Lexi Nichelle John Middlehurst Elizabeth Ellis Brian Huddleston JAK Bunny Sterling Bishop Chris Guerrant Arlene Smith Dean Ritts geoff Richard L Aaron Freeman Jillian Morris Lunaris Paul Kim David Diaz Foxy Roxy Nathan Kirschman Dan Sulfaro Donler Mike Corelli Julia Wheeler S Jones Jeremy Magno Bloodsong Alex Ciminian Brian Lockridge Sofia Kyle Gust Wittevrongel Peter Lynch Laura Conner Alexis Krohn David Flow Mayhem Kelly King OneLove .video-container {position: relative;padding-bottom: 56.25%;padding-top: 1px; height: 0; overflow: hidden;} .video-container iframe, .video-container object, .video-container embed {position: absolute;top: 0;LEFT: 0;width: 100%;height: 100%;}

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#fluidart hoop

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND October 11, 2019 - THE KING, GEMINI MAN, PARASITE and More!

Having barely recovered from this past weekend’s double whammy of New York Comic-Con and New York Film Festival, I’m starting to question whether I should continue doing this column… again. It’s a lot of work putting it together each week, and it’s really tough to balance this with my paying writing work.

It certainly doesn’t help matters that I never got around to finishing last week’s column, because I got too busy with other stuff, but this week, I haven’t seen any of the three wide releases for various reasons, so there might not be as much to write about. Since I’ve already reviews Bong Joon-ho’s Parasite for The Beat, I want to talk about another amazing film getting a limited theatrical release.

That movie is David Michôd’s THE KING, which Netflix is giving a limited theatrical release before its streaming debut on the service starting November 1.

Set in the 15th Century, the movie is loosely adapted on Shakespeare’s King Henry IV and Henry V but it’s handled in a lot less stodgy way than other Shakespeare films like Michael Fassbender’s recent turn as Hamlet. Henry IV is played by Michôd regular Ben Mendelson, but Henry V is played by Timothée Chalamet who has zero interest in being king even after his father dies. But the performance that really grabbed my attention was that of Joel Edgerton (who co-wrote the screenplay with Michôd) who I didn’t even recognize as the younger king’s trusty colleague Falstaff until about an hour into the movie. Robert Pattinson (who appeared in Michôd’s The Rover) plays a smaller but absolutely hilarious role that I won’t reveal, although it’s hard to forget it since it’s such a different character for Pattinson. Much of the film deals with how Henry handles becoming King of England, especially when he’s pushed to go to war with France. I don’t have a lot more to say about this movie is that it surpassed all my expectations, especially in the battle sequence in the last half of the movie which is on par with anything in Gladiator or Braveheart, but then there’s an equally terrific epilogue that really shows Chalamet to be at the top of his game. I also should mention the amazing turns by Sean Harris from Mission: Impossible - Fallout, Lily Rose-Depp and Thomasin McKenzie as Henry’s sister.

This is just a great film that I hope people will make an effort to go see in theaters, even though Netflix really isn’t giving it as big a theatrical or awards push as some of their other movies. I know it’s playing at the Landmark 57thStreet in New York, but that’s the only theater I could find.

That aside, the big movie of the weekend is Ang Lee’s GEMINI MAN (Paramount), starring Will Smith and Will Smith. You may already know the general premise that it involves an older hitman played by Smith being hunted by a younger Smith, or maybe it’s vice versa. I don’t know since I had to miss the New York press screening due to illness, but I’ll probably try to see this when it opens this weekend. I might even give it a look in 3D at 128 FS, as maybe the third time’s the charm in that format.

U.A. Releasing is attempting their second animated release of the year with THE ADDAMS FAMILY, which I’ll be seeing on Wednesday night and reviewing over at The Beat. It has a pretty amazing voice cast, and I’ve been a fan of the comic strips and TV show, enough to hope that the filmmakers behind Sausage Party can do it justice and still be funny with a PG rating.

I’m a little bit dubious of CBS Films’ JEXI, starring Adam Devine, since the studio decided not to screen in advance for critics, and that’s VERY rare for a populist comedy like this one, which basically has Devine falling for his Siri-like smartphone assistant, or maybe it’s vice versa. If I can find the time, I might check this out, but I don’t expect it to do very well with so little advance promotion.

You can read more about these wide releases and how they might fare over at my weekly Box Office Preview at The Beat.

LIMITED RELEASES

I’ve already reviewed Bong Joon-ho’s new film PARASITE (NEON) over at The Beat, but it’s an intriguing enough film that I certainly could talk more about it. It’s an interesting look at the Korean class system through the interactions between a family living in poverty and the rich family they dupe into letting into their homes. The movie looks incredible and Bong’s cast is top-notch in creating a dark comedy dealing with rather serious issues, and honestly, you should go to see it without knowing too much about it, so that’s all I’ll say. Interestingly, the movie has already sold out about seven preview screenings on Thursday night and a few more Friday at the IFC Centerwhere Director Bong and a few of his stars will be doing QnAs after the shows.

I had been tracking Michael Goy’s MARY (RLJE Films) for some time, mainly because it has an impressive cast including Gary Oldman and Emily Mortimer, but also it mostly takes place on a haunted boat, and I’m generally a fan of boating. Mary is actually the boat’s name, one that’s spotted by Oldman’s working class captain David who wants to make a better life for his family, something he thinks the boat can help with. Once David and his family are out at seas, they begin to turn on one another and lose their sanity as the boat drifts off-course.

Opening in New York and L.A. on Wednesday is Eric Notarnicola’s Mister America (Magnolia), and if you’re in New York, you can try to get tickets for the Metrograph where Notarnicola will be appearing with stars Tim Heidecker and Gregg Turkington aka “Neil Hamburger” for three shows tonight! It’s a faux political documentary following Heidecker on his campaign to depose the incumbent San Berarndino D.A. who tried him for selling e-cigs at an EDM festival, killing many. If this is even remotely as weird as the last few films I’ve seen with Heidecker and Turkington, it’s probably best that I haven’t seen this, and probably won’t, although the premise sounds intriguing.

There are some interesting docs this weekend including Fantastic Fungi, directed by time-lapse photographer Louie Schwartzberg (Wings of Life and the 3D IMAX film Mysteries of the Unseen Worlds) and “written” by Mark Monroe, who has been involved with some great docs including this year’sThe Biggest Little Farm. As you can tell from the title, this one explores the ground beneath our feet and how the fungi kingdom offers ways to heal and save our planet. It’s opening at New York’s Village East Cinemason Friday and in other theatersdown the road. Oh yeah, it’s also narrated by Brie Larson.

Also opening at the QuadFriday is Robin McKenna’s documentary Gift (Matson Films), based on Lewis Hyde’s “The Gift: Creativity and the Artist in the Modern World,” exploring the relationship between art and the “gift economy.”

Opening at the Cinema Village Friday is Killing Zoe writer Roger Avary’s new movie Lucky Day (Lionsgate), starring Luke Bracey, Nina Dobrev, Crispin Glover and Clifton Collins Jr. It’s about a paranoid safe-cracker and his family who have to face a psychotic hitman out for revenge. I’m guessing that Glover is playing the psycho.

As far as sequels, there’s Along Came the Devil 2 (Gravitas Ventures), the sequel to Jason and Heather DeVan’s Along Came the Devil, which I’m honestly not sure I saw. Laura Slade Wiggins plays Jordan who receives an unsettling voice mail and returns home to her estranged father (Bruce Davison) only to learn that a demonic force has attached itself to the town.

Lastly, there’s Broadway star Michael Damian’s High Strung Free Dance (Atlas Distribution), the sequel to his 2016 movie High Strung, which I’ve never seen. It follows Thomas Doherty’s young choreographer Zander Raines as he gives a break to a talented contemporary dancer (Juliet Doherty) and a pianist (Harry Jarvis) by putting them in his Broadway show “Free Dance,” that becomes more complicated by a love triangle between the three. It also stars Jane Seymour, who was also in the previous film.

LOCAL FESTIVALS

The New York Film Festival is finishing up this Friday with Edward Norton’s new ‘50s detective film MOTHERLESS BROOKLYN, which I quite liked and have also reviewed for The Beat. Also playing is Mati Diop’s Cannes prize-winning Atlantics, which will be on Netflix in November.

STREAMING AND CABLE

Before I get to the regular Netflix releases, I do want to draw special attention to Abe Forythe’s LITTLE MONSTERS, which just received a one-night nationwide screening on Tuesday but will debut on Hulu this Friday. It’s a very witty zombie comedy set in Australia starring Alexander England (Alien: Covenant) as Dave, a slacker musician who develops a crush on his nephew’s beguiling kindergarten teacher Miss Caroline (played indelibly by Oscar winner Lupita Nyong’o). When he finds out that the class is being taken on a field trip to a petting zoo, Dave volunteers as a chaperone, only for things to get complicated when they get there and a famed child entertainer called Teddy McGiggle (and played by Josh Gad) starts showing interest in Miss Caroline. Oh, yeah, and I also mentioned zombie, didn’t I? The class arrives at the park just as a zombie outbreak begins so Dave and Miss Caroline have to protect the kids.

I generally liked this movie, which I found quite witty and a much stronger zombie-comedy effort than something like last year’s Anna and the Apocalypse. I loved what Lupita does with her characterization in this and I even kind of liked Josh Gad, although he took his character a little too far at times. Either way, if you have Hulu-- as I now do -- this is a fun watch and you can do worse with your time.

Although Vince Gilligan’s EL CAMINO: A BREAKING BAD MOVIE with Aaron Paul reprising his role of Jesse Pinkman is streaming on Netflix starting Friday, it’s also getting a rather limited run in theaters for those who would prefer to see it that way. I personally haven’t seen it yet, but it’s supposed to be a direct continuation from that amazing final episode of Breaking Bad. A few places where you can see it live with other fans including the IFC Center and Alamo Drafthouse in Brooklyn. Also on Netflix Friday is the psychological thrillerFracturedfrom Brad Anderson, starring Sam Worthington – I wonder where he’d gotten – and Lily Rabe from American Horror Story. Worthington plays Ray, who is driving across country with his wife and daughter when they stop at a rest area where his daughter falls and breaks her arm. Once he gets her to the hospital, Ray passes out from exhaustion and when he wakes up, his wife and daughter are missing with absolutely no record of them having ever been there. I haven’t had a chance to see this but I’m always interested in what Brad Anderson is up to since I’m such a huge fan of his earlier movies like Session 9 and The Machinist.

REPERTORY

METROGRAPH (NYC):

Shirkers director Sandi Tan returns to the Metrograph to screen Leos Carax’s 1999 film Pola Xin 35mm on Saturday night, and the Metrograph continues its “NYC ’81” series this weekend with Andrew Bergman’s So Fine, a series of New York shorts from 1981, Peter Yates’ Eyewitness, Louis Malle’s My Dinner with Andreand more. This Saturday, Welcome To Metrograph: Reduxwill screen Martin Scorsese’s 1974 filmAlice Doesn’t Live Here Anymore, starring Ellen Burstyn and Kristopher Kristopherson, which I believe was the inspiration for the TV sitcom “Alice” but I could be wrong. Late Nites at Metrograph has the greatest movie in the series so far, John Carpenter’s Escape from New York, starring Kurt Russell, which is also a part of “NYC ’81.” Playtime: Family Matineeswill screen Miyazaki’s Oscar-nominated 2004 film Howl’s Moving Castle.

ALAMO DRAFTHOUSE BROOKLYN(NYC)

There’s still a few tickets for tonight’s “Weird Wednesday” movie, Lucio Fulci’s The Devil’s Honey. Thursday night the Alamo is showing Bong Joon-ho’s Snowpiercer from 2014 as his new movie Parasite opens (that one’s almost sold out as of this writing). Sunday afternoon, the Alamo is screening a 35mm print of the 1960’s Korean film The Housemaid, which inspired Parasite. Monday night (and already sold out) is a screening of The Cabinet of Dr. Caligariwith a live score (sorry!). Next week’s “Terror Tuesday” is Ti West’s House of the Devil, a fantastic chiller, and next week’s “Weird Wednesday” is the 1987 British film Born of Fire, presented by my good friend and filmmaker Ted Geoghegan.

THE NEW BEVERLY (L.A.):

The Dolemite series continues with a double feature of Dolemite is My Name with the Dolemite movie The Human Tornado (1976), then on Thursday night, the Eddie Murphy double features with Disco Godfather (1979). Wednesday’s horror movie is Robert Wise’s 1963 film The Haunting while Friday’s horror matinee is Hello Mary Lou: Pro Night I I(1987) Tarantino’s Death Proof is the Friday night midnight offering, while Dolemite Is My Namewill screen Saturday night at midnight. (Listen, the Eddie Murphy is not really repertory but it’s a great movie to see with an audience, so take advantage of this chance being given to you by the New Bev, and go see it!!!) This weekend’s “Kiddee Matinee” is Jules Bass’ Mad Monster Party? from 1967 and starring the one and only Boris Karloff. There’s also a Halloween Edition of “Cartoon Club” on Saturday AND Sunday, but they’re both sold out online. Monday afternoon, there’s a matinee of Wes Craven’s Scream (1996)

FILM FORUM (NYC):

I’m pretty excited about the Film Forum’s upcoming “Shitamachi” series starting next week, but in the meantime, the Forum will be screening a 50thanniversary 4k restoration of Yôji Yamada’s Tora-San, Our Loveable Tramp (It’s Tough Being a Man), which is part of a long-running series that I personally have never had a chance to see even though I’ve loved Yamada’s Edo-period samurai films from a few years back. This weekend’s “Film Forum Jr.” is A Boy Named Charlie Brown, and the Film Forum is also screening a 4k restoration of Bob Fosse’s Sweet Charity, both of them also from 1969 and celebrating their 50thanniversaaries. Bill Forsyth’s Gregory’s Girl will end Thursday while the Yves St. Laurent doc Celebration will continue through next Tuesday. The “Shirley Clarke 100” will continue through the rest of the month but only her 1962 doc Robert Frost: A Lover’s Quarrel with the World screens this weekend on Saturday.

AERO (LA):

Looks like a planned James Ivory double features for Thursday and Friday have been cancelled, but they’ll be showing the excellent doc Love, Antosha about the late Anton Yelchin in a double feature with Drake Doremus’ Like Crazy. Saturday begins a “Béla Tarr Revisited” series showing films by the popular Hungarian auteur with The Turin Horse (2011) on Saturday night and the new 4k restoration of Sátántángo on Sunday. Just FYI, the latter is 450 minutes or about 7 and a half hours long. There will be an intermission and an extended break but hopefully, you REALLY love Tarr’s work. (I don’t.) Tuesday’s free “Tuesdays with Lorre” screening is The Beast with Five Fingers from 1946.

MUSEUM OF THE MOVING IMAGE (NYC):

“See It Big! Ghost Stories” continues this weekend with Tim Burton’s Beetlejuice on Saturday and Ti West’s The Inkeepers on Sunday, both worthwhile movies to see on the big screen. MOMI is also starting a new series called “No Joke: Absurd Comedy as Political Reality” kicking off with a Weds. night screening of Mister America (see above) and then Paul Verhoeven’s Starship Troopers on Saturday and “An Evening with the Yes Men” (political documentarians) on Sunday. On Sunday afternoon is the “Sesame Street Short Film Festival” screening a bunch of live action and animated shorts commissioned by the popular PBS show.

QUAD CINEMA (NYC):

Francis Ford Coppola’s restored and remastered Cotton Club Encore, which just premiered at the New York Film Festival a couple weeks back will get a theatrical run at the Quad, as will Serge Gainsbourg’s Je T’Aime Moi Non Plus(1976), starring Jane Birkin as a truck stop waitress who begins a friendship with Joe Dallesandro’s garbage truck driver, making his boyfriend (Hugues Quester) jealous.

IFC CENTER (NYC)

Not sure what’s going on with the IFC Center’s ongoing weekend rep series but George Miller’s Mad Max: Fury Road(2015) will screen just before midnight on Friday and Saturday, and then the Coens’ 1998 comedy The Big Lebowski will screen as part of Late Night Favorites: Summer 2019as will Satoshi Kon’s 2006 film Paprika.

EGYPTIAN THEATRE (LA):

The Egyptian is pretty busy this weekend with “German Currents 2019” i.e. not repertory, but on Saturday, they’ll show a “Retroformat” screening of the 1928 film The Spielerwith live accompaniment.

BAM CINEMATEK(NYC):

This Sunday’s “Beyond the Canon” is a double feature of Claudia Well’s Girlfriends (1978) with John Cassavetes’ Husbands (1970).

ROXY CINEMA (NYC)

Oddly, the Roxy is screening the 2015 horror movie Unfriended on Wednesday and then David Lynch’s Twin Peaks: Fire Walk With Me(1992) on Thursday, but really you should go there to see Lulu Wang’s excellent The Farewell – my #1 movie of 2019 so far – if you haven’t seen it yet.

LANDMARK THEATRES NUART (LA):

This Friday’s midnight movie is John Carpenter’s 1978 horror classic Halloween.

And great news... MOMA should be back next week!

Next week, Angelina Jolie returns as Maleficent, Mistress of Evil, but the movie I’m really looking forward to is Zombieland Double Tap.

#WhatToWatchThisWeekend Movies Parasite GeminiMan TheKing AddamsFamily Reviews Jexi

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mariatramp56-blog · 5 years

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12 Best Things to Do in L.A. This Week

From Vegan Sweets Con to an event tackling L.A.'s homelessness crisis, a dance benefit and Latinx performance art, here are the 12 best things to do in L.A. this week.

DANCE

Tilting at Windmills

Miguel de Cervantes' epic novel Don Quixote, about an idealistic knight-errant and his comrade Sancho Panza, has proved to be a universally resonant tale over the past four centuries, with interpretations in multiple formats, including film and opera. The ballet adaptation, with music by Ludwig Minkus and choreography by Marius Petipa, staged and choreographed further by Alexander Gorsky in 1900, has endured as the definitive ballet adaptation, and that's the version brought to the Southland this week by St. Petersburg's high-flying and stylish Mikhailovsky Ballet. Principal dancer Ivan Vasiliev portrays Basilio in the first two evening performances, and Victor Lebedev takes over in the role in the matinees on Saturday and Sunday, with Angelina Vorontsova and Anastasia Soboleva alternating as Kitri. Segerstrom Hall, 600 Town Center Drive, Costa Mesa; Fri., Nov. 9, 7:30 p.m.; Sat., Nov. 10, 2 & 7:30 p.m.; Sun., Nov. 11, 1 p.m.; $29-$189. (714) 556-2787, scfta.org. —Falling James

ART

Check in Here

The last time Art at the Rendon let a few dozen artists loose inside the walls of the mid-transformation Rendon Hotel, they took over every room with a series of art installations that made for an immersive and sometimes intense, hallucinatory experience. A lot of that art is still in place but this weekend, it's interior and exterior video projections and live performance art throughout the building that take center stage. Well, less of a stage and more of a choose-your-own-adventure narrative pastiche of theater and visual reimaginings of the history of this gloriously seedy original Arts District location. In fact, the corner dive bar (familiar to fans of Bukowski's Barfly, and which in the film version basically played itself) will be reactivated as a jazzy period piece serving local brews. All proceeds benefit the theatre programs at nearby Inner City Arts. Rendon Hotel, 2055 E. Seventh St., downtown; Fri.-Sat., Nov. 9-10, 7 p.m.; Sun. Nov. 11, 6 p.m.; $25. (213) 537-0687, artattherendon.com. —Shana Nys Dambrot

BrockusRED hosts Dance/BACK.

Denise Leitner

sat 11/10

DANCE

Giving Back

Deborah Brockus is the prime mover of the L.A. Dance Festival and her own contemporary company, BrockusRED. For the past three years they've hosted the local dance community's charity event Dance/BACK, with 100 percent of the proceeds donated to a designated charity or nonprofit. This year's participants include Maura Townsend's PROJECT21DANCE, Nancy Evans' Dodge Dance Company, Sean Greene, Fuse Dance Company, Lindsey Lollie, Leah Hamel's Carpool Dance Collective, Luke Zendar, Charlotte K. Smith and the host company. Past recipients include Doctors Without Borders (2015), Family Rescue Center (2016) and Doctors Without Borders/International Rescue Committee (2016). This year, the ACLU and the Good Shepherd Women's Shelter will benefit. Whatever finally happens when the dust settles on the midterms, the ACLU undoubtedly will be going to court or paying for current court cases challenging voter suppression efforts in states like Kansas, North Dakota and Georgia. This annual event has become a way to channel the energy of the local dance community and its audience to dance and give back. Entry is an online donation (action.aclu.org/teamaclu/campaign/danceback-2018) or a donation for the shelter brought to the show; advise which you'll do when making the required reservation ([email protected]). Brockus Project Studios, 618B Moulton Ave., Lincoln Heights; Sat., Nov. 10, 8 p.m.; Sun., Nov. 11, 6 p.m.; entry by donation. brockusproject.org. —Ann Haskins

FOOD & DRINK

Block Party

While it may not be summer anymore, SoCal's temperate climes mean there's never really a bad time of the year to have an event like the Gonzoplex Block Party, with Pitfire Artisan Pizza celebrating the opening of Superba Snacks + Coffee. A host of food — burgers, pretzels, pizza, french fry cones and more — awaits attendees, as well as live music, games and a cash beer garden.There will be various contests of skill, or at least appetite, including pizza making, pizza eating and latte art competitions. All proceeds from the block party's raffle benefit KPCC/Southern California Public Radio (and really, when you think about it, you and your commute, too). Superba Snacks + Coffee, 730 S. Arroyo Parkway, Pasadena; Sat., Nov. 10, noon-5 p.m.; free. eventbrite.com/e/the-gonzoplex-block-party-tickets-48671148716. —Avery Bissett

Courtesy Druid Underground

FILM

Prepare to Be Provoked

"No one knows who they were or what they were doing, but their legacy remains," the great hard-rock philosophers Spinal Tap once mused about the druids in their daft musical homage "Stonehenge." The druids' legacy resurfaces in another form this evening at the 12th annual Druid Underground Film Festival, with a two-hour program of short films and found footage. While the works in this year's edition will shed little light on the actual culture of the druids, they do represent a fascinating collision of provocative short films on numerous subjects presented by series founder Billy Burgess. HM157, 3110 N. Broadway, Lincoln Heights; Sat., Nov. 10, 8 p.m.; $10. (562) 895-9399. —Falling James

sun 11/11

FOOD & DRINK

Dairy-Free Deliciousness

Vegans tend to get ridiculed for their strict diets. But at Vegan Sweets Con — fittingly taking place around the holidays, the most sugar-filled time of year — the healthy and animal-free desserts are anything but boring. Following this summer's Long Beach Vegan Festival, this event gathers more than 30 vendors selling every type of sweet, from cookies and macaroons to chocolates and shakes, in addition to savory options, such as Compton Vegan, which specializes in soul food and BBQ. The schedule also features a cookie bake-off, children's cookie decorating and a dairy-free milk and cookies lounge, as well as demonstrations and appearances by Lauren Toyota, Nicole Allen and Flower Bullock, creator of Stone Girl Treats & Eats, who teaches how to use cannabidiol. The Renaissance Hotel, 1111 Ocean Blvd., Long Beach; Sun., Nov. 11, 11 a.m.-6 p.m.; $10-$40, 12 & under free. (562) 437-5900, vegancookiecon.com. —Siran Babayan

mon 11/12

BOOKS

Murder Mystery

That dozens of unsolved murders were finally solved remains a high point of 2018, and detective novelists have seized upon these latest developments with characteristic vigor. Tonight, Live Talks L.A. presents Paul Levine and Michael Connelly discussing Connelly's new book, Dark Sacred Night (A Ballard and Bosch Novel) ($29, Little, Brown and Company). In this latest page-burner, Detective Renée Ballard stumbles upon former detective Harry Bosch rummaging through old files to solve a cold case. After he leaves, she finds out that he's really on to something and they join forces to close the books on the case at last. Ann and Jerry Moss Theater, 3131 Olympic Blvd., Santa Monica; Mon., Nov. 12, 8 p.m.; $52 reserved + book/$42 general + book/$20 general. (310) 855-0005, livetalksla.org/events/michael-connelly/. —David Cotner

EXPAND

Susanna Mälkki

Simon Fowler

tue 11/13

MUSIC

A Quintet of Premieres

The Green Umbrella series is always one of the highlights of L.A. Philharmonic's season, as adventurous members of the orchestra band together as the L.A. Phil New Music Group to perform strange and experimental avant-garde pieces in front of diverse, open-minded audiences on Tuesday nights. But with L.A. Phil celebrating its 100th anniversary this year, the orchestra is taking the bold step of filling every Green Umbrella program this season with the world premieres of new works. Tonight, Finnish conductor Susanna Mälkki presents a program of new music by European composers Francesco Filidei, Arnulf Herrmann, Lotta Wennäkoski, Miroslav Srnka and Yann Robin. Walt Disney Concert Hall, 111 S. Grand Ave., downtown; Tue., Nov. 13, 8 p.m.; $20-$60. (323) 850-2000, laphil.com. —Falling James

wed 11/14

ART

Clay Makes a Comeback

Ceramics has been having an extended moment of popularity and acclaim in fine-art circles, as more and more contemporary artists embrace the appeal of this slow, heavy, messy medium. Not content to simply appreciate the appeal of this exceptionally analog and physical material, perhaps as a countermeasure against the surge of the digital and virtual, new generations of sculptors are pressing tradition into the service of the modern. One of the most intriguing voices in the clay conversation has been Matt Wedel, whose new show, "Everything is everything," opens in Venice this week. Wedel's unique vision merges his own family background (his dad is a potter) with art historical confidence and expressively personal narrative to create eccentric, painterly ceramic sculptures that innovatively interpret elements from natural and psychological landscapes. L.A. Louver, 45 N. Venice Blvd., Venice; opening reception: Wed., Nov. 14, 6-8 p.m.; exhibit Tue.-Sat., 10 a.m.-6 p.m., thru Jan. 5; free. (310) 822-4955, lalouver.com. —Shana Nys Dambrot

ACTIVISM

Challenging Homelessness

While the response from Los Angeles' political leaders to the city's homeless epidemic has been less decisive leadership and more unfulfilled promises and moribund policymaking, the participants at the L.A. Homelessness Challenge aren't as content to sit around waiting for the status quo to change. Sponsored by United Way of Greater Los Angeles and the Watt Companies, the Shark Tank (but with better ideas!)–style event will award $200,000 to the best service solution for tackling homelessness. The finalists include Venice Family Clinic's proposal to expand and educate the public on street medicine; a program that offers families mobile childcare; and various housing and support regimes. The evening opens with hors d'oeuvres and a cash bar. InterContinental Hotel Los Angeles, 900 Wilshire Blvd., downtown; Wed., Nov. 14, 5:30-8:30 p.m.; free, RSVP required. eventbrite.com/e/la-homelessness-challenge-pitch-event-tickets-50787065480. —Avery Bissett

thu 11/15

ART

The Body Politic

En Cuatro Patas is the Broad's feminist Latinx performance series, in which an eclectic range of possible identities across the community and positions as citizens of the world have been explored, manifesting as interdisciplinary avant-garde quasi-theatrical experiences. This edition features Given Over to Want by internationally acclaimed multimedia artist Nao Bustamante; Shadow Woman by Gina Osterloh, a visual artist who has always enacted performative elements as part of her installations and compositions; and INFESTACIÓN: PISOS I, II, III by the operatically soulful composer-singer-activist Dorian Wood. The Broad, 221 S. Grand Ave., downtown; Thu., Nov. 15, 8:30 p.m.; $15. (213) 232-6200, thebroad.org. —Shana Nys Dambrot

Damien Echols

Courtesy Sounds True

BOOKS

Wrongly Convicted

Damien Echols was one of the West Memphis Three, a trio of teenagers who were convicted in 1994 of murdering three young boys in Arkansas in 1993. The case attracted a lot of media attention, with many followers, including Pearl Jam's Eddie Vedder, decrying the judicial process, and the West Memphis Three eventually were freed from prison, if not fully exonerated. Echols and his friends appeared to have been convicted based more on their lifestyle as fans of heavy metal than on hard evidence that definitively proved their guilt. "Magick saved my life," Echols writes in his new book, High Magick. "Magick was the only thing in prison that gave my life purpose and kept me sane." He discusses the book with The Dixie Chicks' Natalie Maines. The Regent Theater, 448 S. Main St., downtown; Thu., Nov. 15, 8 p.m.; $32. (323) 934-2944, ticketfly.com/event/1769072-damien-echols-in-conversation-los-angeles/. —Falling James

Source: https://www.laweekly.com/arts/12-best-things-to-do-in-la-this-week-10036509

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watchilove · 4 years

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Richard Mille has developed a new kind of watch. The RM 72-01 Lifestyle In-House Chronograph seeks to embody the watchmaker’s unrivalled know-how while making an indelible mark on its era as a work of art. Benjamin Millepied and Thomas Roussel, two modern hybrid artists, are leading the project W I T H I N, both technically and artistically.

youtube

W I T H I N – At the heart of creativity

Every new creation is a world unto itself. A wholly new space born of a play between spirit and sensation. Singular yet timeless, innovative and performance-driven, the RM 72-01 Lifestyle In-House Chronograph is poised at the intersection between Haute Horlogerie, dance and music. Movement is all. Movement of time, of bodies, of notes.

The latest ‘face’ of Richard Mille — the ultimate metronome of emotion—is a work in which technicity serves and drives elegance. It’s also an in-house creation, featuring the first flyback chronograph entirely developed and designed by the brand. An achievement crowning no less than 30 months of full-time work on the part of a dedicated team.

The new RM 72-01 keeps time, three beats to a measure, a rhythm emphasising three numbers: three, eight and eleven. Three beats for the three counters that immediately capture every eye. The hands dance in stylised harmony within their three respective timescales (blue for seconds, orange for minutes, green for hours), orchestrated by a six-column wheel.

The transfers from minutes to hours have been isolated from the seconds wheel in this flyback chronograph which incorporates a double oscillating pinion mechanism developed and patented by Richard Mille. The brand has submitted a patent application for its double-clutch chronograph. ‘This pinion, which can enmesh or withdraw from the gear teeth, has been twinned. There’s now one for the minutes and another for seconds. This system is thinner than a vertical clutch, which would be hard to fit into the heart of the movement,’ explains Salvador Arbona, Technical Director for Movements. As a result, the chronograph function has little impact on the power reserve. The Calibre CRMC1 thus remains quite slim, at just 6.05 mm thick, despite comprising 425 different components.

Equipped with 24-hour and 60-minute counters positioned at 5 o’clock and 2 o’clock respectively, it proves that a chronograph need not be limited to timing only short periods. This mechanism was entirely imagined, manufactured and assembled in Les Breuleux, at the brand’s facilities. Its sublime precision can be viewed through its openwork caseback, a hallmark of the Richard Mille brand.

This model is available in four different combinations—5N red gold, titanium and black or white ceramic. It features an automatic winding movement, with a 50-hour power reserve irrespective of how much the chronograph is activated. It is a strikingly architectural watch offering true ease of use. Embodying pure mechanics and hand finishing, it is designed for everyday use.

It was evident that renowned artists such as choreographer Benjamin Millepied and composer Thomas Roussel would be needed to fully express in technical and artistic terms, the tremendous ambitions of this project. Like Richard Mille, both of these hybrid creators have built their oeuvre, W I T H I N, on a resolutely singular vision and an obsession with perfect timing and harmonious movement.

Be it in the realm of ballet or symphonic orchestra, Benjamin Millepied and Thomas Roussel both rely on a wealth of heritage and tradition to shape modern visions of their respective arts. They fashion singular works that powerfully combine the quintessence of their disciplines and their contemporary sensibilities. And it is precisely this hybrid synthesis of science and emotion that prompted them to embrace the watchmaking brand’s new project.

For their a work titled W I T H I N, Benjamin Millepied took place behind the camera this time, at the Joshua Tree, in the heart of sand and stone. This stark mineral environment exalts the nobility and beauty of the materials Richard Mille employs for its watches. Amidst this sublime decor, the dancers unfurl a choreography of cyclical parallels that sifts and winnows the seconds, clothing time and space with intense vitality and energy.

This mysterious setting, in which humanity appears to reconnect with our origins, was a perfect source of inspiration for Thomas Roussel. After sampling the watch’s chronometrice function, the compositor built a tempo around it, a musical rhythm anchored in the raw energy and abandon of the dancers. Around a whirlwind of vitality, he weaves a music redolent of origins, repetitive and mysterious. The composition was recorded by the fifty musicians of the prestigious London Symphony Orchestra in the studio at St. Luke’s church in London.

The RM 72-01 Lifestyle In-House Chronograph encapsulates the original movement.

Benjamin Millepied and Thomas Roussel – revisit space/time

Time is not just a technical concern. It’s also the loom on which great art is created. The accelerations, repetitions and breath-like motions of clocks constitute the pulse of living, dancing and sonorous artworks, the underlying rhythms of our life force. Richard Mille has embraced this vision of time to create a hybrid watch, a point where art and technology meet.

With its curves, warm colours and studied scaling, the RM 72-01 is in equal measure a high-technology device and a metronome of emotion. The latest timepiece from Richard Mille’s workshops is designed for people who believe that performance should not be achieved at the expense of feeling, and that even the best technology must meet the imperatives of elegance.

‘Piece by piece, I’m constantly working to perfect the art of choreography. This relationship to accuracy is something I share with fine watchmaking.’ Benjamin Millepied

The meeting

Only renowned artists could embrace such an ambitious project. Like Richard Mille, choreographer Benjamin Millepied and composer Thomas Roussel create works imbued with a unique power of imagination and an obsession with perfection.

In the tradition of great jewellers, their determination to achieve perfect balance and harmony in movement acts as a guide in their creative process. Every day, they are prepared to repeat the same movement a hundred times to produce the perfect gesture. ‘I fully appreciate the ascetic craftsmanship of Richard Mille’s work. I too like to think of myself and my dancers as craftsmen,’ explains Benjamin Millepied, choreographer, creator of the ballets for the film Black Swan, and former head of the Paris Opera, as well as founder of the L.A. Dance Project. Unsurprisingly, his comment rang true among the teams at Richard Mille.

And, like Richard Mille, Thomas Roussel and Benjamin Millepied have no qualms about using the latest technology in their creations, with technicity deployed as a means of transcending their discipline. In ballet and orchestral music respectively, Benjamin Millepied and Thomas Roussel both draw on heritage and tradition to bring their art to life in resolutely modern ways. They craft unique works that combine the quintessence of their discipline and their own, contemporary sensibilities. It’s this hybrid synthesis of science and human emotion that led them, almost logically, to become involved with this new project from the watchmaking House.

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Watchmaking and art

To the herald the new star in the Richard Mille firmament, the RM 72-01, the two artists decided to create a new and singular work, swiftly converging on the medium of film, W I T H I N. Benjamin Millepied stepped behind the camera for the occasion, and chose to shoot in the middle of the Joshua Tree desert, surrounded by the arid terrain of rocks and sand. ‘This project called for an endless landscape, out of time,’ explains Millepied. And indeed, the stark mineral environment exalts the nobility and beauty of the materials favoured by Richard Mille.

At the heart of a landscape fashioned by time and space, evocative of humanity’s earliest origins, Benjamin Millepied induces an expression of raw human energy. Each in turn, a female and a male dancer, respond to one another, unleashing their natural vitality via an unstructured and organic pas-de-deux. In the style of Terrence Malick, whose influence is palpable, the choreographer has superbly caught the couple’s spontaneous, instinctive movements. ‘I enjoyed filming such primal energy in a landscape like that. In order to capture something more alive, more real, more sincere, I purposefully gave them tremendous freedom.‘

‘Like orchestral music, Haute Horlogerie feeds on its own traditions, respecting very strict and precise rules. Based on this guidance, it is up to us to break down the codes and offer works that are singular.’ Thomas Roussel

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Metaphysics and watchmaking

This sublime environment proved inspirational for Thomas Roussel. And no surprise, the composer has for many years been fascinated by the metaphysical questions. In his 2015 opus, Prequell, for example, he set gravitational waves to music as a sign of the distortion of time. ‘Because the Richard Mille film project drew on space/time, I was drawn to it immediately. I created music where time dilates and duplicates itself, to fit the production. Inspiration is born of emotion’ explains Roussel. Starting from a sample from the watch’s stopwatch function, the composer then injects a tempo, a musical rhythm that matches the raw, unbridled energy of the dancers. Around a tourbillon of vitality, Thomas Roussel weaves a repetitive and mysterious primordial music. The percussion keeps the beat as though counting seconds. As a return to our roots, this joint work takes us back in time, to when the core elements of earth, stone and water served as the cradle of humanity. To fix this special piece in time, the composition was performed by the 50 musicians of the prestigious London Symphony Orchestra in a truly intimate and time-honoured setting, the recording studio at St. Luke’s Church in London. In its own way, the RM 72-01 itself embodies the primordial pulse of movement, this fusion of human bodies, sounds and time.

Technical project

The elegance of the RM 72-01 is also reflected in the technological prowess involved in creating it. Signalling the start of a new era, the RM 72-01 is the first watch in the history of Richard Mille to be equipped with a flyback chronograph that is end-to-end in-house. Drawing on a double clutch system with oscillating pinions patented by the brand, the chronograph makes this latest timepiece a truly exceptional object. The RM 72-01 Lifestyle In-House Chronograph reimagines tisets its own tempo, imposes its own rhythm and makes an indelible mark on its era.

In-house patented flyback chronograph – A unique design

The mechanism of the new RM 72-01 presents a unique, patented design that incorporates a double clutch system with oscillating pinions mounted on rockers. Thanks to their compact proportions, these pinions reduce the space taken up by the chronograph within the movement. This same movement has undergone numerous certification tests to confirm its reliability, its durability (accelerated five- and ten-year ageing simulations) and the solidity of its architecture (resistance tests with various impact intensities).

In a traditional chronograph (figure 1), with a horizontal coupling clutch, torque is transferred to the chronograph seconds (in green) by the movement’s seconds wheel (in red) by means of a coupling clutch (in yellow). The chronograph seconds then drives the minute counters (figure 2) through a multiplying gear train. Yet the seconds has the least energy of all the movement’s components and any disturbances affecting it will also impact the watch’s rate, the power reserve and the operation of the various other mechanisms.

Operation of the oscillating pinion

The new flyback chronograph architecture breaks ground by splitting the torque between the chronograph’s various counters. The display and the connection to the minutes are disengaged from the chronograph’s seconds wheel. The seconds and minute wheels of the movement (A) thereby permanently interlock with the lower teeth of the two oscillating pinions (B). However, when the rockers are moved, their upper teeth (C), which link to the chronograph’s seconds and minute wheels (D), engage or disengage depending on whether the chronograph is activated or stopped (E).

This invention represents a major advancement in the calculation of durations. The disassociation of the chronograph function from the daily time counter does not affect the rate of the base movement in any way when the chronograph is engaged. Whether the chronograph is activated or not, the power reserve remains virtually unchanged. Controlling the start, stop, flyback and reset functions in particular, these rockers are activated by a six-column wheel, the geometry of which optimises the simultaneousness of actions and the proper latching of functions, whilst guaranteeing the longevity of the settings.

Oscillating pinions

Comprised of a stem and two toothed wheels, the two oscillating pinions replace the large wheels normally found in traditional chronographs. Their upper teeth link to the seconds wheel (right-hand pinion) and minute wheel (left-hand pinion) of the chronograph.

Gear train of the chronograph minute counter

This new chronograph configuration limits the torque transferred from the base movement through the chronograph seconds. By separating the other counters from the chronograph seconds, the use of two oscillating pinions breaks this classic kinetic chain. There is a distinct advantage to transferring the torque directly from the barrel to the minute and hour counters as this energy is received at the source and is much greater. The performance of the movement as a whole is optimised as a result.

Richard Mille RM 72-01 Lifestyle In-House Chronograph Technical Specifications

IN-HOUSE CALIBRE CRMC1: skeletonised movement with automatic bidirectional winding and hours, minutes, small seconds, date, flyback chronograph, function indicator and stop seconds.

Case dimensions: 38.40 x 47.34 x 11.68 mm.

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MAIN FEATURES

POWER RESERVE

Circa 50 hours (±10%)

BASEPLATE AND BRIDGES IN GRADE 5 TITANIUM

The baseplate and the bridges are crafted in grade 5 titanium, a biocompatible, highly corrosion-resistant and remarkably rigid alloy, ensuring the gear train functions smoothly. The alloy is 90% titanium, 6% aluminium and 4% vanadium. The use of micro-blasted grade 5 titanium in combination with a grey electroplasma treatment confers great rigidity on the entire assembly and gives rigorously even surfaces. This combination enhances the alloy’s mechanical properties, which explains its frequent use in the aerospace, aeronautics and automotive industries.

The skeletonised baseplate and the bridges were subjected to long and exacting validation tests to ensure they meet the most rigorous standards applied to resistance and ageing.

DATE

Semi-instantaneous and displayed in a vertical aperture at 7 o’clock.

FLYBACK CHRONOGRAPH WITH OSCILLATING PINIONS (PATENTED MECHANISM)

This new type of flyback chronograph, patented by Richard Mille, splits the torque between the chronograph’s various counters. The display and the connection to the minutes and hours are disengaged from the chronograph’s seconds wheel.

The performance of this chronograph is superlative. Drawing power directly from the barrel to supply the chronograph’s three counters, this heightened energy is transmitted to the chronograph train by a coupling system consisting of two oscillating pinions mounted on rockers. Controlling the start, stop, flyback and reset functions in particular, these rockers are activated by a 6-column wheel, the construction of which optimises the simultaneousness of actions and the proper latching of functions, whilst ensuring the longevity of the settings.

This invention represents a major advancement in the calculation of times. Less sensitive to disturbance and taking up less space than well-known mechanisms, the disassociation of the chronograph function from the daily time measurement means that the rate of the base movement is entirely unaffected when the chronograph is activated.

Using the pusher located at 4 o’clock, the running chronograph hand can be reset without first having to stop the mechanism. This system was originally developed for pilots to avoid losing time (and accuracy) due to stopping, resetting and restarting their chronographs when passing through waypoints.

When the chronograph function is active, the hours (24-hour counter) and minutes (60-minute counter) are visible via the two counters located at 5 o’clock and 2 o’clock, the elapsed seconds being indicated by the central seconds.

FUNCTION INDICATOR

Similar to a gearbox in a car, the function indicator displays winding, hand setting or date adjustment when then crown is pulled out. The selected mode is indicated by a hand situated at 3 o’clock: W (Winding) – D (Date) – H (Hand Setting).

FREE-SPRUNG BALANCE WITH VARIABLE INERTIA

This type of balance wheel guarantees greater reliability when subjected to shocks and also during movement assembly and disassembly, hence better chronometric results over time.

The regulator index is eliminated and a more accurate and repeatable adjustment is possible, thanks to 4 small, adjustable weights located directly on the balance.

ROTOR IN PLATINUM

By using a rotor in platinum with ceramic ball bearings in combination with a One Way® reverser system, the barrel can be optimally wound whilst keeping its size compact.

FAST ROTATING BARREL (5 HOURS PER REVOLUTION INSTEAD OF 7.5 HOURS)

This type of barrel provides the following advantages: – The phenomenon of periodic internal mainspring adhesion is significantly diminished, thereby enhancing performance. – Excellent delta of the mainspring curve with a power reserve that offers the ideal balance of performance and regularity.

GEAR-TEETH PROFILE

The entire going train of the calibre CRMC1 has been optimised by adopting a special profile for the teeth of the wheels to create a 20° angle of pressure. This pressure angle facilitates the work of the ball bearings and equalised any discrepancies that might arise between the axles of each wheel. These new gear trains ensure excellent torque transmission and hence optimum output.

SPLINE SCREWS IN GRADE 5 TITANIUM FOR THE MOVEMENT AND CASE

These screws enable better control of the torque applied to the screws during assembly. They are therefore unaffected by physical manipulation during assembly or disassembly, and age well.

OTHER FEATURES

– Movement dimensions: 29.10 x 31.25 mm – Thickness: 6.05 mm – Number of jewels: 39 – Balance wheel: CuBe, 4 arms, 4 setting weights, moment of inertia 7.5 mg•cm2, angle of lift 50° – Frequency: 28,800 vph (4 Hz) – Balance spring: AK3 – Shock protection: INCABLOC 908.22.211.100 (transparent)

CASE

The design and manufacture of the watch embody a global approach to the case, dial and every part of the movement.

Thus the timepiece is created as a harmonious whole according to extremely rigorous specifications. The casing ring is eliminated, and the movement is fixed to the chassis with four titanium screws and silent blocks (ISO SW). This shows the emphasis placed on uncompromising high quality.

This model is available in full grade 5 titanium, full 5N red gold, black TZP ceramic and white ATZ ceramic with the case band in 5N red gold. For each version, the pushers are in black TZP ceramic and 5N red gold.

The tripartite case is water resistant to 30 metres, ensured by three Nitrile O-ring seals. It is assembled using 20 grade 5 titanium spline screws and abrasion-resistant washers in 316L stainless steel.

CROWN

In 5N red gold and black TZP ceramic with a double O-ring and a collar in rubber.

UPPER FLANGE

In carbon fibre; hour-markers filled with an approved luminous material.

DIAL

In grade 5 titanium Thickness: 1.17 mm

CRYSTAL

Bezel side: in sapphire (1,800 Vickers) with anti-glare coating (both sides) Thickness: 1.00 mm Case back: in sapphire with anti-glare coating (on both sides) Thickness: 1.00 mm at the centre and 1,75 mm at the outer edges

FINISHING

MOVEMENT

– Micro-blasted and hand-polished chamfering for the bridges – Micro-blasted milled sections – Micro-blasted and hand-polished sinks for the bridges – Electroplasma treatment for the baseplate and the bridges

STEEL PARTS

– Satin brushed surfaces – Hand-polished chamfered edges – Hand-polished sinks – Drawn edges

PROFILE-TURNING

– Polished tips – Burnished pivots – Polished post faces

WHEELS

– Diamond-polished sinks – Diamond-polished angles – Circular finished faces – Rhodium plating (before cutting the teeth)

Richard Mille RM 72-01 Lifestyle Gallery

Richard Mille RM 72-01 Lifestyle In-House Chronograph Richard Mille has developed a new kind of watch. The RM 72-01 Lifestyle In-House Chronograph seeks to embody the watchmaker’s unrivalled know-how while making an indelible mark on its era as a work of art.

#Benjamin Millepied #Chronograph #In-House #lifestyle #news #Press release #Richard Mille #Richard Mille RM 72-01 #Richard Mille RM 72-01 Lifestyle In-House Chronograph #RM 72-01 #Thomas Roussel

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theechosas · 6 years

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APAC Performing Arts Recaps

APAC Choir

APAC Choir at the Bund, courtesy of Activities Council

Singers:

Risa Beddie (12)

Alice Chen (11)

Claire Chen (10)

Jenny Gao (11)

Abby Pan (12)

Jenny Cho (11)

Kaitlyn Chan (11)

Callista Chan (10)

Peter Wu (12)

Ryan Yin (11)

Richmond Brautigan (12)

Nicholas Hwang (11)

Darwin Li (11)

Benno Zhang (11)

Oliver Klajnscek (11)

Pranav Malaviya (10)

Daniel Kwan (9)

This year, APAC Choir was hosted in Shanghai, at SASPX’s very own Preforming Arts Centre. It was a three-day event that started on Thursday, November 16th and ended on Saturday, November 18th. APAC Choir created an opportunity for schools from all across Asia to come together in celebration and appreciation of this fine art, with participants including Brent from Manila, Shanghai American School Pudong and Puxi from Shanghai, Canadian Academy from Kobe, and Internationl School of Beijing and Western Academy of Beijing from Beijing. Throughout the three days, the participants engaged in group rehearsals, auditions and sectionals in preparation of the final APAC Choral Festival,conducted by by Dr. Axel Theimer, on Saturday night. The concert started off with each school preforming two songs of their choice, and then transitioned into a mass choral performance.

SAS Puxi, under the leadership of Mrs. Pek, preformed two songs-"One Day I’ll Fly Away" by Will Jennings and Joe Sample and arranged by Sam Robson, and “Balleilakka” by A.R. Rahman and arranged by Ethan Sperry. The first of the two songs was a beautiful, slow piece that allowed the raw talent of the singers’ voices to shine through. Mrs. Pek commented that the performance was successful and that “Ryan Yin was instrumental in conducting the ‘One Day I’ll Fly Away’.” The second of the two songs was a dynamic Indian song that captured the audience’s attention from the opening note. Contributing to that was the dance that the choir assemble preformed alongside it, which incorporated Indian dance moves and even the lifting of some members as they sang. A particularly unique aspect about this performance was the contribution of Mr. Guillermo Machado, Mrs. Karolina Pek and Mr. Andrew Melton as the back up percussion players.

When the festival ended, Mrs. Pek said that a highlight of the festival was that “Every choir that came to our festival which was conducted by Dr. Axel Theimer was well prepared and as result we had a successful festival.” She also appreciated the “opportunity to have our video live streamed which was wonderful,” which was facilitated by the student club SAS TV. This live streaming made APAC choir more accessible to everyone than it was before, and ensured an increased audience for the concert as people tuned in to watch from their homes. Lastly, she praised the hard work of the Activities Office, stating that “The festival was successful because we had a great team backing us up from the Activities Office (Steve Doleman) , the Theatre Staff (Xiao Ye) and the Support Staff (Tommy Wang).”

The concert was also a great experience for the students participating, in ways including but not just limited to being able to improve their singing. Singer Ryan Yin stated that “the biggest highlight for me was being able to meet new people who also share a passion for choir. All in all, it was the people who made this experience great.”

Although the APAC Choir festival has since ended, the SAS choir team promises to continue providing beautiful performances in the years to follow. According to Ryan Yin, “The dynamic of our APAC Choir will change as members come and go. Every person brings something unique to Choir and I’m quite excited to see what we can create next year.” In the meantime, we can all eagerly await whatever new performance the APAC choir team has in store for us next.

Evian Chai

APAC Orchestra

APAC Orchestra, courtesy of Activities Council

Musicians:

Nicolette Lee 11

Seoyeon Shin 10

Sue Shin 11

Hannah Zhang 11

Betty Qian 11

Jamie Liu 12

Joey Tan 10

Poem Lin 10

Ejen Liu 10

Chantal Li 10

Zini He 10

Aaron Chen 9

Luke Heald 10

Charlotte Wu 10

Vanessa Li 12

“The sound of the orchestra is one of the most magnificent musical sounds that has ever existed.” SAS Orchestra travelled to CA in Kobe, Japan, on November 16th to partake in the 2017 APAC Orchestra concert. As one of the six school orchestras that performed six pieces in unison – the other schools being WAB, CA, SASPD, ISB, and Brent – SAS Orchestra initially found it difficult to cohere with their counterparts.

“Learning music in one group and then joining another is the adjustment of speeds, dynamics, articulation, and mood,” comments SAS Orchestra’s coach Darrell Townshend. “A new conductor will do things differently, and students need to adjust.”

As noted, this was SAS Orchestra’s first time encountering the official conductor, whose job is to commandeer the whole orchestra and establish the pace of the music. Betty Qian, the orchestra’s first violin, says that she and her fellow musicians had many takeaways from collaborating with the plethora of other schools, despite the initial challenges.

“Most of us didn’t see the foremost difficulties when we combined with other schools as something negative,” says Qian. “Rather, our differences in our interpretation of the music was seen as a learning experience that helped us grow as a musician.”

The final performance, after two days of uniform practice, was held on the eve of November 16th. The conjoined orchestra’s execution can be characterized as nothing short of outstanding. Each string section articulated tones ranging from melodious to raucous, doing so in tandem to stamp a memorable impression on all six pieces that they performed.

“I was very impressed with our SAS Orchestra,” says Townshend. “They diligently learned their materials and collaborated effectively with others.”

There were three musicians from SAS who performed solos: Betty Qian, Chantal Li, and Seoyeon Shin. “Violinist Betty Qian and violist Chantal Li performed substantial solos,” remarks Townshend, “and cellist Seoyeon Shin led one of the cellos section’s most complex work.”

As this year’s APAC Orchestra event wraps up, Townshend commends the SAS Orchestra for their sportsmanship and effort. “All students behaved admirably, represented the school well, and performed with intensity, passion, and exacting care.”

“This year’s event was a huge success,” says Qian, “I can’t wait to do it again next year.”

Leonard Lee

APAC Dance

APAC Dance, courtesy of Activities Council

Dancers:

Joanna Gao 12

Jade Han 12

Chelsea Hong (C) 12

Karen Hsu 12

Yuxi Lee 12

Katie Li 11

Liliane Lin 10

Heather Lu 10

Chuli Roules 12

Michelle Sun (C) 12

This year, the Shanghai American School Puxi dance team travelled to Brent International School of Manila, along with Canadian Academy, International School of Beijing, Western Academy of Beijing, and Shanghai American School Pudong, to take part in the 8th annual APAC Dance Festival. Ms. Slaby, one of the coaches for APAC Dance, explains that APAC Dance is a way for dancers “to work with and learn from students from other schools in the conference.” What happens is that “they create fusion teams made up of a mixture of students from different schools” and “attend dance workshops together”, who then bond together. “Unlike many other APACs,” says Katie Li, an APAC dancer, “Fine Arts APAC isn’t competitive; it is to perform purely for enjoyment and to showcase various skills and ideas.”

This year’s theme for APAC Dance Festival was “Breaking Boundaries”. The dance team captains Chelsea Hong and Michelle Sun explained that their dance was “very different style of dance” compared to what they had done in the past.

“I don’t know if people realize this, but dancing slow is very difficult,” said Chelsea, “because we have to capitalize on every single beat.” They explain that it is very difficult for many dancers to step out of their comfort zone, but through this APAC, the dancers “broke through their boundaries” by experiencing such a “modern and contemporary piece”, which “pushed them past their element.

Of course, the season was not without any challenges. In the beginning, the dancers had trouble coordinating with each other. According to Katie, “[they] definitely had a lot of trouble with synchronizing the movements with each other, especially when dancers have their own style and their own interpretation on the piece.” However, with months of training, the dancers improved tremendously.

At APAC, their biggest challenge was dealing with the absence of their choreographer. “Coach Lynette, the choreographer of our piece, did not travel with us because she was due to have a baby during APAC,” said Ms. Slaby, but captains “Michelle Sun and Chelsea Hong, rose to the challenge and led the team through warm-ups and practices.”In general, most were very satisfied with their performance at APAC, as overall, it was “one of the best ones that we’ve ever performed on stage.” A highlight of their dance was their “32 consecutive turns in sync”; the team received nothing but “wild applause when they did those amazing synchronized turns.”

Seven of ten dance team members will be gone next year: Joanna Gao, Jade Han, Chelsea Hong, Karen Hsu, Yuxi Lee, Chuli Roules, and Michelle Sun. This will have been their last year dancing for SAS Puxi, as they will graduate in May. The Activities Council wishes them the best of luck and hopes that each of them will carry their passion for dance everywhere they go.

Luca Lee

#school #news #performing arts

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deprelawland · 7 years

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The Unchanging Regard of Sexual Harassment in the Workplace

By Annie Lee, University of Delaware Class of 2020

October 26, 2017

Considering the rising importance of equality in contemporary times, one may be shocked to learn that the Supreme Court did not begin trying sexual harassment issues until 1980. This is not to say that sexual harassment was never an issue prior to 1980—just two years before, “over 70% of the women surveyed by the Working Women United Institute felt that they had been sexually harassed in their employment.” Also, before the Civil Rights Act of 1964, countless African American slaves had been used by their owners for sexual gratification, and of course, these victims were not allowed to dissent.

The Civil Rights Act of 1964 (also referred to as “Title VII”), however, was not the saving grace that put an end to sexual harassment in the workplace. Regarding this act, the language only found “‘economic’ or ‘tangible’ discrimination” punishable under the law. More inclusive protections came along in 1980, when the EEOC (Equal Employment Opportunity Commission) issued the “Interim Guidelines on Sexual Harassment” and declared that “sex-related intimidation on the job or creating a sexually charged hostile work environment is unlawful under Title VII.”

This notion was federally recognized in the case of Meritor Savings Bank, FSB v. Vinson (1986), which decided unanimously that the archaic language in Title VII intended to “strike at the entire spectrum of disparate treatment of men and women in employment,” not just disparate treatment of the economic or tangible kind. Let’s take a look at some of the victories for sexual equality since then...if they can really be called victories:

1991 - TAILHOOK SCANDAL

During the 35th Annual Tailhook Association Symposium at the hotel, Las Vegas Hilton, over 100 U.S. Navy and Marine Corps officers sexually assaulted 83 women and seven men. The original purpose of this symposium was to provide a debriefing on U.S. aviation in Operation Desert Storm. According to a report made by the Pentagon’s inspector general, this is what happened instead:

"…assaults varied from victims being grabbed on the buttocks to victims being groped, pinched and fondled on their breasts, buttocks and genitals…Some victims were bitten by their assailants, others were knocked to the ground and some had their clothing ripped or removed" (New York Times, 1983).

Note that this event had to be investigated twice before any cohesive information came out regarding the scandal. The initial investigation of this event was led by Rear Admiral Duvall M. Williams, the head of the Naval Investigative Service, who determined that the incident was just a minor instance of low-ranked men behaving immaturely. Williams was on record as having previously stated, and to the Secretary of the Navy of all people, that “a lot of female Navy pilots are go-go dancers, topless dancers, or hookers.” Then, regarding a profanity-filled complaint of a female officer who had been assaulted at this event, Williams said that “any woman who would use theF-word on a regular basis would welcome this type of activity.” Thus, it was determined that a second investigation, led by a different head, was necessary.

The offending officers were fired from their jobs, which retired officers complained was excessive because the allegations were “unsubstantiated.” Flag officers, who knew that these events were going on but did not say or do anything to stop them, were not punished.

2005–EEOC v. RIVERA VINEYARDS

A group of Latino workers at Rivera Vineyards filed alawsuit against the farm, accusing employers of touching, groping, leering, and making derogatory comments.One employee was raped. Before, when the workers tried to complain to higher-ups about aforementioned harassment, they would just be terminated for their supposed whining. Workers eventually won a settlement for $1 million.

2012 – CHOPOURIAN v. CATHOLIC HEALTHCARE WEST

Ani Chopourian, who worked as a physician’s assistant at the Mercy General Hospital in California, sued the hospital due to sexual harassment from coworkers. Chopourian recounted that, once, a coworker said to her, “you’ll give in to me,” and when she looked to her supervisor for help, he just laughed. One of the surgeons routinely greeted Chopourian and other employees with the introduction of “I’m horny,” which would then digress into a graphic detailing of his personal sex life.Another surgeon called her a “stupid chick,” poked her with a needle, and derided the Yale graduate for performing surgery “like a girl.” Chopourian had filed 18 different written complaints regarding mistreatment at the workplace, but instead of taking corrective action, the hospital dealt with the issue by firing her.

Coupourian won $168 million in this case, but one cannot say for sure that this monetary compensation (or any compensation in related cases) was a thick enough bandage for the psychological wounds she has suffered from harassment. And, rather than the classic remorseful apologyfrom the defendant that often follows the loss of a sexual harassment suit, Mercy General Hospital instead issued a statement of denial despite the myriad of evidence against them:

“We are disappointed by the jury's decision. We are committed to providing a safe working environment, free from sexual harassment and inappropriate behavior, which is backed by strong policies and practices to protect our employees. We stand by the actions we took in ending our relationship with this former employee and we will appeal this decision” (ABC News, 2012).

2014 – KESHA v. DR. LUKE

Kesha Sebert, better known to most as just “Kesha,” sued her own producer back in 2014 for sexual assault &battery, harassment, violence, solicitation of illegal drugs, and emotional abuse. To these allegations, Dr. Luke filed a countersuit, discrediting every single one of Kesha’s accusations. In his defense, the most convincing piece of evidence came from a 2011 deposition recording in which Kesha claimed and implied, respectively,that Dr. Luke had never drugged or assaulted her.

While Kesha and her lawyers rebutted with the argument that her statements in this recording were made falsely on the basis of fear, abuse, and bullying, this deposition transcript played a main part in the Supreme Court’s decision to prevent Kesha’s freedom from her record contract back in 2016. In addition to the transcript, a lack of official documentation regarding the sexual attacks contributed to the Court’s decision, but this in itself raises concern, as many victims of abuse tend to not report it. Kesha was later offered freedom from her contract if she were to rescind rape accusations against Dr. Luke. One must question why the opposing party would feel so threatened by the rape accusations if they were not guilty, and felt that there was no substantive evidence to prove otherwise.Kesha rejected the offer. Eventually, in August of the same year, Kesha dropped charges against Dr. Luke because the trial had dragged on for so long with no redemption in sight. In terms of PR, one could say that Kesha won, but in terms of freedom, she most definitely did not.

Given this history of mistreatment in the workplace even after the passage of fundamental legislature, one must question if protective sexual harassment legislation is doing enough. Why does news about sexual harassment still taint the headlines of today? It seems like every month, we hear of a new scandal in a new environment, then read about a new publication of another drawn-out apology of how the perpetrator regrets his actions and wishes he had never done it and such and such and such... The constant back-and-forth of violation and apology can only be described as exhaustively repetitive.

Progress cannot be called progress if the same problems from history are still resurfacing today, just in more modern forms. With respect to the frequency of workplace sexual misconduct, not much seems to have changed in the face of seemingly landmark legislature. The only difference from then and now is that today’s victims are rewarded a financial gift in exchange for the emotional trauma they will likely have to live with for the rest of their lives. Even today’s laws do not regard “a single incident or isolated incidents of offensive sexual conduct or remarks” to be“sufficient evidence of a hostile environment.”By this reasoning, then, as long as an insubordinate worker spaces out his or her instances of sexual misconduct, he/she cannot be punished. As long as a man or woman inappropriately touches or verbally assaults a coworker only once, he/she cannot get in trouble. The current laws are not enough. _______________________________________________________________

Annie Lee is a Sophomore English major on the Pre-Law track at the University of Delaware. In her free time, she enjoys writing creative pieces and, of course, watching Netflix.

_______________________________________________________________

AAUW. “Know Your Rights at Work: Workplace Sexual Harassment.” AAUW, AAUW, n.d.

<www.aauw.org/what-we-do/legal-resources/know-your-rights-at-work/workplace-sexual-harassment/>

EEOC. “Milestones: 1980.” U.S. Equal Employment Opportunity Commission, EEOC, n.d.

<www.eeoc.gov/eeoc/history/35th/milestones/1980.html>

EEOC. “RIVERA VINEYARDS SETTLES EEOC SUIT ALLEGING SEXUAL HARASSMENT, RETALIATION, JOB

SEGREGATION.” U.S. Equal Employment Opportunity Commission, U.S. Equal Employment Opportunity Commission, 15 June 2005.

<https://www.eeoc.gov/eeoc/newsroom/release/6-15-05.cfm>

FindLaw. “FORD MOTOR CO. v. EEOC.” FindLaw, Thomson Reuters, n.d. <http://caselaw.findlaw.com/us-supreme-court/458/219.html>

FindLaw. “KIMZEY v. WAL MART STORES INC.” FindLaw, Thomson Reuters, n.d.

<http://caselaw.findlaw.com/us-8th-circuit/1230254.html>

Gordon, Michael R. “Pentagon Report Tells of Aviators' 'Debauchery'.” The New York Times,

The New York Times Company, 24 Apr. 1993,

<www.nytimes.com/1993/04/24/us/pentagon-report-tells-of-aviators-debauchery.html>

Healy, Melissa. “Pentagon Blasts Tailhook Probe, Two Admirals Resign.” The Tech, 25 Sept. 1992.

<http://tech.mit.edu/V112/N44/tailhook.44w.html>

Kreps, Daniel. “Kesha: I 'Got Offered My Freedom' to Rescind Dr. Luke Rape Claims.” Rolling Stone, 3 Apr. 2016.

http://www.rollingstone.com/music/news/kesha-i-got-offered-my-freedom-to-rescind-dr-luke-rape-claims-20160403#ixzz44rPt4vBF

Lee, Eugene. “Largest Sexual Harassment Verdict in History – $168 Million.” California Labor and Employment Law,

California Labor and Employment Law, n.d.

<https://calaborlaw.com/largest-sexual-harassment-verdict-in-history-168-million/>

MailOnline Reporter. “Kesha Swore under Oath in 2011 Deposition That Dr. Luke Did NOT Sexually Abuse Her...

Undercutting Rape Allegations in Her Latest Lawsuit.” Daily Mail, Associated Newspapers Ltd., 21 Oct. 2014.

<http://www.dailymail.co.uk/tvshowbiz/article-2802370/kesha-swore-oath-2011-deposition-dr-luke-did-not-sexually-abuse-undercutting-rape-allegations-latest-lawsuit.html>

McLain, Lynn. “The EEOC Sexual Harassment Guidelines: Welcome Advances under Title

VII?” University of Baltimore Law Review, vol. 10, no. 2, ser. 4, 1981.

<scholarworks.law.ubalt.edu/cgi/viewcontent.cgi?article=1265&context=ublr>

Oyez. "Meritor Savings Bank, FSB v. Vinson." Oyez, 29 Oct. 2017.

<www.oyez.org/cases/1985/84-1979>

Photo Credit: Leon israel

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poetrybooksya · 7 years

Text

#T5W TOP 5 WEDNESDAY: Characters' Fitness Routines Wanted

Hey guys! This is a new feature I joined from Goodreads' Top 5 Wednesdays, a weekly book group about our top five favorite things in the middle of the week.

Created by Lainey from GingerReadsLainey and now hosted by Samantha from ThoughtsonTomes, this week's entry describes the top 5 favorite characters' fitness routines I'd like to have. August 16th: Characters' Fitness Routines You Want -- This can be interpreted a bunch of different ways! Fitness comes in many different packages. This can be about characters who are super fast, strong, agile, good at dancing, good at climbing, athletes, or foodies! Whatever it means to you. This is inspired by those routines you see in magazines for actors, but with more of an open mind and less body shaming :)

Keep in mind that I am in no way, shape or form a gymnast, dancer, athlete or pursue in anything that isn't on the couch. I used to dance "professionally" when I was younger, but that consisted of beginner levels of ballet, tap, jazz, a teeny bit of jazz-hip-hop, lyrical/contemporary and modern. But I haven't practiced those dance forms since my sophomore year of college! So I'm basically a little out of shape haha! But these are some characters' routines I admire.

5. Katniss' Archery in "The Hunger Games"

I think of archery as a gun but with more depth and stability. You can't accidentally shoot someone with a bow and arrow the way you can with a gun. And Katniss does a lot of running, hunting and staying alive, which is always a plus!

4. Josie and Reid's Anomaly Training in "Anomaly"

Josie and Reid's training is more mental than physical, but I remember that in the first book, Reid trained his girlfriend with physical tactics. Such as coming up with a burning building, holding on for dear life below a deep, dark ravines and things like that. No wonder their heads hurt after such a vigourous mental workout!

3. Dauntless Training in "Divergent"

The Dauntless gang focus a lot on cardio, strength, karate, boxing, wrestling, running, all of the things I know I'd die from, but I'd still want to do it because...FOUR! ♥

2. Shadowhunter Training in "Mortal Instruments"

Another training situation where they do a lot of running, fighting, combat training, sword fighting, karate, and things like that. I know I'd die, but JACE, ALEC, LUKE, and IZZY! ♥ Oh and Clary too lol. They just know how to make everything look so effortless!

1. Korra from "Legend of Korra" (Avatar: the Last Airbender spinoff)

I haven't watched Korra in a minute, but I remembered her physique being really fit, quick and agile, more than Katara was. And it was beautiful to see because I could see her physique, not under baggy clothes like Katara had Seasons 1-3. Whatever Korra's workout routine was, I kinda want it.

So those are my top 5 favorite characters' fitness routines. I'd love to know your choices in the comments below!

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via Blogger http://poemsbyayoungartist.blogspot.com/2017/08/t5w-top-5-wednesday-characters-fitness.html

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londontheatre · 7 years

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Now in its eighth year as the West End’s hottest annual fundraiser, join the cast of WEST END BARES as they strip off to see the Wizard in WEST END BARES: RUBY STRIPPERS at The Novello Theatre on Sunday 29 October with performances at 7.00pm and 9.30pm.

Join the much-loved characters of Oz for an extraordinary night at WEST END BARES: RUBY STRIPPERS, which will see over 100 of the hottest performers from the West End stage and beyond, along with an array of celebrity hosts as they take to the stage to combine the naughtiness of burlesque with the magic of the West End. All monies raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

Directed by David Grewcock with choreography from Racky Plews (American Idiot; Footloose; Heaven on Earth), Ashley Nottingham (Thoroughly Modern Millie; Dance Mums; Disaster!), Will Lucas (Cats; Wicked), Joanna Goodwin (Barnum; Chitty Chitty Bang Bang; Sunset Boulevard), Aaron Renfree (X Factor; The Saturdays), Simone Mistry-Palmer (Motown; Dirty Dancing), Jaye Elster (Singin’ In The Rain; Half A Sixpence), Ashley Jordan-Packer (Cats; Thriller Live), Fletcher Dobinson (Cats; West Side Story), Chris Whittaker (Blondel; Judy!), and James Wilson (Strictly Come Dancing; The Voice)

Opening the show in style, WEST END BARES: RUBY STRIPPERS is delighted to welcome Olivier Award winner Rebecca Trehearn (Showboat, City of Angels, Ghost), who will perform a brand-new track written for the occasion by Mark Anderson (The Book Of Mormon, Legally Blonde) and Luke di Somma (That Bloody Woman [composer], 21 Chump Street).

Award winning director and choreographer, Jerry Mitchell, creator of the original concept ‘Broadway Bares’, the inspiration behind West End Bares, said: “Lions and tigers and BARES, oh my! I can’t wait to see the eighth edition of West End Bares in London and what a perfect theme to go full out and celebrate LIFE. We need to keep up the fight against HIV and AIDS and by doing what we love or by buying a ticket and supporting this incredible night, you can be part of something HUGE that will change people’s lives – and you get to watch the hottest dancers in London strip, so it’s a no brainer!”

[See image gallery at http://ift.tt/1FpwFUw]

Melanie Tranter, Co-Founder, Chair and Trustee of The Make A Difference Trust said: “Who can resist an amazing night of witches, lions and scarecrows combined with the magic that is West End Bares? I can’t believe that this is the eighth year of this amazing show. Sparkly shoes take over from the legends of Camelot, as David Grewcock and the amazing team behind last year’s EXCALIBARE, bring you Ruby Strippers. Every single ticket sold means that the Make A Difference Trust can continue our work towards a world free of HIV and AIDS. Together we can make a difference. So buy your tickets, get your MAD money, and enjoy one of the sexiest, most fun evenings you can have in a theatre! I can’t wait to see you there!”

To celebrate this year’s theme release, for a limited time only with every Premium (£100) ticket purchased, ticketholders will also receive a complimentary mini bottle of Prosecco to enjoy from the best seats in the house for the legendary Rotation* *limited time only and only when booking through DMT website.

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit www.madtrust.org.uk

Tickets for WEST END BARES are now on sale and are priced at £15 – £100. Tickets are available from http://ift.tt/Oxronw or the DMT WEST END BARES booking line 0844 482 5172 and in person at the Novello Theatre Box Office. Booking fees apply and calls to Delfont Mackintosh Theatres 0844 numbers cost 7 pence per minute plus your phone company’s access charge.

West End Bares 2017: RUBY STRIPPERS!

WEST END BARES are proud to be partnering with 100 Wardour St for this year’s exclusive After Party where you can continue to celebrate with the cast of the show. Tickets cost £10 and are only available when you buy a ticket for the 7pm or 9.30pm show. Once again, there is limited availability for the After Party and when the tickets are gone, they’re gone – so don’t miss out!100 Wardour St is split between a laid-back Bar & Lounge and chic Restaurant & Club, offering great food from midday right through until 2am with classic and contemporary cocktails. As befits the venues history as the site of London’s iconic Marquee Club where artists like David Bowie and The Rolling Stones performed, there are DJ’s and live music five nights a week.

Tickets for WEST END BARES are now on sale and are priced at £15 – £100.

Tickets are available from http://ift.tt/Oxronw or the DMT WEST END BARES booking line 0844 482 5172 and in person at the Novello Theatre Box Office. Booking fees apply and calls to Delfont Mackintosh Theatres 0844 numbers cost 7 pence per minute plus your phone company’s access charge.

http://ift.tt/2uFXwOd LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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