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dein-jena · 1 year

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ichhandlejetzt! - Kampagne gegen häusliche Gewalt

ichhandlejetzt! Kampagne der Thüringer Gleichstellungsbeauftragten und Netzwerke zur Hilfe für Betroffene von häuslicher Gewalt

Anlässlich des Internationalen Tages zur Beseitigung von Gewalt gegen Frauen am 25. November (Orange Day) sagen Thüringer Gleichstellungsbeauftragte entschieden NEIN zu jeder Form von Gewalt. Gemeinsam mit den regionalen Netzwerken gegen häusliche Gewalt machen sie auf die vielfältigen thüringenweit vorhandenen Beratungsangebote aufmerksam. ➤ Weitere Nachrichten aus Jena >> Gewalt kann viele Gesichter haben. Sie kann uns Zuhause, auf der Arbeit, im öffentlichen Raum oder im Netz begegnen. Gewalt beginnt auch nicht mit körperlicher Gewalt. Bedrohungen, Beschimpfungen und Kontrolle können ebenfalls Formen von Gewalt sein. Laut polizeilicher Kriminalstatistik gab es „2020 mehr als 148.000 Opfer von Partnerschaftsgewalt-80,5 Prozent davon sind Frauen (…) Jede Stunde werden in Deutschland durchschnittlich 13 Frauen Opfer von Gewalt in Partnerschaften. Alle zweieinhalb Tage stirbt eine Frau durch die Gewalttat ihres Partners oder Ex-Partners“, informierte die Bundesregierung. Vom 15.11.2022 bis zum 25.11.2022 erscheint in einer Kampagne jeden Tag ein neues Thema in den sozialen Netzwerken mit Hilfe eines „fiktiven Tagebuches“ einer betroffenen Frau. Daher sind im Tagebuch verwendete Namen rein zufällig. Es geht um rund 80 Thüringer und bundesweite Beratungs- und Hilfsangebote für alle von Gewalt betroffene Menschen. Die Beratungen finden vertraulich und auf Wunsch anonymisiert statt. Sie sind unter dem Link www.handle-jetzt.de zu finden. Mit dieser Botschaft sollen Betroffene und deren Umfeld erreicht werden.

Kampagne gegen häuslicher Gewalt, Symbolfoto: Pixabay Gewalt muss niemand aushalten. Es gibt vertrauliche, kostenfreie und auf Wunsch anonyme Angebote in allen Regionen Thüringens. Die Kampagne soll motivieren, nicht länger auszuhalten, sondern etwas zu unternehmen und die eigene Situation zu verbessern. Viele Menschen trauen sich aus Scham und Verzweiflung nicht aus der Tabuzone „Häusliche Gewalt“ heraus. Sie sollen wissen, dass sie nicht alleine sind und allein gelassen werden, wenn Sie ihre Situation verändern wollen. Die Kampagne soll auch das Umfeld von Betroffenen erreichen. Das Umfeld sind Angehörige, Freundinnen und Freunde, Bekannte, die Hausgemeinschaft, der Verein, der Kindergarten, die Schule, die Kollegin oder der Kollege. Dieses Umfeld soll nicht wegsehen, sondern betroffene Menschen aktiv unterstützen und Betroffene auf die zahlreichen Hilfsangebote hinweisen. Für diese Initiative haben sich erstmals in dieser Form zusammengeschlossen: Die Thüringer Beauftragte für Gleichstellung von Frau und Mann sowie 18 kommunale Gleichstellungsbeauftragte der Städte und Landkreise: Apolda, Eisenach, Gera, Landkreis Greiz, Ilmenau, Ilm-Kreis, Jena, Kyffhäuserkreis, Mühlhausen, Nordhausen, Rudolstadt, Saale-Holzland-Kreis, Saalfeld, Landkreis Saalfeld-Rudolstadt, Sondershausen, Wartburgkreis, Weimar und Landkreis Weimarer Land.

Kampagne gegen häuslicher Gewalt, Symbolfoto: Pixabay Gemeinsam sagen die Städte und Landkreise mit ihren Netzwerken und der Landesgleichstellungsbeauftragten Gabi Ohler: „Keine Gewalt! Holen Sie sich Hilfe in einer der vielen Beratungs- und Hilfestellen in Thüringen“ Apolda: Bürgermeister Rüdiger Eisenbrand Eisenach: Oberbürgermeisterin Katja Wolf Gera: Oberbürgermeister Julian Vonarb/ Dezernentin Jugend und Soziales Sandra Wanzar Ilm-Kreis Landrätin Petra Enders Ilmenau: Oberbürgermeister Dr. Daniel Schultheiß Jena: Oberbürgermeister Dr.Thomas Nitzsche/ Sozialdezernent Eberhard Hertzsch Kyffhäuserkreis: Landrätin Antje Hochwind-Schneider/ Dezernentin Soziales Jugend, Gesundheit und Arbeit Sabine Bräunicke Mühlhausen: Oberbürgermeister Dr. Johannes Bruns Nordhausen: Oberbürgermeister Kai Buchmann Rudolstadt: Bürgermeister Jörg Reichl Saale-Holzland-Kreis: Landrat Andreas Heller / Abteilungsleiterin Soziales, Jugend und Gesundheit Kathrin Nestler Saalfeld: Bürgermeister Dr. Steffen Kania Landkreis Saalfeld-Rudolstadt: Landrat Marko Wolfram Sondershausen: Bürgermeister Steffen Grimm / Abteilungsleiterin Fachbereich Kinder, Jugend und Sport Mareen Biedermann Wartburgkreis: Landrat Reinhard Krebs Weimar: Oberbürgermeister Peter Kleine / Bürgermeister Ralf Kirsten sowie der Landkreis Greiz und der Landkreis Weimarer Land Jena baut Frauenhaus um Frauenhausplätze in Thüringen sind rar. Das ist keine neue Erkenntnis, aber die Lage ist prekär und verschlechtert sich seit Jahren. Ein Grund ist, dass Frauenhäuser auf freiwilliger Basis von Städten und Kommunen geführt werden. Seit 2008 sind in Thüringen Städte und Kommunen für Frauenhäuser zuständig, derzeit gibt es in 12 von 22 Thüringer Landkreisen und kreisfreien Städten Frauenhäuser. Das Jenaer Frauenhaus besteht seit 1990 und bietet 16 Plätze. Über eine Verwaltungsvereinbarung mit dem SHK werden auch Betroffene aus dieser Region in Jena mit betreut. In der Umsetzung des Ziels des Runden Tisches von Bund, Ländern und Kommunen den Schutz von Gewalt betroffenen Frauen und deren Kindern zu verbessern, wurde das Bundesförderprogramm „Gemeinsam gegen Gewalt an Frauen“ mit einem Gesamtvolumen von 120 Millionen Euro aufgelegt. Das Investitionsprogramm ermöglicht es, den barrierefreien Ausbau von Frauenhäusern zu fördern und neue räumliche Kapazitäten für Frauen, die gemeinsam mit ihren Kindern Schutz suchen, zu schaffen. Jena hat (über KIJ) als einzige Kommune Thüringens einen derartigen Antrag gestellt und Fördermittel zum Umbau des Frauenhauses bewilligt bekommen. Jenaer Netzwerk gegen häusliche Gewalt Im Jenaer Netzwerk gegen häusliche Gewalt haben sich Institutionen, Behörden und Beratungsstellen mit dem Ziel zusammengeschlossen, wirksame Maßnahmen und Aktivitäten gegen häusliche Gewalt zu entwickeln. Das Netzwerk wurde im November 2004 im Rahmen der Interventionsarbeit des Jenaer Frauenhauses e.V. gegründet und umfasst derzeit 17 regionale AkteurInnen. Read the full article

#DeinJenaNews #HäuslicheGewalt #ichhandlejetzt!#Jena #JenaerNachrichten #Kampagne #KampagnegegenhäuslicheGewalt #Thüringen

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odaatgifs · 6 years

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Schneider poor attempt to do the sign of the cross

#schneider #odaatedit #odaat #one day at a time #odaat spoilers #resquest #ours #stef #2x13 #2x11

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salvatoraes-arc · 3 years

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PEOPLE I’D LIKE TO GET TO KNOW BETTER.

1. alias / name: rissa <3

2. birthday: october 6th

3. zodiac sign: libra sun, pisces moon, scorpio rising

4. height: 5′2

5. hobbies: does sleeping count? reading & writing sometimes. playing dead by daylight with my pals

6. favorite color: pink !!!!

7. favorite book: looking for alaska always

8. last song: lost stars by maroon 5

9. last film / show: last film: the mitchells vs. the machines last show: brooklyn nine nine

10. recent reads: the beginning of everything by robyn schneider & the first book of chilling adventures of sabrina : season of the witch

11. inspiration: if this means for writing then usually listening to soft music, pinterest, rewatching tvd eps to recapture stef’s voice, reblogging gif sets and stuff i think reminds me of stef, doing dash games too !

12. story behind url: it’s just stefan’s last name with an a before the e bc salvatores was taken hgfjdk

13. fun fact about me: i was on tv once as a kid, my aunt was on this tlc show called a baby story & my whole family was on it. is that a fun fact ?

TAGGED BY: @3amhaunting , thanks fool <3 TAGGING: @jupitcr , @daylili , @forbaes , @adoredycu , @shadysider , @scrunchie , @mieczlw , @kanibals , @shesdaylight , @storyheld , @stonedgilbert , @egocrsh , @turnedahero , @momfriend , @sniperwheeler , @aughust , @naturesloopholed , @battletook & you if you’re reading this ! <3

#[ 𝙵𝙸𝙻𝙴𝙳﹕] these are always fun. ›› dash games.#[ 𝙵𝙸𝙻𝙴𝙳﹕] nicholas scratch stan first‚ human second. ›› mun.#i always tag so many people in these ghfjdhf #and forget people i wish i tagged lmao #[ 𝙵𝙸𝙻𝙴𝙳﹕] it’s perfectly fine to watch tv all day. ›› queued.

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djdezyman · 3 years

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Linnet Panashe Rubaya Binx Walton by Stef Mitchell for I-D Magazine, June 2021 Sweet Surrender by Temboh Yassine Jaajoui by Jason Hetherington for Observer Magazine - November 2020 Ajok Daing by Hendrik Schneider for Interview Magazine - June 2021 Rouguy Faye by Corentin Leroux for All About Magazine , April 2021 Images curated courtesy of Black Women Art and Models-of Colour. #artistoninstagram #blackartists #artphotography #blackmodels #artlover #artistsupport #artoftheday #blackfashionmag #blackfashionstylist #blackfashionmen #blackworkartists #blackfemalemodels #artistslife #blackfashionwomen #digitalartwork #art #artworkoftheday #blackfashionmatters #blackfashionbeauty #blackfashionblogger #artofvisuals #blackfashion #supportartists #artist (at Vancouver, British Columbia) https://www.instagram.com/p/CQecHTahVvO/?utm_medium=tumblr

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seeksstaronmewni · 6 years

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Saving the Day before Bedtime in Style: The Powerpuff Girls Then vs. Now

THE CITY OF TOWNSVILLE!

I remember growing up a little with The Powerpuff Girls, namely the pre-2002 episodes on CN and a promo for the show on my VHS of Animaniacs: Wakko’s Wish. That show is a part of my childhood. My sister had an Easy-Bake Powerpuff Girls “Cookie Makin’ Bake Set” and a Burger King 2002 figure of Bubbles. The length of the series’ run is now 20 years old, though the franchise as a whole is over 25 years old, if you count A Sticky Situation.

In the past, I watched little of PPG because I neither understood nor appreciated action at a very young age; the same went for Samurai Jack & Star Wars: Clone Wars (2003), though I did watch Star Wars: The Clone Wars (2008), which included a former PPG writer, Brian Larsen. Now, “Cartoon Cartoons” like @crackmccraigen‘s Foster’s Home for Imaginary Friends, Dexter’s Laboratory, Grim & Evil, Courage the Cowardly Dog, The Marvelous Misadventures of Flapjack, Ed Edd ‘n Eddy, Chowder... I grew up on those. I remember little about 2 Stupid Dogs (now officially available on MOD Disc DVD) and Captain Planet. I didn’t see the PPG marathon in 2009 with the final McCracken-produced episode so far, The Powerpuff Girls Rule!!! (my sister watched it, though). I began to return to PPG as I saw excerpts from the show on Netflix in late 2015, prior to the reboot. Tara Strong’s tweet of dismay, I think, was how I heard of the new PPG episodes.

The first time “Painbow” was encored (that is 2nd airing), during like 6 in the morning, I began to love Ms. Keane, their teacher, who’s voiced by Jennifer Hale (I knew her best for voicing Gladys, Billy’s Mom, in Grim & Evil / The Grim Adventures of Billy & Mandy, whose voice is nearly identical to Keane’s). What I love about Keane is that she’s sweet, somewhat perky but usually mellow, and kind, in addition to her voice, big blue eyes, and hair style, that I find to be attractive, but ultimately she is very nurturing to her students, like a mommy. Ms. Keane is why, in 2016, I became really into The Powerpuff Girls... and, including regard for the former CN Studios team, hyped for the return of Genndy Tartakovsky’s Samurai Jack (season 5, which featured Craig Kellman and other familiar creatives). However, though The Powerpuff Girls is my personal favorite of Craig McCracken and I grew up somewhat more on Foster’s Home for Imaginary Friends, I do feel that Wander Over Yonder is Craig’s greatest achievement as it excels at not only humor--both slapstick and... well... “modern”--but also some very important life lessons and ultimately the heart.

Now, many PPG fans were upset with the new episodes for many reasons that were, in my opinion, nostalgically incorrect. Personally, like many fans, I mostly prefer the former art styles of the series (specifically the 2002 movie and episodes, as well as the following designs by art director Paul Stec and character designers Carey Yost & Stef Choi) but I also highly admire @cheyennecurtisart for adding more defining details to our favorite crime-fighting and now ex-kindergarten students (and also for designing my other favorite woman, Star Butterfly, whose title show @crackmccraigen, creator of The Powerpuff Girls, wanted to produce for CN). The main reason for the hate is apparently that the new actresses replaced the former ones for the title characters. They are fairly good voices, but I still prefer the former, namely Tara Strong as Bubbles (No offense, Kristin Li, but, to me, it feels impossible to turn down Tara’s acting). Natalie Palamides as Buttercup is probably the closest-resembling to the original voices, but she still stands out differently; likewise Ms. Keane’s voice, though akin to the voice direction of Jennifer Hale by Craig McCracken and later Colette Sunderman, also has an accent that stands out, while Tom Kane is generally true to the nature of Utonium’s voice. Of course, once the casting and/or voice direction changes, maybe Cavadini, Daily and Strong will return. Also, E.G. Daily said in an interview that Cavadini, Daily & Strong originally did record for, I believe, Escape from Monster Island, until someone else replaced them; if bonus features exist on future season releases of the Jennings-Boyle PPG episodes, then an original dialogue recording track for the episode should totally be on it.

WHAT LOOKS DIFFERENT ABOUT THE POWERPUFF GIRLS?

Another reason for dislike from PPG fans is all about the art direction. Although @eusong Lee worked with Craig Kellman on Storybots and current art director Roman Laney designed and painted backgrounds for Craig McCracken’s Wander Over Yonder, their art direction resembles that of a more streamline, smooth, round, futuristic, not-so-cartoony look contrasting with the simplistic, storybook-like art direction of Craig Kellman, the cartoony but simple art direction of @donshank, and the defining and Hanna-Babera like art direction of Mike Moon, Paul Stec and Sue Mondt. The buildings in the Jennings-Boyle episodes are more straight, detailed and lineless, whereas the former designs were more extreme and exaggerated with building shapes.

Comparing the designs above of Andy Bialk & Stef Choi (whose designs were of many shapes and sizes; former monsters had sometimes simple but also very wild designs)...

...with those of Alan Stewart & Steve Lambe and Dean Heezen & Carlos Nunez reveals great contrast. The character design of current Townies, like the backgrounds, are more round-edged and of more simplistic, specific shapes and sizes. The monsters are different too; props are more realistic and explosions usually look simpler and more streamlined, round-edged, etc. Also, character & prop outlines aren’t really thick, which many CN/H-B cartoons are know for having. As the current designs from Memory Lane of Pain show, the Mayor and Robin Schneider are seen, along with an elderly woman who looks similar to the usual one in former episodes and a kid who somewhat resembles Mitch; next to those 2, there’s also a big guy whose model appears... shrunk for some reason.

Now, some Season 8-9 designs look a little more familiar, like the disguise character of an alien in Never Been Blissed, Locan Logan. He looks fairly akin to the works of Craig McCracken. Could the alien be disguising himself as Mac (from Foster’s) at an older age?

Not belittling @cheyennecurtisart‘s contributions, character designs developed for The Powerpuff Girls Movie are some of the finest ever done for the series, lead by Carey Yost; these designs were eventually implemented into the series, supervised by @andybialk and Chris Reccardi and designed by Stef Choi. Ultimately, though, @cheyennecurtisart and Carey Yost plus Andy Bialk (2002-2004 only for the latter two), did my favorites.

As you can see here, Man Up 2: Still Man-ing was the one of the few current episodes where the Mayor’s mouth is visible... but it wasn’t the first time. Paul Rudish storyboarded the Mayor with his mouth for transition in Boogie Frights; some official models of him (as well as a comic book cover) show the mouth as well. It’s unorthodox, but honestly I’m not hating on the new creatives for that. In most of the episodes excluding Man Up 2, it’s probably a mistake, since in those episodes he also does the mustache lip-sync thing he tends to do.

On the bright side regarding nostalgically correct art direction, the Pokey Oaks flashback in The Wrinklegruff Gals (art direction by Eusong Lee) was very true to that of Paul Stec (I’d think that Ms. Keane’s in the first shot, but these shots are 1.78:1 and not “letterbox” widescreen like the DVD covers of most CN shows in the last decade claim them to be in). They included students Mitch Mitchelson, Elmer Sglue, Robin Schneider, Harry Pitt, Suzie Jenkins, and Clara (the African girl in purple dress, called by Ms. Keane in ’Twas the Fight Before Christmas; in other episodes Jennifer Hale voiced her and the other dark-skinned girl in a pink dress). The new art creatives were so good at that, that I wondered if they’d contribute to season 5 of Samurai Jack. Speaking of that, the series finale of Samurai Jack, EPISODE CI (as did EPISODE II and Comic Issue 19), referenced The City of Townsville with the city of dogs that Jack saved! I also recently noticed a background from The Powerpuff Girls Meat Fuzzy Lumpkins in Aqua Teen Hunger Force, cleverly called “Powerpuff Mall” (tweeted here), and the episode “Universal Remonster” features a PPG with a mohawk on a Spring Break Cancun shirt!

Also, there’s the reference to Abracadaver in Memory Lane of Pain, where Blossom realizes how different she looked then and a re-orchestration of the PPG’s theme plays in the background, as in the new intro itself. The shot in reference is a digitally traced, cleaned-up version of a shot with models by Andy Bialk & Chris Battle.

Relatively, former character designer @chrisbattleart designed for the PPGs in the Teen Titans GO! episode “TTG vs PPG” which were true to the improved designs of @cheyennecurtisart...

...though they sometimes resemble the pre-2002 models, which he reflected in the last Craig McCracken-produced episode, The Powerpuff Girls Rule!!! As with both specials, the PPGs have thick outlines & black-colored mouths and are in model-rigged or “puppet-ed” animation.

Also relatively, Wander Over Yonder, which referenced both PPGs & Samurai Jack, featured @lambebeardo, who storyboarded the PPG-referencing episode The Boy Wander, who did some character design on season 8 PPG episodes.

The new theme song implements the general PPG theme within, as I said before, but there’s more nostalgia than that: the extended version of the current intro/theme song, “Who’s Got the Power?”, opens up like the original intro, with the original Tom Kenny narration, score and certain sounds. “Sugar, Spice, and Everything Nice. These were the ingredients chosen to create the perfect little girl, but Professor Utonium accidentally added an extra ingredient to the concoction...” Yes, except that Utonium didn’t break the bottle of CHEMICAL X by throwing his fist in success, though; Mojo rammed him into it. That is an error of continuity, which some episodes have, namely The Power of Four (regarding a rival of Utonium, Netronium, creating the perfect little boy)... though there is one thing that that episode did right...

TV PUPPET PALS PUPPETS! These character originally appeared in a few episodes like Mommy Fearest, and were created by either Genndy Tartakovsky and/or @crackmccraigen for The Justice Friends, whose pilot was about TV Puppet Pals. Once again, some nostalgia is preserved; thanks to Prop Designer Nathan Alexander Rico (and/or the act’s character designers/storyboard artists)!

In case no one noticed: I refer to the current seasons of The Powerpuff Girls, produced and directed by Nick Jennings & Bob Boyle, as the 7th, 8th, and 9th seasons, since, to me, it’s still the same show; despite different art direction and other styles. The other reason is that some episodes did call back to former events, like I said about Memory Lane of Pain.

Another thing that seems to be lacking in The Powerpuff Girls is the visually cartoony stuff. Memory Lane of Pain is the only episode to use a “pow” cloud as the Rubber Bandit streaks out of a shot. This was common in earlier episodes, often accented visually with words like “POW”, “ZIP”, etc. In most current episodes, characters run out of a shot more realistically.

WHAT’S WITH THE ANIMATION?

Additionally, most of the animation direction, though still with Robert Alvarez, Randy Myers and Richard Collado, is pervasively slow-paced, compared to the pre-2016 episodes, namely those of seasons 5-6 and, of course, The Powerpuff Girls Movie, on which Genndy Tartakovsky was the main animation director. Unlike most current CN Studios programs, however, Samurai Jack season 5 did its “sheet timing” very well, particularly in EPISODE XCVIII and its scene of Ashi owning a whole army of orcs (Sheet Timing by Rob Renzetti & Robert Alvarez; storyboarded & written by Bryan Andrews & Genndy Tartakovsky).

As with that and most CN Studios programs, both Samurai Jack and The Powerpuff Girls have animation that is checked by CN’s Sandy & Julie Benenati. Speaking of creatives still involved, there’re at least 25 people still working on The Powerpuff Girls just as they did decades ago... including @joltumblingart, a former BG/Prop designer! At least us nostalgia-craving fans can appreciate that! (By the way, if you crave classic CN Studios projects, you can watch the ENTIRE series of Samurai Jack here!)

WHAT OF THE NEW GIRLS AND GUYS ON THE SHOW?

Now, I can say that some of the new creatives could serve The Powerpuff Girls well:

Character designer @cheyennecurtisart did designs for Star vs. the Forces of Evil; the show’s art direction (namely season 1/Joshua & Justin Parpan, but also including Israel Sanchez, who all worked on Wander Over Yonder) is similar to the works of @crackmccraigen and closer to the Mike Moon / Paul Stec styles I prefer, specifically elements of background/location design and character design. Some designs of Princess Bluebelle in the Emmy-winning episode Once Upon a Townsville seem to resemble the looks of Star Butterfly. Also, SvTFOE location designer Larry Murphy did background design for PPG episodes “Save Mojo” and “Substitute Creature”. A number of creatives from SvTFOE should work on current PPGs too, regarding art direction/design/storyboarding action, in addition to former creatives involved with Samurai Jack (including season 5) and Paul Rudish’s Mickey Mouse, including clean-up artist king Robert Lacko. Relatively, SvTFOE location designer @peteremmerich served as the art director on Netflix’s Harvey Street Kids, whose background design is very much like the PPG locations under Paul Stec’s art direction.

Character designer @lambebeardo did storyboards for Disney’s Wander Over Yonder, created and executively produced by @crackmccraigen, as mentioned before, including “The Boy Wander”, which ends ala “The Day is Saved!” segment. There’re 2 specific creatives for a season 7 (or, in reboot terms, season 1) PPG episode...

Power Up Puff features storyboard artist Roque Ballesteros, who storyboards for Star Wars: Forces of Destiny and did animation/layout on CN’s Enter Mode 5 at Ghostbot. One could compare that to Bryan Andrews who did storyboards for Star Wars: Clone Wars (2003-2005) at Cartoon Network Studios, where Power Up Puff was produced; Brian Larsen, who worked with Bryan Andrews, also did storyboards for PPG and Samurai Jack, as well as (the non-Cartoon Network Studios) Star Wars: The Clone Wars (2008-2019)...

...and then there’s animation director Shaun Cashman, who did animation/sheet timing for another CN Studios original, Genndy Tartakovsky’s Sym-Bionic Titan. Cashman also supervised the timing on Disney’s Star vs. the Forces of Evil and produced Grim & Evil AKA The Grim Adventures of Billy & Mandy for CN. I think that there’s some good animation timing in Power Up Puff, which’s rare due to the way CN Studios and SMIP do the animation these days.

One episode I intend to note here is Save the Date, which’s about Ms. Keane, as was Keen on Keane. A few aspects on design are covered below. One is about the title cards as shown above (which uses props/characters to reflect the episode’s subject/theme) and below.

These cards swipe to the right, rather than having the PPGs beam by and then reveal the storyboard artist/writer and art director. Originally the text was still, until after the movie and they’d zoom in slowly, not italicized and even glowing the tiniest bit. Also, some of the writers aren’t storyboarding, and the art director’s listed on the credits.

Lastly, of course, every single episode is directed just by Nick Jennings and Bob Boyle, aside from a supervising director. Can’t someone from Samurai Jack, Wander Over Yonder, Star vs. the Forces of Evil direct instead? Often, an animation director like Robert Alvarez or Randy Myers would direct The Powerpuff Girls, Samurai Jack, Grim & Evil, etc. For that matter, someone on the show should get, like, Genndy Tartakovsky (currently at Sony Pictures Animation) to direct. High-octane action and slapstick are a big part of his direction.

Since the Season 7 episode People Pleaser, @deanheezen is the main character designer, in place of @cheyennecurtisart; @carlosluisnunez still contributes, but usually Dean Heezen or Gordon Hammond (and sometimes Steve Lambe and Alan Lambe) are the only designers for an episode. From the episode Save the Date onward, Ms. Keane has only one bang, when she usually has 2, though there is one shot in Keen on Keane where she has one bang, (in various shots of the episode, she has 3 bangs).

In Save the Date, Ms. Keane’s fashion is different from hers in Keen on Keane, which was modified in Octi-Gone. Also, Keane didn’t walk well in high heels in Save the Date, unlike Keen on Keane.

Pertaining to certain fashion, like Keen on Keane, more of Ms. Keane’s body shape is exercised, namely on her legs. Unlike Keen on Keane Ms. Keane’s calves aren’t as obvious if [one of] her legs are straight. Usually, her legs appear shorter as well... kind of stubby, which I think is cute. In some shots in Save the Date, Ms. Keane’s hands are sharper-looking, as were the designs by Carey Yost and Stef Choi.

Relative to both animation and design, compare Ms. Keane fighting the giant, radioactive ant in Save the Date with the aforementioned sequences in Samurai Jack EPISODE XCVIII:

Now, in these 2 shots, you can see more detail to the design/form of the legs in action. If Carey Yost did the designs of Ms. Keane like those they did in Keen on Keane, the look and form to Keane’s legs in action would appear maybe somewhat stylized, but far more realistic.

In the fight in Save the Date, there’re a few pieces of fast-paced animation, but only a few as, like I said before, animation in CN shows these days are usually slow-paced. In Samurai Jack, of course, there’s much balance between both fast and slow-paced animation which helps convey more realistic (and intense) action. Robert Alvarez was an animation director with Sherri Wheeler (supervising) & Randy Myers for Save the Date and did sheet timing with Rob Renzetti for Samurai Jack EPISODE XCVIII.

Now, like Samurai Jack, Ms. Keane here shows good form in an action pose. The lines in the PPG shot are similar to the shot of a falling catapulted rock in Samurai Jack EPISODE III, too.

Relative to Samurai Jack EPISODE XCVIII, the Dexter’s Laboratory episode Dexter Dodgeball has a very nice sequence of well-timed, balanced traditional animation including much fast-paced animation; Dexter’s hair animates somewhat as well. In addition to being filmed and animated with cels, the timing/animation direction gives to moments of this scene movie-level quality of traditional animation. “Additional Animation Direction” is claimed to be done by Robert Alvarez, @crackmccraigen and Rob Renzetti.

Ms. Keane’s homes vary in the series: Dave Dunnet designed 74A in Keen on Keane and another house in ‘Twas the Fight Before Christmas, while Santino Lascano & Clark Snyder revealed a much bigger home for her in Save the Date.

Speaking of location, current episodes have new places like The Snooty Rose and Penguin Pete’s...

...but what about Pete’s-a Pizza, Malph’s and La Donut King Donut?

One interesting thing to note about Save the Date is a matter of size (this’s also the first time in the entire series that sweet Ms. Keane cries). Of course, she’s not the only one with concerns of size.

The PPGs themselves were made to be giant by Mojo Jojo, too, in What’s the Big Idea?, one of the last McCracken-produced episodes (and starring @donshank as a protest leader. He’s the Townie in that fallen building).

The other thing notable about this episode... “WHAT ABOUT THE GIANT ANT” in Bubblevision? Of course, that was a different ant that looked more realistic and just gnawed on stuff at random, but I like that more. The giant radioactive ant in Save the Date was only pushed back by the heat ray of the PPGs, but in Bubblevision the giant ant totally burned up.

One thing I don’t like about the credits--aside from lacking BiS’s popular hit, The Super Secret City of Soundsville Song, which’s the PPGs’ End Title [Theme] Song--is that they don’t specify the voice of the episode’s lesser characters (such as “Todd”, who kind of sounds like Tom Kenny... just a hint of Commander Peepers in his voice). Of course, Samurai Jack season 5 sometimes did this too. Typically, they don’t credit sound designers or foley artists/recordists, either; at least The Powerpuff Girls Movie gave credit to Joel Valentine and his team for Sound Creation and Design and foley.

Now, there’re approaches to character design in current episode that I do enjoy. In this shot from Buttercup vs. Math, Blossom recoils from intense emotion with a very funny yet simple face.

Prior to that, of course, the former emotions are also very wild and creative...

...but that doesn’t mean that Andy Bialk, Carey Yost & @chrisbattleart didn’t do that either (though rarely), as this shot from A Very Special Blossom proves. Art Director @donshank and Models guy Carey Yost, like many great CN Studios creatives, were formerly involved with Spumco, particularly on The Ren & Stimpy Show, which could account for this wild, somewhat detailed design.

Unlike most of Craig McCracken’s former works, except for Wander Over Yonder, character reactions in design weren’t usually as exaggerated as they are in the new PPG episodes. Such design extremes tend not to apply to Ms. Keane as she’s rather mellow and more realistic with emotional reactions, and usually not in grave danger or needful otherwise, compared to another woman designed by Cheyenne Curtis, Star Butterfly, who tends to be highly poignant with emotion (in most ways I love her more than Ms. Keane because Star’s been through a lot, needful and emotional).

In very rare cases, though, like these shots in Keen on Keane and Speed Demon, Ms. Keane shows catchlights in a closeup, which may contribute to either intensely poignant emotion and/or close-up detail (including lighting). Her look in Keen on Keane (Carey Yost) does suggest a needful emotion, but not too exaggerated.

As I said before, I don’t care for the current art direction as much, except for @cheyennecurtisart‘s part; eventually Dean Heezen took over until Gordon Hammond started doing all of the character design, which aren’t really much different. Some others don’t like the designs currently with The Powerpuff Girls, including one artist who decided to re-design and re-animate the promoted scene from Man Up. The designs of the PPGs look very much like the SSN 1-4 models, and the rest vary; some resemble Andy Bialk/Stef Choi or Stephanie Ramirez. The backgrounds are very detailed but similar to the original art direction.

Tom Kenny’s famous, lovable narration that began and ended all pre-2016 episodes has been absent in most current PPG episodes (except for a few, like Painbow, Little Octi Lost, and Fashion Forward). Even worse is a talking snowman voiced by Maurice LaMarche narrating instead--and on-screen--which is one of the major crimes to The Powerpuff Girls in their second Christmas episode, You’re a Good Man, Mojo Jojo. “I BEGIN AND END EACH EPISODE OF POWERPUFF GIRLS, ME, THE NARRATOR!” he claimed at the end of Los Dos Mojos. Next to Scaramouche, Spongebob and Commander Peepers, his narration on The Powerpuff Girls is one of his finest and most memorable roles.

Also missing are more familiar and specific Townies like the Chief of Police, the Pokey Oaks students (excluding the flashback scene), Floyd & Llyod... Also, since Chuck McCann died, I wonder who’d voice the Amoeba Boys now. Perhaps former creative Lou Romano could, since he was their original voice in the pilot/Craig’s student film A Sticky Situation. Some creatives and production staff on the show made cameos, namely @donshank (voiced first by Tom Kenny and then Shank himself), who, himself, served as a supportive character in What’s The Big Idea? leading a protestant group against the PPGs. This Easter egg is rare in cartoons these days (though a recent Teen Titans Go! episode put @chrisbattleart and other creatives in a city crowd), but the episode Electric Buttercup implemented creatives like @cheyennecurtisart, Nick Jennings & Bob Boyle, Kyle Neswald, and others in “THE ROCK & ROLL HALL OF SHAME”.

In general, the approach to sound design on the show is a bit quieter but uses more Disney sound effects and other typical Hacienda Post sound design, as well as aural gags thematically associated with noting a certain subject (e.g. a cash register opening and ringing accents a thematic element pertaining to the Monopoly-esq game in Rainy Day, as money is a relative/thematic element). Although Hacienda Post (namely the team) has always been involved with the series since 1998, the original “Sound Creation and Design”, debuting on the episode Crime 101, was by Joel Valentine (Samurai Jack, Big City Greens, Wander Over Yonder), one of my favorite sound designers, who was only credited on The Powerpuff Girls Movie; episode credits would mention only Twenty-First Century Entertainment, Inc. for “Sound Editing”, though they obviously did sound design and foley too. Whether or Joel or all Hacienda, foley members are usually uncredited on the show, yet they bring our favorite Townies to aural life. Joel used his funny little castanet sound to accent many emotions, and the “SINGLE MAGIC WAND HIT” among other sfx to accent the PPGs beaming away. The classic H-B/Universal explosion often accented big feet, impacts and explosions, as well as the original title reveal in the intro; Joel would use some more tweaked variants of that sound too, and, next to Skywalker Sound, Joel is the only one whose consistent use of that sound excuses the general cheesy nature of that sound. Of course, in my opinion “ROCKET LAND SPEEDER: START AND AWAY”, which often accented the PPGs flying (usually for relatively fast/increasing speeds), seemed particularly exaggerated, but Hacienda Post seems to avoid overusing that.

Also, the music style often is more pervasive compared to former episodes, and Mike Reagan did some very nice cartoon-y music, like in the beginning of Rainy Day, though the style feels different from that of Thomas Chase & Steve Rucker in episodes like Pet Feud. The stylized sound of horn sections and strong techno beats in the score by James L. Venable (AKA “DJ Avalanche”) are very cool but aren’t so common in the current episodes, though respectively the action doesn’t live up as well as former episodes, like Live and Let Dynamo.

Near the end of this post, I note that I found great value in The Ren & Stimpy Show as many creatives on it/at Spumco worked on The Powerpuff Girls, Star vs. the Forces of Evil, Samurai Jack, Spongebob Squarepants, The Iron Giant, The Twisted Tales of Felix the Cat, Adventures of Sonic the Hedgehog, and many other great animation, including a gem of a Cartoon Network “Minisode”, Buy One, Get One Free*. My love for the work of John Kricfalusi/Spumco boosted with [adult swim]’s airing of the Yogi Bear/Ranger Smith episode “Boo Boo Runs Wild” on August 13th, 2016 A.D.

To conclude: The Powerpuff Girls is an iconic show that deserves to still have some design that feels signature to it, over 25 years after the pilot, @crackmccraigen‘s CalArts student film A Sticky Situation (originally with a mildly profane name for the trio, though Paul Rudish came up with their official name). In my honest opinion, there’re 5 original people whom I wish and pray would contribute to The Powerpuff Girls again: Carey Yost (with or without @chrisbattleart), Tara Strong, Dave Dunnet (with or without @shinypinkbottle), and at least Joel Valentine. Honestly, regarding Star vs. the Forces of Evil, I hope and pray that Joel Valentine, Genndy Tartakovsky’s band of excellent writers/storyboard artists, and even @crackmccraigen could/would contribute to that franchise’s future media. Additionally, the new creatives in season 5 of Samurai Jack, like Dustin d’Arnault, David Krentz, @stephendestefano and Amanda Qian Li, should contribute to these shows too. Again, I also suggest that the former voice of The Amoeba Boys, Lou Romano (in A Sticky Situation), should replace the late Chuck McCann. While Craig’s first words to me suggest that he may not return, more or less, to PPGs, still at least members of his team deserve to, and who wouldn’t want to come back? Meanwhile, at least Craig’s working on new stuff to be announced, including Kid Cosmic for Netflix.

I leave you with not only a petition image to suggest ways to bring nostalgia back to our favorite kindergarten crime-fighters, but also IMDb lists of appropriate creatives for future media of PPG, future media of Dexter’s Laboratory, and even future media of Samurai Jack (pre-Season 5 events to fill a more or less “50-year” story gap). Spread the petition (and/or IMDb lists), and perhaps our childhood days will be saved--thanks to fans like you! GO, POWERPUFF! [z, z, z-z-z-zuuu...] *cue H-B swirling star* (also a Tumblr post)

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johnmcnicholas · 6 years

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I took pictures of a few bands this year.

1. The Downs 2. Emerald Comets 3. Weaverbirds 4. The Sunset District 5. Kenny Howes 6. Jupiter Watts 7. Cadillac Jones 8. Sera Cahoone 9. Tift Merritt 10. Oak House 11. Shanti Shanti 12. Deep Sea Diver 13. Chip Jones 14. Rebekah Pulley 15. Dank 16. Seafang 17. Pretty Voices 18. Mondo Diablo 19. Car Bomb Driver 20. Funeral Dazies 21. Twisty Chris and the Puddin' Packs 22. The Good Graces 23. Bucky Motter 24. Noel Hart 25. Chickens and Pigs 26. nerdkween 27. Eureka Failure 28. New Terminus 29. Jagwar Ma 30. Glass Animals 31. Mount Moriah 32. Strand of Oaks 33. Moontower 34. Parrotice 35. Tedo Stone 36. The Hip Abduction (DJ set) 37. Samantha Fish 38. Chelsea Shag 39. JuJu Beats 40. Dirty Heads 41. CBDB 42. Twiddle 43. Moe. 44. Talib Kweli 45. Tep No 46. Hank & Cupcakes 47. Waxahatchee 48. The New Pornographers 49. Crywolf 50. Ekali 51. ARMNHMR 52. Boombox Cartel 53. Claude Vonstroke 54. Said the Sky 55. Party Favor 56. Alison Wonderland 57. Ganga White Night 58. Snails 59. The Knocks (DJ Set) 60. RL Grime 61. Bonobo (live) 62. Griz 63. Lost Seekers 64. Young Bombs 65. Bad Royal 66. Modern Measure 67. Haywyre 68. Joyryde 69. Kaiydo 70. Slushii 71. Ephwurd 72. CID 73. Illenium 74. Gramatik 75. Pouya 76. Flatbush Zombies 77. Mija 78. Flosstradamus 79. Galantis 80. Kaskade 81. DJ Canvas 82. Echos 83. Wingtip 84. Mantis 85. Vanic 86. Mute Math 87. Mayhem 88. Lost Kings 89. Little Dragon 90. Grandtheft 91. Loudpvck 92. Getter 93. Girl Talk 94. Zeds Dead 95. The Chainsmokers 96. Joe Popp 97. Stokeswood 98. Scott Harrell 99. Patrick Kelly 100. Leland Jacobs 101. Drew May 102. The Mighty Fucks 103. Tyler Porch Band 104. Bloodplums 105. In the Whale 106. Behold the Brave 107. TnT 108. Subsonics 109. Black Lips 110. Faye Webster 111. Tommy Keene 112. Matthew Sweet 113. Five Eight 114. Daktyl 115. Emileigh Ireland 116. The Foresters 117. COEDS 118. Divine Feed 119. Dressy Bessy 120. White Violet 121. Happy Abandon 122. Rat Fancy 123. Kleenex Girl Wonder 124. Feather Trade 125. The Veldt 126. Elf Power 127. Anchient Whales 128. DieAlps! 129. Heavenly Creatures 130. Outer Spaces 131. Procedure Club 132. Casper & the Cookies 133. Red Pony Clock 134. Palehound 135. The Gotobeds 136. Marshmallow Coast 137. Antlered Aunt Lord 138. Waxahatchee (again) 139. The Apples in Stereo 140. Growl 141. Schande 142. Robert Schneider 143. Tres Ouí 144. Big Fresh 145. Matt Harnish 146. Claire Cronin 147. Einschlagen 148. Big Quiet 149. R.Ring 150. Lætitia Sadier 151. Eureka California 152. Superchunk 153. Saline 154. Dump Him 155. Seafang 156. Scooterbabe 157. Peyote Coyote 158. Harlot Party 159. Superbody 160. Lingua Franca 161. noon:30 162. Pylon Reenactment Society 163. Ingrid Andress 164. Charlie Worsham 165. Flat Cat 166. World War Zach 167. Soccer Mommy 168. Stef Chura 169. Jay Som 170. Derek Grippers African Strings Project 171. Trio Da Kali 172. Paul Kelly 173. Luke Temple 174. Wye Oak 175. Nap Eyes 176. Alvvays 177. John K Samson 178. Craig Finn and the Uptown Controllers 179. Auction House Letters 180. Courtney Marie Andrews 181. Hamilton Leithauser 182. Blackfox 183. The Scragglers 184. Sash the Bash 185. AM Gold 186. Baby Baby 187. Eleanor Friedberger 188. Luna 189. Baio 190. The Shins 191. Uncle Tom’s Band 192. Material Girls 193. Smut 194. Bully

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sidekickhq · 5 years

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Happy new year! May I please have some fc suggestions for a child of Marc Spector and Marlene Alraune?

of course ! may i suggest stef sanjati , dakota fanning , alex wolff , max irons , odeya rush , ansel elgort , hunter parrish , andy mientus , max schneider , max thieriot , amber heard , miles teller , douglas booth , imogen poots , joey king !

#marvel rp #mcu rp #next gen rp #appless rp #town rp #admin h #answered #Anonymous

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roesolo · 4 years

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Introducing... The Kiddo!

Introducing... The Kiddo! @sarahgraleyart @tinyspells @GraphixBooks @WorkmanPub @CindyCopeland @scholastic @chadsell01 @KnopfBFYR

Hi all! I’ve been radio silent for a while, because I’ve been home enjoying my midwinter break vacation with my kiddos. Imagine my delight (and abject terror) when he announced that he wants to be a YouTuber, and that he wanted his first video to be about books. I went back and forth on this for a while, but here I go… I’d like to introduce you all to my kiddo, Gabe.

[youtube=https://www.youtube.c…

View On WordPress

#Chad Sell #Christy Schneider #Cub #Cynthia L Copeland #Donut the Destroyer #Doodleville #Frog Meets Dog #Graphix #I Read Books #Kiddo Reads #Penguin Random House #Sarah Graley #Scholastic #Stef Purenins #video #Workman

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xtruss · 3 years

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Universal Access To Clean Water Is Within Reach. How Can We Achieve It?

Every day 700 children die from diarrhoea caused by unsafe water. Image: REUTERS/ Eduardo Munoz.

Despite COVID-19 setbacks, international institutions and service providers have stayed on course to deliver water, sanitation, and hygiene goals.

According to the UN, 88% of the world’s population (7 billion people) now have access to clean water in their homes and within a 15-minute walk.

Achieving SDG 6 – clean water and sanitation for all – will require global stakeholder collaboration and political commitment.

People devoted to financing water, sanitation and hygiene in developing nations worried for much of 2020. Utility customers stopped paying their water bills. Funders altered their priorities. Heads of state turned their attention to other virus-related emergencies.

But did COVID-19 affect funding enough to slow progress toward universal access to clean water, safe sanitation and hygiene – popularly known as WASH? And if it did, by how much?

The data did not look good. In December 2020, the United Nations Conference on Trade and Development reported that because of the pandemic, international investment in water, sanitation and hygiene fell 70% in the first three-quarters of 2020.

Yet, even as the official numbers seemed to point to a potential catastrophe, the actual effects of the pandemic on delivering water and sanitation to people who needed it were not nearly as dire.

Early indications suggest that small water providers coped through the pandemic, according to Safe Water Network, a New York-based nonprofit with programmes in India and Ghana.

“Based on anecdotal data and our experience, we see small water enterprises as a particularly resilient safe water solution during public health crises,” said Gillian Winkler, the group’s vice president for strategic partnerships.

In other words, customers received water. Water treatment plants operated. Managers of sanitation services in informal settlements performed their daily tasks of cleaning toilets and removing waste. Staffing shortages when the virus sickened workers were temporary.

Public-private Cooperation Is Needed

Over the last half century, the WASH sector evolved into a galaxy of projects, programmes, departments, idea centres, utilities, service companies, research groups and consultancies devoted to one objective – delivering clean water, sanitation and hygiene to the developing world.

At the galaxy’s centre is the stellar cluster – development banks, philanthropies, investors and government treasuries – that finance the work. Since 1970, more than $400 billion has been spent on official development assistance, official development finance, government aid, loans and philanthropic grants for WASH in developing nations.

Even with such a considerable sum, the generally accepted narrative of WASH financing is this: it’s not enough. Capital spending for WASH would need to reach $114 billion annually to meet the UN goal of providing universal access to water, sanitation and hygiene by 2030, according to a 2016 World Bank study.

That is considerably more than the roughly $20 billion invested annually in WASH in the five years before the pandemic, according to the UN Water Global Analysis and Assessment of Sanitation and Drinking Water (GLAAS).

In November 2020, the UN said over 700 children die every day from diarrhea caused by unsafe water, sanitation and poor hygiene. Nearly 700 million people still practice open defecation and nearly 400 million children attend schools with no sanitation facilities whatsoever.

“The COVID crisis amplified the existing access issues,” said Lesley Pories, manager of sector strategies at Water.org, a Kansas City based nonprofit WASH financing group. “The most critical challenges, though, are systemic and have been forming over decades: population growth, rural to urban migration and inadequate financing models.”

But viewed from another perspective, $400 billion in aid, assistance, loans and grants produced three results that are scarcely recognized or celebrated in the WASH galaxy.

First, it generated a sturdy funding and WASH delivery sector that prodded the world into embracing the consensus goal to provide every person with access to clean water, safe sanitation and hygiene.

Second, the $400 billion-plus investment generated an array of WASH delivery projects that are working around the world and delivering measurable results. Between 2000 and 2017, 2.4 billion people gained access to safe water supplies and some 2.1 billion to safe and improved sanitation, according to the UN.

Third, an inventive community of finance professionals developed a new promotional message about how to achieve universal WASH. Adequate financing is important, they say, but it’s more essential to: help WASH finance recipients become much more “creditworthy”; and open new paths for raising money and delivering it more quickly to WASH providers.

“There is always private money looking for investment, right?” said Joel Kolker, program manager for the World Bank’s Global Water Security and Sanitation Partnership. “The supply of money is interesting. It's important. But in the midst of all that, it misses the key word. Is the service provider creditworthy? Are institutions creditworthy?”

“So, for me,” he said, “the more interesting side is not the supply of capital. Rather, it’s what's going on in creating the demand. That's where we need to go to work.”

We Must Build on The Momentum

In 2015 the UN attracted accolades for setting Sustainable Development Goal 6 to provide clean water, safe sanitation and access to a handwashing facility to every person on Earth by 2030. That goal is within reach in much of the world.

According to 2017 data from the UN, 88% of the world’s population, or nearly 7 billion people, have access to clean water in their homes and within a 15 minute walk. Nearly 1.8 billion people gained access to basic water supplies from 2000 to 2017.

The global population using safely managed and improved sanitation measured 68% in 2017, or more than 5 billion people.

Another point is that the 2017 data clearly shows that developing nations across Asia, Latin America and North Africa are closing in on meeting universal access goals by 2030.

In Vietnam, for example, 84% of the population had access to safe and improved sanitation in 2017, according to statistics from the WHO/UNICEF Joint Monitoring Program for Water Supply (JMP), up from just over 50% in 2000 – nearly 95% had safe water.

“As nations gain wealth, rising from low-income to middle-income, water infrastructure, sanitation infrastructure, and services improve.”

—Keith Schneider (Twitter)

The progress developing nations are making in WASH coincides with rising national and personal incomes. As nations gain wealth, rising from low-income to middle-income, water infrastructure, sanitation infrastructure, and services improve.

That essentially leaves the 35 nations of sub-Saharan Africa as the WASH sector’s last big frontier. “Is universal access, reaching 100% for water and sanitation, achievable by 2030?” asked Stef Smits, senior program officer at IRC and a respected WASH researcher. “I think in 95% of the world, that is more or less achievable, based on linear projections of current rates of progress.

“For most countries in Africa, the target to reach universal access to at least basic water, I expect that to be achieved around the year 2040, based on those projections,” Smits added. “For sanitation, it will take longer.”

Taken together, the new trends suggest that the space is steadily shrinking between those who do and those who don’t have ready access to clean water, sanitation, and hygiene. For half a century the world tread a difficult path. It is now closing in on a momentous human achievement.

— This reporting is part of the WASH Within Reach project produced by Circle of Blue in collaboration with the Wilson Center and support of the Conrad N. Hilton Foundation. This independent journalism does not necessarily reflect the views of the Conrad N. Hilton Foundation.

— June 7, 2021 | Keith Schneider, Senior Editor and Chief Correspondent, Circle of Blue | World Economic Foru

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