#4th Annual Louder Than Life | Explore Tumblr posts and blogs

themusicenthusiast · 8 years ago

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The 4th Annual Louder Than Life will Return to Champions Park in Louisville, Kentucky on September 30th & October 1st, feat. Ozzy Osbourne, Prophets Of Rage, Five Finger Death Punch, Rob Zombie, Incubus and a Host of Others

Ozzy Osbourne featuring Zakk Wylde, Prophets of Rage, Five Finger Death Punch, Rob Zombie and Incubus top the bill for the fourth annual Louder Than Life destination festival, Saturday, September 30 and Sunday, October 1 at Champions Park in Louisville, KY.

Tickets go on sale Friday, June 2 at Noon ET at www.LouderThanLifeFestival.com. Rock legend Ozzy Osbourne — recently reunited with guitarist Zakk Wylde for the first time in over a decade — leads a Saturday bill that includes Five Finger Death Punch, Rob Zombie, Mastodon, and many more. Prophets of Rage — bringing together the sonic firepower of Rage Against The Machine, Public Enemy and Cypress Hill, with members Tom Morello, Tim Commerford, Brad Wilk, Chuck D, B-Real, and DJ Lord — closes Louder Than Life on Sunday, joined by Incubus, Rise Against, Stone Sour and more. Produced by Danny Wimmer Presents, America's premier production company for rock music festivals, Louisville's Louder Than Life features a selection of award-winning bourbons, whiskey, spirits, craft beer, the best food Louisville has to offer, along with a powerful music lineup of rock legends and breaking talent performing on three stages. The festival celebrates the bourbon culture and culinary heritage of this unique American city.

The full 2017 Louder Than Life music lineup also features: Halestorm, Gojira, The Pretty Reckless, In This Moment, Eagles of Death Metal, Thrice, Hollywood Undead, Of Mice & Men, Steel Panther, Falling In Reverse, Sleeping With Sirens, Nothing More, Beartooth, Starset, We Came As Romans, Lacuna Coil, Miss May I, Radkey, Bleeker, While She Sleeps, Greta Van Fleet, Fire From The Gods, '68, Badflower, He Is Legend, Black Map, DED, Through Fire, Palisades, and BITERS. "Prophets of Rage are psyched to bring a brass knuckle Marshall Stack beatdown to the Louder Than Life festival. We are gonna unleash the RAGE, BRING THE NOIZE and TAKE THE POWER BACK so come on down and get some," said Tom Morello of Prophets of Rage. Rob Zombie said, "The Zombie and his horde are ready to throw down and get weird at Louder Than Life. Zombie and Ozzy together again! Dig it! See you in Louisville!" "It's been way too long since we've played Louisville, and we're stoked to be coming back in a big way to join friends Prophets of Rage, Thrice and the rest of the amazing lineup at Louder Than Life," said Tim McIlrath of Rise Against. Danny Wimmer, founder of Danny Wimmer Presents added, "I'm excited to have Prophets of Rage close out the festival. After seeing them in a small setting in LA, I couldn't wait to get them added to our festivals this fall. Tom, Tim, and Brad from Rage Against The Machine, along with Chuck D and DJ Lord from Public Enemy and B-Real of Cypress Hill, playing the hits that made Rage one of the most iconic bands in history is a special thing to see. Adding that along with Ozzy Osbourne, Incubus, Rob Zombie, Five Finger Death Punch, Rise Against, Stone Sour…how could you miss this lineup? And after an incredible run with Gojira this spring I can't wait for them to come to Louder Than Life as well. I'm beyond excited for this year's festival. It's a can't miss experience." Single day and weekend tickets for Louder Than Life will be available at STARTING on Friday, June 2 at Noon EDT. Tickets and VIP packages start at the following prices. Fans are encouraged to buy early and save, as ticket prices will increase in the coming weeks. Weekend General Admission: $99.50 Weekend VIP: $259.50 Single Day GA: $69.50 Single Day VIP: $144.50 A limited number of GA ticket 4-packs and Zippo VIP 2-packs, as well as camping packages, will also be available starting June 2. Discounted online hotel rates will be available through Curadora. General Admission ticket discounts will also be available for active military through Louder Than Life partner GovX. VIP tickets include: VIP entrance lanes into venue; VIP lounge area featuring dedicated bar, beverage and food options; VIP-only viewing area of Main Stage featuring grandstand bleachers; private, upgraded restroom facilities; and VIP-only commemorative laminate. All Louder Than Life camping passes include campsite space for 3 nights as well as access to campground bathrooms, showers, food and beverage concession stands, and a general store. Campers also have in and out privileges between the campground and festival grounds throughout the event. Car (tent) camping passes are $99.00 and RV camping passes are $175.00. Also, Louder Than Life is presenting an official aftershow event with Pierce The Veil on September 30 at Mercury Ballroom (611 S. 4th St., Louisville, KY 40202). Tickets to the aftershow event will be available for purchase starting Friday, June 2 at Noon ET. This is a separate event; a Louder Than Life ticket does not grant entry into this official LTL aftershow event. Here are the preliminary lists of Louder Than Life bourbon, craft beer, spirits and food partners: Bourbon World presented by the Louisville Courier-Journal: Featuring the world's TOP bourbons including Angel's Envy, Basil Hayden's, Benchmark, Buffalo Trace, Bulleit, Eagle Rare, Evan Williams, Four Roses, Jim Beam, Knob Creek, Maker's Mark, Michter's, Old Forester, Larceny, Town Branch, Wild Turkey, Woodford Reserve and more!

Whiskey & Other Beverages:

El Jimador Tequila, Jack Daniel's, Monster Energy, Miller Lite, Southern Comfort

Craft Beer (Regional) & Artist Inspired Beverages:

Alltech Lexington, Falls City Beer, Goodwood Brewing Company, Motörhead Shiraz, New Albanian Brewing Company, TROOPER Beer, West Sixth, Caduceus Cellars and Merkin Vineyards

Food Village:

Boss Hog BBQ, Cellar Door Chocolates, Doc Crow's, Gelato Gilberto, Gospel Bird, Hebros Kitchen, Hi-Five Doughnuts, Island Noodles, Joelle's Hot Chicken, Mike's Kentucky Kitchen, Merle's Whiskey Kitchen, Momma's BBQ, Pie Baby, Sacrilicious, The Big Cheesy, Tumbleweed (serving Jack Daniel's inspired food items), Up In Smoke BBQ, and many more. Louder Than Life will also feature interactive music, food and beverage experiences including: • Artist autograph signings and beverage sampling at the Monster Energy Hospitality Rig • Jack Daniel's Experience • Zippo Encore Music Experience • FYE Fan Experience • Bourbon World presented by the Louisville Courier-Journal • The Music Experience • It's Miller Time VIP Lounge and Sports Bar • Heavy Tiki • The Big Easy Boil • Rock & Roll BBQ • Love & Fire (open flame cooking) • Dyin 2 Live / Fxck Cancer • and more to be announced in the coming months. Louder Than Life is produced by Danny Wimmer Presents, a producer of some of the biggest rock festivals in America, including Rock On The Range, Monster Energy AFTERSHOCK, Monster Energy Welcome To Rockville, Monster Energy Fort Rock, Monster Energy Carolina Rebellion, Chicago Open Air, Monster Energy Rock Allegiance, Northern Invasion, Houston Open Air, and more. Sponsors for Louder Than Life include Monster Energy, USMC, Fxck Cancer, FYE with Roadrunner Records, Razor & Tie, Century Media and Another Century, Jack Daniel's, El Jimador, and Zippo, with more to be announced.

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gaypasta · 7 years ago

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7th times the charm

Bill recounts his first seven kisses, it only took him that long before he found who he was looking for in a mess of curls and a kiss to his palm. Read on Ao3

I Beverly

Beverly was Bill’s first kiss. They were in third grade. The stage lights danced across Bill’s vision the same way that Bev’s fiery hair danced when she laughed - she laughed a lot. The entire school and his own parents were watching, his heart was in his throat as he stuttered out the lines. The words got caught in his throat, the lights were taunting him while the audience merged into a uniform sea look of pity and forced grins.

His Peter Pan costume was hanging off his shoulders - it was much too big. Even to this day, Bill still remembers the trailing of his pants along the floor, the conscious thoughts of the movement of his feet to avoid tripping. Anxious butterflies fluttered around his stomach in a way that Bill wouldn’t feel again for several years, the knot that built up in his throat and the quickening heartbeat were all signs and Bill knew.

He was in love.

He was in love with Beverly Marsh, the girl who sat two desks away from him. She bought him a Christmas card and wrote a smiley face in a glittery lilac pen. She twirled her hair and chewed her pencils, she came into school late and forgot her homework and she was perfect.

Bill, of course, wasn’t actually in love - we don’t have to let him know that.

This kiss - the ending scene - was the most important thing in little Bill’s life. To his parents, the teachers and over an ocean of faceless people, this was just a show. Oh no, but to Bill - he knew better - he knew this was going to be how he met his wife, they would get married on the playground, just like Robert McNeill and Kathy Gates.

He messed up his last line in anticipation of the kiss, and just then, with a soft smile and a flurry of freckles - Bill Denbrough had his first kiss.

Nerves, Faces, Freckles.

II Eddie

For the year after kissing a young eleven-year-old Eddie Kaspbrak, Bill would flush in embarrassment and change the subject as swiftly as possible. He was embarrassed, guilty and felt ever so moronic.

The locker room lights flickered, giving Bill a headache and almost sending him into a different changing room. However, the wheezes of a broken cough flickered even louder than the light to Bill - and Bill being Bill, he rushed into the showers in his muddy shoes and his lacrosse stick whipping the wall tiles like a drum.

Bill doesn’t remember much, he remembers Eddie curled up in the corner of the shower. He remembers that he was wheezing and tears were cascading down his face with the same pull as jumping off a cliff into an icy ocean. He remembers Eddie’s bright red, neatly ironed gym shorts and his pale legs quivering.

He was scared, his friend couldn’t breathe and he didn’t know what to do. He knew of Eddie’s aspirator, the medicine helped him breathe, but for some reason, it wasn’t working. Eddie kept shaking it furiously at Bill’s face - but Bill didn’t know what that meant. Eddie was crying, long raspy sobs that echoed against the greying ceramic tiles and the speckled white flooring. The dirt from the crevices of the tiles groaned under the pressure from Bill’s fingernails as Bill did all he could think to do in that moment of panic.

Bill did as he saw on the soap operas his Mother watched on TV and pressed his lips roughly against Eddie’s. Eddie stilled for a moment, before shoving Bill away - sending him sprawling into the shower stall opposite. Bill, in the moment, was unfazed and promptly returned to an even more flustered Eddie and soothed his back, rubbing it in gentle motions.

After the moment, however - Bill and Eddie were both mortified and made an unspoken agreement to never bring it up again. Except Eddie had told Richie, and for the year after, Bill stomach twisted in embarrassment and his face lit up the same colour as Eddie’s perfectly ironed gym shorts. For the remainder of the days that he remembered the kiss, however, Bill and Eddie would laugh.

Bill would laugh at how he truly believed the best way to cure a panic attack was a kiss. Eddie laughed at how Bill thought that Eddie would appreciate the exchange of germs. Everyone else laughed with them.

Panic, Comfort, Embarrassment.

III Ben

Bill never counted this as his third kiss. He hadn’t thought about it after the moment it happened - well that’s a lie, he thinks about it every time he has an oral presentation but the memory is nothing but fond. It doesn’t bring the nervous butterflies of his first, or the panic and mortification of his second. It makes him smile, makes him feel at ease and makes him feel like he can conquer the world (with the aid of his friends, of course).

It was spring of seventh grade - Bill remembers this because it was the last spring he attended the annual Derry carnival in May. It was the last spring he had before he would wake up with nightmares, or see yellow flashes of colour in the corner of his eye. Bill found it difficult to appreciate the newborn lambs and calves that roamed the fields West of Derry, but Ben tried his best to help everyone find the light again - and he appreciated Ben.

He appreciated Ben even more when Ben offered to be his partner for his oral presentation. Normally Bill would sit back and watch everyone’s eyes dart to him, before scrambling to find anyone else. But not Ben, never Ben. The presentation wasn’t more than three minutes long, but practising it took every chocolate-fuelled lunch period, every warm pink sky of the evening, every star-littered night, and even well into the ominous blanket of midnight.

Antiduh-duh-duh-duh-duh-duh-duh-

It’s okay Bill, try again.

Antiduh-duh-duh-duh-duh-duh-

It’s okay, I’m sure you’ll get it.

And get it Bill did. It took hours upon hours - Bill’s throat was raw from reading, he could feel the scratch in his throat and no amount of icy water would cure it. With every breath, his throat felt like it was on fire.

But, he did it. On the evening of Thursday, May 4th - Bill Denbrough spoke for one-point-five solid minutes, without a single stutter.

And that concludes our study on…. (breathe) …. Antidisestablishmentarianism

He remembers Ben cheering loudly, he remembers dropping his papers on the floor - because his teacher scolded him for crinkly papers the following day - he remembers an overwhelming rush of joy and, in the joy and triumph of it all, he grabbed Ben’s cheeks and landed a wet, firm kiss on his mouth.

Ben laughed and cheered, not even doubting Bill’s impulse for a moment, and standing there, in his cluttered bedroom at eight twenty-four in the evening, Bill would remember the burning of his throat as the fire of determination.

Triumph, Patience, Persistence.

IV Richie

Bill doesn’t remember the events which lead up to this kiss. He knows it involved lots of lukewarm beer and a bottle of Grey Goose vodka that Richie stole from his parents, Eddie had told him not to, because he was only turning sixteen - not twenty one. He remembers the start of the night, where all he smelled inside Stan’s house (his parents weren’t at home, he can’t quite recall why) was cigarette smoke and soft cotton. Richie was soon told off by Stan for smoking, Stan was cross, Bill remembers that. Then Richie kept giving Bill beer, and Bill had no reason to decline. Then Richie started shots, or a drinking game - Bill doesn’t remember.

He remembers a burning in his throat, but not the burn of triumph, a burn that stung like bleach and hurt so good that he couldn’t help himself to stop. The next thing he remembers is Richie’s mouth on his throat. They weren’t at Stan’s anymore - they were in a car. Stan’s car. He remembers the wet and heavy air, feeling like he was inhaling density itself.

There was a fire in his stomach and on his cheeks, and his mouth fought with Richie’s for what felt like hours. This kiss wasn’t innocent or a symbol of a youth, this kiss was wet and hot. Oh, so very hot. Bill could hardly breathe with Richie on his mouth, forcing his mouth open and licking up his tongue, back down, underneath his tongue, the roof of his mouth, behind his teeth - Bill doesn’t remember if he fought back or if he was too busy trying to claw through his drunken haze to deduce whether grinding back on Richie would be a good idea or not.

He concluded it felt too good to not be good. He remembers Richie’s hands exploring his body in a way he had never felt before, fingers tracing his chest and his back and rolling his nipples. Bill remembers liking that. Richie’s mouth doing dirty, painful things to his neck and leaving blisters of purple bruises from his earlobe to his collarbone. He found one on his inner thigh and he couldn’t remember if Richie had put it there or not.

He doesn’t remember taking off his pants, but he remembers Richie’s hands travelling down them - he doesn’t remember much of Richie. Bill reckons that he must’ve had his eyes closed most of the time. He remembers Richie saying dirty things that made him moan and whimper, he remembers begging and holding tightly onto Richie’s shirt when he comes.

It was there, in the back of Stan’s car, with Richie lying on top of him, grinding down on him and whispering dirty things into his ear with a breath of vodka, that Bill realized, only the next day, that he might not have been completely straight.

Blurriness, Heavy, Regret.

V Mike

Mike was the one Bill went to, not even a week after his heavy hour with Richie, for help. Help which Bill needed so desperately that he had cried, wept openly on the edge of the river, tears so heavy with confusion that Bill wished he would melt into the river and float away. Mike sat with him, not speaking, just staring off into the trees, waiting for Bill to be ready. Bill thought he might never be ready.

He was exaggerating, of course he would be ready, but much like how he had thought that kissing Beverly Marsh eight years ago would be the most important moment of his life, he truly believed that having an alcohol-fuelled moment with Richie Tozier would ruin his life.

It didn’t, of course - but Bill would not yet know this, so instead, he wept until his eyes hurt and his flannel shirt was covered in snot and tears. Mike’s shirt was too - but he didn’t mention it.

He wept, fearlessly - his words cried out of his mouth and spilt into the water and floated away as Mike sat and listened. Taking in every word, listening to Bill’s heavy stutter of concerns. Bill wept about wanting Richie in that car, the way boys weren’t meant to want their best friends. Bill wept about liking, no, loving the way Richie made him feel, and the horrible, dirty things he said, he cried about feeling dirty, feeling foolish for getting that drunk.

But above all else, Bill cried, in this cool winter’s afternoon - with the low sun casting long shadows of the squirrels scuttling up the trees, and the soft wind carrying songbirds’ poems down the river like a boat - about losing a friend. Losing a friend to testosterone and Grey Goose fuelled deviance.

Mike listened, squeezing Bill’s shoulders when he felt Bill’s shoulders begin to shake again. Mike’s firm hand on Bill’s shoulder made him feel grounded, like Mike was the weight that kept him from floating out of existence.

Mike had told him that his friendship with Richie would never be ruined, even after something as risque as what he had done. Bill disagreed, wanting the winter sun to go so low that it ate the world up in darkness. The flannel on his shirt made him feel like a bullseye - ten points to whatever tragedy in his life could make his world fall apart around him. Richie’s arrow of backseat handjobs had struck him in the heart, and Richie not picking up his phone for a week had been the final arrow to shatter him.

Mike tried to assure him, no, you’re our friend. Nothing like that could change that.

I don’t buh-buh believe that.

Mike’s arm fell from Bill’s shoulder and firmly found its place on Bill’s hand.

I can prove it, but you might not like it.

And before Bill even had a chance to dispute, Mike had leaned in, giving Bill the softest kiss his lips would probably ever feel. Mike thought that Bill might shatter under his lips, but he didn’t. Their lips slowly, carefully and almost anxiously moved against each other. The feeling of Mike’s lips grazing against his own felt like an angelic encounter, like his soul was lifted and his mind was dusted of his miserable thoughts.

The kiss eventually stopped, and Bill and Mike stared off into the orange ripples of the river, the sun casting it aglow like the book of revelations. Bill had his own revelation, that he and Richie would probably be fine, just like Bill and everyone else were fine.

Bill was right, he and Richie were back to normal not two days later. Bill and Mike were different, however, warmer and more peaceful with each other, as if the kiss that Mike had shared had transferred a part of their soul into each other, forever binding them in a blissful existence.

Connective, Blissful, Serene.

VI Stan

Bill would never forget his first (of many) kisses with Stan Uris. It was the first time he had forgot all about that dreadful summer in four years.

It was a long time coming, admittedly. It took neither of them by surprise. They were walking along the river, no real destination in sight. The moon was high in the sky, watching their fingers brushing together as they walked, bathing Stan’s soft features in a stream of moonlight.

This is how it had been for a couple of months, since Christmas - Bill and Stan took afternoon walks to the store together, then to the quarry, then along the river and slowly as the days went on, the sun got lower when they decided to slip on their walking shoes. Now, it was almost midnight. There was no feeling of dread, no whispers from behind their ears and definitely no flashes of yellow. It was just them, the way it had to be.

Bill could’ve kissed Stan by now, and Stan would’ve accepted it - kissed back. But it never felt like it was the right moment, and Stan felt like the most important thing in the universe, not like the Peter Pan play or like Richie’s vodka breath on his neck - but like once he had begun to look at Stan, really look - he couldn’t imagine a world without him. And if one were to exist, Bill most definitely would not want to be a part of it.

Stan wasn’t just his… lover? Boyfriend? Date? No, he was so much more than Bill, who had the highest grade in English in the forty years of records in his school, could put into words. There are over 170,000 words in the dictionary, and not one of the billions upon billions of configurations of those words could even begin to describe how important Stan was to Bill. That’s why Bill never gave Stan a nickname, all of them felt like they were insults in comparison to Stan.

The wind ruffled Stan’s hair in a way that he hated, but Bill adored. It made his curls bounce and twist around his face and fall into his eyes. Stan’s perfectly ironed white shirt almost glowed in the reflection of the river, Bill watched the ripples lap at Stan’s reflection, he could’ve stared at it all night if Stan would have let him. But alas, Stan marched onwards, looking back at Bill.

Follow me.

And Bill followed. Stan could have led him to the end of the Earth and back and Bill would walk, in his dirty converse, with him. Stan wrapped his hand around Bill’s, their fingers intertwining as easy as blinking, and they ran.

They ran and ran the whole way to the quarry, red-faced and puffing clouds of air into the cold night. Bill laughed at Stan’s grimace as he noticed a grass stain on his white shoes. Stan shoved Bill’s shoulder, and Bill couldn’t be happier.

So there they sat, overlooking the expanse of the water below them, holding hands and knocking feet softly against another.

Stan looked at him as though he were scared that if he didn’t look every couple of seconds, that Bill would disappear, every time he did, Bill would grin and Stan would look away, trying to hide a small smile.

It was then, when Stan brought Bill’s palm up to his mouth and gave it a gentle, but mindful kiss, that Bill knew.

I love you so fucking much.

Stan laughed, not mockingly - the laugh was warm - not warm like Mike or warm like the vodka or any of that - it was warm like Stan . It sounded so right and Stan muttered it back, with a smile present in his voice.

I love you too.

With the moon watching them, casting rays down to make Stan’s lips shine and his eyes sparkle with joy, Bill cupped Stan’s face, faintly feeling the scars under his skin, and kissed him there and then.

The same place they grew up, their go-to spot from when they were in third grade. In a way, it was almost like destiny, like this place was destined to be the centre of all Bill’s life. And Bill wouldn’t have changed it for the world.

Stan’s lips moved with his, softly and with care - but not because they were afraid one of them would break, but because they didn’t need to rush. They had no reason to be firm or fast or rough. That would come, of course, but not tonight. Not on this cold February night. Bill’s thumb softly stroked Stan’s cheek as Stan’s tongue grazed his lip, before retreating.

Stan’s tongue knocked against Bill’s lips half a dozen more times before Bill took the hint, letting Stan’s tongue enter his mouth. It wasn’t hot, heavy exploration - it was gentle, their tongues licking at each other - Bill could feel Stan smile into his mouth, it made him smile too. Their tongues retreated, and Bill gave Stan a chaste kiss, which made Stan grin.

Bill hadn’t seen Stan this happy in a long time. But now he was, right here, right now - and Bill supposes that’s all that matters. They stayed under the stars for a while longer, before retreating back home. Stan suggested Bill stay over - Bill agreed, they shared a knowing look. They didn’t want to be apart again, they’re in this together.

Bill lay, sleeping beside his… boyfriend. Yes, that sounds right this time. Wondering what he did to deserve such a wonderful boy to be his, wondering what he had done to let the moon and the stars bless him on this night. The answer, of course, was nothing. The moon, nor the stars had nothing to do with the two boys falling for each other. They were just a part of the lucky few who had fell in love with their best friend - and stayed that way.

Bill knew that with that kiss, he had sold his soul. He watched the gentle breathing motion of Stan’s chest as he slept and thought, I don’t think I want it back.

Home.

#ff #stenbrough #bichie #bill denbrough #bill/everyone #bill is a THOT #mine

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nikkifilm · 5 years ago

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#1 Pista ng Pelikulang Pilipino Entry: The Panti Sisters, dir. Jun Lana (2019)

I. Face Value or Surface Level Analysis

NICOLE: Looking at the film's face value, they've put extra effort on this, especially in terms of the props, costume, and makeup. 'Yun talaga pinakanagstand-out sakin sa buong movie eh. Just by looking at it, you'd know na hindi basta basta mga ginamit nilang props and costume; it's not cheap and it's been consistent throughout the movie. I also love how each of the character has their own distinct identity. Talagang may kanya-kanya silang personality at hindi lang 'yung gender identity nila ang nagdedefine noon. You can easily distinguish who is who despite them sharing one common ground. Technical and aesthetic wise, I adore the way the movie was color graded. The way they used vibrant colors yet visually pleasing strikes and generally makes the film more entertaining to watch. Masarap siya sa mata, kumbaga. It's not your typical gay comedy film, hindi lang siya puro punchline, talagang nandoon pa rin yung message na gustong iparating nung direktor.

PETER: At first, the film felt like your typical filipino slapstick comedy, with a side of stereotypical representations of how lgbt people are portrayed, but really shows that they're more than just looking pretty and more than just what society thinks they are, it shows how each sister cares for something in their life, and as characters develop mas nagkakaroon sila ng gaan ng loob sa isa't isa so dahil dun, they started to care for one another. Per character sa film, may kanya kanyang traits and you'd think na "ay malamang may di ako magugustuhan sa mga 'to" pero hindi eh, the more I watch, the more I get hooked, mas nagugustuhan mo sila, kasi per character well established ang origins, kahit na sa mabilisang paraan makikita mo yung pinagmulan nila and that kind of justified din kung bakit ganun kilos nila. Story wise, yung buong film in face value, for me, was your classic family problem themed movie but told in the eyes of 3 siblings who were separated by their parents' morals and beliefs. It tackles the struggle of acceptance in a family, in gender and in blood. All in all, masaya siya panoorin, even with those moments na merong sad parts, may heated arguments, napapalitan kaagad ng something good or something to make you laugh and it's a genius way of mixing laughter and drama.

II. Film Language

PETER: In a personal standpoint I do see the film residing with neorealism because of how the problems in the film can be seen in some parts of the country, for example, may mga mindsets din ang ibang mga kalalakihan na porket bakla o porket nagdadamit babae, mahina na. May representasyon din ng pang aabuso sa mga kababaihan. Speaking of mindsets, naeemphasize din yung toxic masculinity within the film, doon palang sa part ni Don Emilio, makikita na agad kung pano niya tratuhin ang mga anak at especially asawa niya and that really speaks for itself lalo na sa kultura ng bansa natin.

NICOLE: There's not much to point out on this part, at least for me kasi the entire film was more on narrative than style or technical. However, what I did notice is the way they break the fourth wall by directly speaking to the audience. It's as if they really are aware and they want to talk address the audience of what they want to say. In a way, it's a neorealism film because yes, it is set to be realistic in a way that it's what at least some of the LGBTQ+ community are struggling with family-wise, but at the same time it's modified in a subjective way, in a way that we all wish it would be in real life where they aren't simply tolerated or belittled but also truly accepted, not only within the family but also with the church. Personal belief and religion is still a huge factor that plays in the film. Nagkakaroon pa rin ng debate in the real life context, pero dito ipinapahiwatig 'yung side ng LGBT community patungkol sa kung ano ang gusto nilang iparating sa mga tao at sa simbahan. The way the characters narrate the film, especially in the last few parts spoke louder in terms of that. Kumbaga naging instrumento 'yung mga characters para sabihin sa mga manonood yung underlying message ng film which has been prominently asserted throughout the movie.

PETER: My partner tackled the story's fourth wall break which I agree with, maganda for me yung fourth wall breaking ng film dahil it doesn't do it just for the sake of having the 4th wall breaking element, it blends well into the story itself, subtle and in a way it's something never seen before (or atleast for my standard) it stands as being a narrator for the movie itself, hindi lang siya for a comedic purpose, although yes that is there but as a way to have a continuous flow that most audience can easily follow through or in a way a guide for us to understand what's going on during the film.

III. Social Relevance in the Philippines

NICOLE: First off, nakakatuwa lang na marami ang tumangkilik sa pelikulang ito, lalo na't kabilang pa sa Pista ng Pelikulang Pilipino. I think bihira lang na umabot ng mahigit isang buwan sa takilya 'yung mga local films, especially yung kabilang pa sa mga ganitong annual celebration ng local films o mga independent films. Like I said, this isn't your typical gay comedy film. Hindi lang puro comic relief yung LGBT characters in the film, at lalong hindi sila stereotyped into a single purpose. Hindi lamang ang sexual orientation o gender identity ang nagdedefine sa kanila as characters, may sarili talaga silang personality at identity. That being said, this film isn't the first yet has largely contributed to the gay films that have good representation of the LGBT community especially in the Philippine cinema. Not to mention na pang-masa ang audience nito, they really broke the convention of how LGBTQ+ people act within a comedy film. Hindi siya puro patawa lang at yung essence ng message niya doesn't stray away from the comedy factor of the film which is good considering its audience. It's a good turn in terms of mainstream films, na oo pang-masa siya, but its deeper context isn't. Given the current situation of the stance between the LGBTQ+ community, there's no denying that mas marami pa rin talagang ang mga religious who are not in favor of the LGBTQ+ community considering na composed pa rin talaga ng more than half of the population ang Catholics. This film, however, became an instrument to LGBTQ+ community, to be able to voice out what they're fighting for — 'yung maging pantay sa paningin ng mga tao at ng simbahan at mabigyan sila ng karapatan, 'di lang bilang miyembro ng LGBTQ+ community, kundi bilang tao rin. At ako, bilang parte rin ng community, I find it quite fascinating na nabibigyang pansin 'yung mga ganitong klaseng pelikula, especially since relevant siya sa issue natin ngayon on the SOGIE bill wherein marami ang hindi sumasangayon kesyo tanggap na raw naman ang LGBTQ+ community yet ayaw naman nila bigyan ng pantay na karapatan bilang mamamayan. Sana nga pinipiling tangkilikin ang mga ganitong klaseng pelikula di lamang dahil pag sinabing “gay” film, alam nilang good vibes at puro katatawanan kundi dahil sinusuportahan talaga nila yung LGBTQ+ community. Regardless naman of whatever belief or values they have, this film can help address the bigger picture with the underlying issue and hopefully the Philippine cinema would push through these kind of mainstream (indie) films.

PETER: As mentioned earlier din, the film breaks the normal thought of an ordinary Filipino sa mga bagay-bagay at ibang social issues, and for me eto yung naging defining factor ng film, saying na hindi porket eto ang nakasanayang kaisipan ay eto dapat lagi ang tingin niyo sa gender na 'to o sa ganitong klaseng pamilya. Nagbabago ang panahon pati na ang mga tao. With this in mind, it applies din with other stereotypical views that the film offers and binabasag nito yung normal na pag-iisip ng masa. As a Filipino living in the current generation, mas napapansin ko na may ibang tao parin na gustong ipilit kung ano yung nakasanayan or yung tradisyon, especially sa religion, in regards to LGBTQ community, hindi sila tanggap or they are seen only as the sinners. Again the film breaks this thought saying na hindi porket dalawang kasarian lang ang unang nilikha sa mundo, hindi ka na nakikita ng panginoon pag part ka ng LGBTQ. It explains na you are seen so long as you believe in the religion (specifically in Roman Catholic) and I do see it as the film sending a mesage to people or to members of the church even, to try and accept them more and to see them as people as well, not just as sinners. Speaking of the church, in the film, discrimination also takes its place here as well, although not implied but it leaves a big impact to those who noticed, sa film, yung boyfriend ng isa sa mga magkakapatid said na wala namang bisa ang kasal nila dito sa Pilipinas and Daniel (isa sa mga magkakapatid) said na hindi importante ang bisa, mas importante ang seremonyas. I do see this as one of the film’s highlights because it is subtle but it leaves the audience with something to think about.

IV. Opinion and Remarks

NICOLE: Personally, I liked the part in the hospital where Chiqui had her miscarriage, because it's where Samuel realized na hindi naman talaga mahalaga 'yung mana na makukuha mula kay Don Emilio, at mas pinahalagahan niya yung morale niya, yung pagiging makatao. Doon din kasi nagstart din na marealize nila Gabbi at Daniel na 'di rin na mahalaga 'yung pera na makukuha kapalit ng hiling ni Don Emilio dahil produkto lamang ng pangangailangan ang batang dinadala ni Chiqui at hindi pagmamahal. Gusto ko na nagkaroon ng development in a way you'd expect na someone would finally inherit the money but they all had that realization na ang mas mahalaga pa rin ay totoo ka sa sarili mo at wala kang ibang tinatapakang tao. From that moment on, kita mo talaga yung pagprogress ng development nila individually and then as siblings or sisters. I also love the ending, kahit na it felt a bit rushed. The scene where Don Emilio had a change of heart since Daniel's death and confronted his two daughters about him not being accepting of them and Gabbi saying that they forgive him. The wedding scene of Gabbi and Kat was more than powerful to me, although it may seem a bit controversial to others, I love how they implied that marriage has nothing to do with your sexual orientation and gender identity and should be with someone you truly love and whom you see yourself living and growing with. Although what I didn't like was that a few of the dialogues felt forced, especially the punchlines. But I do commend that the jokes made aren't offensive and also funny, I just find some of the lines unnecessary, especially at times where the scene is either heavy or serious. Another one was Daniel's death was unnecessary to me in a way that it felt like there was more to her character than what we saw on screen. Although the characters did progress from the moment she died and it definitely made the message they wanted to address more powerful. Maybe it all felt so fast and sudden that it became as a shock to me as an audience. Regardless, it there was still enough closure to lift back the atmosphere of the entire movie.

PETER: Personally for me, the film itself was the whole deal, every scene was made with purpose,but one of the scenes that I loved the most was at the ending parts where they met up again (spoiler) near Daniel’s grave, the remaining family members sees each other with much tension while the father apologizes for everything he did and for mistreating his children, he finally accepted who they really are, for what they are, nakita ko sa scene na yun yung isang despite sa mga pinagdaanan, handa parin magpatawad sa isa’t isa, yung acceptance of both sides is what got to me kasi it is hard for a person to accept someone especially if that someone or group of people go against your morals and what you believe in and at the same time it is hard to accept a person that put you through hard times and not knowing what your worth is and only looks at you from face value. It actually shows how we are as Filipinos as well, despite through the troubles, we see to it that we make amends to our family members who we hurt or who hurt us (so long as they apologize) kasi at the end of the day, pamilya parin sila.

V. Conclusion

NICOLE: I love the film, in a way that I would watch it again and recommend it to other people. It didn't only represent the community well but have also empowered it through the messages they delivered within the movie. Sobrang meaningful and at the same time, sobrang feel-good family movie siya. It tackled the toxicity and the conflicts within a family, especially those of the LGBTQ+ community na kung saan pinaparusahan sila kapag nahuhuling nagpapaka-“bakla”. However, napakinggan naman both sides which was also a plus point to me, na kung saan the father, who is an epitome of toxic masculinity only wanted to protect them from judgment. Although it seemed ironic kasi he resorted before to abuse, it was a good shot for me kasi in the end, he realized his mistakes and is apologetic of his bigotry. With all that happening in one movie just feels good and hopefully it would pave the way para mas maging mulat ang masa pag dating sa pagkilala ng LGBTQ+ community 'di lang bilang comic relief kundi bilang tao rin.

PETER: In conclusion, the overall film was something to think about, the film itself progressed in such a way that you kept on wanting more to the story, and it actually gave you more, hindi lang siya yung normal slapstick comedy or feel good movie, at first, you’d think that the movie won’t have any sense of seriousness when it comes to portraying the social issues it presented, it looked as some film that would just be about its characters, it was quite an experience to actually look at these issues in this kind of light, a modern take on problems that seem to stick. It did a great job of elaborating on its characters, hindi mo makikitaan ng butas yung backstory na pinapakita sa film, kahit with the short amount of time, it still gave the viewers the idea of who these people are and what role they play in the story, kahit nga yung supporting actors malaki ang part to move the story forward. It’s cinematography was simple yet effective, nothing mind blowing and wala masyadong magarbong transitions. It did a great enough job to set the scenes and what messages it wants to portray. Aside from these, the film represents great morals as well, I think the film was effective with this because, again it does look like a typical slapstick comedy, it suddenly changes its appearance as it paces through the story, it’s sudden dramatic scenes and tense atmosphere will get you at times, especially when the story needs to.

VI. Recommendation

NICOLE: Ang sa akin lang naman, sana hindi nila masyadong pinagsiksikan sa bandang huli yung development ng characters. Mas maganda siguro na may nakikita kang gradual improvement throughout the movie, para hindi rin siya overwhelming pag dating sa dulo. Another one is that masyadong direct yung mensahe na gusto nilang iparating, although I get it naman na masa ang audience at gusto rin nilang makasiguro na hindi mamimisinterpret yung message ng film. I guess to me masyado lang maingay yung movie in a way na madalas through dialog ang means of telling the message of the film and I hoped na maybe they thought of another way to express that without letting the characters do all the talking. Moreover, it was an overall excellent film na despite comedies being stereotyped with narrow plots, this movie went the extra mile.

#2 Cinemalaya Entry: Pandanggo sa Hukay, dir. Sheryl Rose Andes (2019)

I. Face Value or Surface Level Analysis

PETER: Pandanggo sa Hukay at face value seems to create somewhat of a mysterious atmosphere, from its settings the film indicates poverty and struggle, the color grading for the film creates a dark and dead toned ambiance that suits the theme and story of the film. The scores in the film did help in creating the desired feel or vibe in each scene, whether it's a fast paced action scene or a suspenseful one it helps invoke the audience in a certain way.

NICOLE: The film is about a mother's love, especially to the single mothers, where in it implies how they sacrifice and strive to give the best life they can to their children. It takes a different perspective on mother-love, as it is a crime, suspense film. The characters on this one are naturally realistic, especially Iza's character, Elena. She's a very simple mother with also a simple lifestyle who works as a midwide in Cavite and is seeking to work abroad in Saudi in order to have more income enough to be able to support her son, EJ. Technical wise, the setting feels realistic and you'd really feel for it in a way that you think you are in the film. It's as if you're not watching a film but rather in the actual point of view of Elena. What's more is that, the long pauses or intervals in the film, watching Elena either do the chores or her doing her daily routine. They're simple and have no underlying meaning but it speaks to the audience to some extent. Narrative wise, the storytelling in the movie was slow-paced, I have to be honest with that. Though the ending really did seem pretty much like a cliffhanger in a way that I was expecting something where everything gets resolved and perhaps we might even see her finally work in Saudi or at least get to see EJ, but none of that where shown anymore. It's more of an open-ended ending, but I do think that I get what the director was trying to tell on this one.

II. Film Language

NICOLE: This felt more of a formalism film, yet of course, it is neorealism as it's always a modified take on reality. It's alarming, and the suspense in the movie doesn't just take place within the screen but also in real life, how possible it can happen to anyone and you wouldn't even know. Films that make you feel like that are what really builds up the suspense factor, especially considering how the crimes shown in the film are really prominent in the Philippine setting. The dialogues of the film at least seemed all realistic like it wasn't even gotten from a script. It all seemed so natural and that's what's traumatizing. I love the camera movements in the film and the use of the angles that depict whether something may be happening or something is important. Especially in terms of the sound design. You know how they want to subtly imply what they want to push through in the movie when a certain dialogue or sound effect is being emphasized or prolonged. This applies to the scenes or cuts where it's either long or prolonged. I haven't observed as to what film theory it may be with this film, but it is heavily influenced or implied that it has something to do with POV or Point of View Theory, as the character may reflect as to what the director want to tell the audience.

PETER: The characters in the film was well utilized as well, it have the main character life in a way the audience know how her personality affect her decisions and how these decisions affect the story. The etibak gang in the film were the ones who further determined how far Elena would go in order to survive for her son, naipakita dito kung agno din kabilis mag isip ang bida, with one wise move, she outsmarted the bandits by making one of them kill the remaining three. I think that the story was written in a simple way, and just in the right complexity in order for most people to understand what was going on in a fly rather than just making it hard for them to process it. Each goal for the characters were so different but each of their needs were too convenient, not easy to get to, but conveniently placed and it felt a bit rushed.

III. Social Relevance in the Philippines

PETER: Pandanggo sa hukay was filled with social issues, some were said in subtle ways and some were explicitly told through scenes, and dialogues. One of the issues tackled was about being a single mother and how hard it is to be one as the main protagonist goes through different struggles and sacrifices in order to provide for her child. The sacrifice of a single mother is more than two parents as she's the only one providing for the child's needs. The film elaborates on this in a deeper level as the mother undergoes into a series of unfortunate events. It also tackles another issue regarding the pay of laborers in the country and how unfair it is to get less of what you worked for, filipinos tend to work abroad as the pay there would be higher but would be in a lower position compared here in the Philippines. It was implied sa film na gusto lumipat ng bida sa ibang bansa dahil mas malaki ang kita kahit assistant lang ang magiging posisyon nito. The film also elaborated on the poor justice system in the country, it showed how slow the police are in terms of catching the crooks.

NICOLE: I would say that this has changed the game in the Philippine cinema crew wise, as they did have an all-female crew in the making of this film. That alone is something that I wish could be applied to all the films that have the same theme, plot, or set of characters, especially since the cinema in general consists mostly of men. Representation matters most, and through these, you as a viewer are able to comprehend the film more. There have been prominent social and moral ills that have been shown in this film that is occuring in the real Philippine setting. It had tackled about the single parenthood, where there is this unspoken thing that mothers, regardless if they are being supported by the father of the child or their family, their initial response is to do everything it takes to give their child a better life. No matter what the status in life is, there's that drive within mothers that nothing can be able to hinder their love for their child, even if that means sacrificing their lives for it. It also implied how underpaid our local laborers are, regardless of what position you are in or what kind of job you are working for. It depicts the the Filipino mindset of how we aim to work hard only to be successful in another country. It's sad, but also very alarming as it is still prominent in the real life society yet no underlying solution. Lastly, is the poor justice system. It wasn't directly implied but it can be seen through subtle ways, like the news being shown on the televisions in the movie. The prominent news on crime depicts how everyday there are endless crimes yet little justice for the victims who have suffered. Another is when it has been particularly implied in the news about how many victims of the EJK have died since President Duterte.

IV. Opinion and Remarks

PETER: The expectations I had was on par from what was happening in the film, it was satisfying but in the story’s case, it was dark and it was a little too much at first, but helps keep the movie’s flow and in a way it developed the character, making her stronger. In a way pandanggo sa ilaw was straightforward, but how the film presents its story and issues was clear enough and it wasn't hesitant to show what it needs to show. The film itself was actually straight forward although you wouldn't know what the film is about at first or going into it with an open mind. In my opinion the film was slow paced, it was at times hard not to doze off or turn your attention into something else inside the theater. The film’s closure was a bit lacking and even if the filmmaker’s intention was to leave the audience with a cliffhanger, it felt as if they were, again rushing although Maganda yung pagkakalatag ng storya all the way to the end in a way na tumatatak talaga siya sayo, all emotions I felt sticked to me even after an hour after watching it, mabigat siya and it really shows na effective ang story sa gustong iparating ng writer at director.

NICOLE: There's not much to point out on the parts where I disliked any of the scenes. Perhaps what I did dislike in general is the pacing. I liked the way the storytelling was executed throughout the film, though. It's simple, vague, yet it's enough for you to be able to understand what the deeper context is in the movie. But going back to the pacing of the movie, it was really quite short or at least felt like it as it was happening slow. I kept on waiting for whatever conflict that was implied to all have its resolution and closure, like if she got the work she's been applying for, if she ever get to reunite with her son, or if she get the justice for what happened to her. I thought it lacked a lot of resolution with all the plots, characters, and conflicts that they have introduced. From the moment that she was introduced, the town she lived in, her son, her friends and co-workers, her job, the clinic she works at, and her boss. I think they kind of dwelled too much on that that I think the conflict or climax where she gets hostaged by the Etibak Gang felt rushed and all so short up to the moment she got back home.

V. Conclusion

NICOLE: I both liked and disliked the film. As mentioned, I liked the portrayal of the social and moral ills, along with the realistic approach towards its representation. I also liked the message they want to tell the audience, and how they took a different perspective on single mothers. The delivery of the dialogue, acting, and the overall concept of the movie is also commendable. It's all natural, and less staged. I also love it in a way that the characters are really alive. Each one of them are unique, regardless if they're the main or supporting character only. It's one thing that I have noticed throughout the film and also why I truly admire the film. Not only that, but also each of the character has their own story and personality, which makes all of them memorable. The reason why I dislike it is only in terms of, again, the way they paced the film. Moreover, it's all good and still a great local film in general. It's not stereotypical or cliche. It's also a unique choice of what profession they wanted to show the audience. Lastly, it's also unconventional, yet something very relatable and relevant regardless of what you are and where you live.

VI. Recommendation

NICOLE: There's nothing much as to what I would like to recommend to the filmmakers, besides the pacing and resolution part. I wished they prolonged it in order to have closure, especially considering how heavy the conflict was. Although if it was intentionally that way, perhaps I would better understand. Regardless, I have nothing to complain about the ending and the plot. It's just how I wished it happened, but then again not all films are close-ended and have a bright or happy ending.

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fedjiebenitez-blog · 5 years ago

Text

Finals Essay

Finals Video Essay

#1 Pista ng Pelikulang Pilipino Entry: The Panti Sisters, dir. Jun Lana (2019)

I. Face Value or Surface Level Analysis

NICOLE: Looking at the film’s face value, they’ve put extra effort on this, especially in terms of the props, costume, and makeup. ‘Yun talaga pinakanagstand-out sakin sa buong movie eh. Just by looking at it, you’d know na hindi basta basta mga ginamit nilang props and costume; it’s not cheap and it’s been consistent throughout the movie. I also love how each of the character has their own distinct identity. Talagang may kanya-kanya silang personality at hindi lang 'yung gender identity nila ang nagdedefine noon. You can easily distinguish who is who despite them sharing one common ground. Technical and aesthetic wise, I adore the way the movie was color graded. The way they used vibrant colors yet visually pleasing strikes and generally makes the film more entertaining to watch. Masarap siya sa mata, kumbaga. It’s not your typical gay comedy film, hindi lang siya puro punchline, talagang nandoon pa rin yung message na gustong iparating nung direktor.

PETER: At first, the film felt like your typical filipino slapstick comedy, with a side of stereotypical representations of how lgbt people are portrayed, but really shows that they’re more than just looking pretty and more than just what society thinks they are, it shows how each sister cares for something in their life, and as characters develop mas nagkakaroon sila ng gaan ng loob sa isa’t isa so dahil dun, they started to care for one another. Per character sa film, may kanya kanyang traits and you’d think na “ay malamang may di ako magugustuhan sa mga 'to” pero hindi eh, the more I watch, the more I get hooked, mas nagugustuhan mo sila, kasi per character well established ang origins, kahit na sa mabilisang paraan makikita mo yung pinagmulan nila and that kind of justified din kung bakit ganun kilos nila. Story wise, yung buong film in face value, for me, was your classic family problem themed movie but told in the eyes of 3 siblings who were separated by their parents’ morals and beliefs. It tackles the struggle of acceptance in a family, in gender and in blood. All in all, masaya siya panoorin, even with those moments na merong sad parts, may heated arguments, napapalitan kaagad ng something good or something to make you laugh and it’s a genius way of mixing laughter and drama.

II. Film Language

NICOLE: There’s not much to point out on this part, at least for me kasi the entire film was more on narrative than style or technical. However, what I did notice is the way they break the fourth wall by directly speaking to the audience. It’s as if they really are aware and they want to talk address the audience of what they want to say. In a way, it’s a neorealism film because yes, it is set to be realistic in a way that it’s what at least some of the LGBTQ+ community are struggling with family-wise, but at the same time it’s modified in a subjective way, in a way that we all wish it would be in real life where they aren’t simply tolerated or belittled but also truly accepted, not only within the family but also with the church. Personal belief and religion is still a huge factor that plays in the film. Nagkakaroon pa rin ng debate in the real life context, pero dito ipinapahiwatig 'yung side ng LGBT community patungkol sa kung ano ang gusto nilang iparating sa mga tao at sa simbahan. The way the characters narrate the film, especially in the last few parts spoke louder in terms of that. Kumbaga naging instrumento 'yung mga characters para sabihin sa mga manonood yung underlying message ng film which has been prominently asserted throughout the movie.

PETER: My partner tackled the story’s fourth wall break which I agree with, maganda for me yung fourth wall breaking ng film dahil it doesn’t do it just for the sake of having the 4th wall breaking element, it blends well into the story itself, subtle and in a way it’s something never seen before (or atleast for my standard) it stands as being a narrator for the movie itself, hindi lang siya for a comedic purpose, although yes that is there but as a way to have a continuous flow that most audience can easily follow through or in a way a guide for us to understand what’s going on during the film.

III. Social Relevance in the Philippines

NICOLE: First off, nakakatuwa lang na marami ang tumangkilik sa pelikulang ito, lalo na’t kabilang pa sa Pista ng Pelikulang Pilipino. I think bihira lang na umabot ng mahigit isang buwan sa takilya 'yung mga local films, especially yung kabilang pa sa mga ganitong annual celebration ng local films o mga independent films. Like I said, this isn’t your typical gay comedy film. Hindi lang puro comic relief yung LGBT characters in the film, at lalong hindi sila stereotyped into a single purpose. Hindi lamang ang sexual orientation o gender identity ang nagdedefine sa kanila as characters, may sarili talaga silang personality at identity. That being said, this film isn’t the first yet has largely contributed to the gay films that have good representation of the LGBT community especially in the Philippine cinema. Not to mention na pang-masa ang audience nito, they really broke the convention of how LGBTQ+ people act within a comedy film. Hindi siya puro patawa lang at yung essence ng message niya doesn’t stray away from the comedy factor of the film which is good considering its audience. It’s a good turn in terms of mainstream films, na oo pang-masa siya, but its deeper context isn’t. Given the current situation of the stance between the LGBTQ+ community, there’s no denying that mas marami pa rin talagang ang mga religious who are not in favor of the LGBTQ+ community considering na composed pa rin talaga ng more than half of the population ang Catholics. This film, however, became an instrument to LGBTQ+ community, to be able to voice out what they’re fighting for — 'yung maging pantay sa paningin ng mga tao at ng simbahan at mabigyan sila ng karapatan, 'di lang bilang miyembro ng LGBTQ+ community, kundi bilang tao rin. At ako, bilang parte rin ng community, I find it quite fascinating na nabibigyang pansin 'yung mga ganitong klaseng pelikula, especially since relevant siya sa issue natin ngayon on the SOGIE bill wherein marami ang hindi sumasangayon kesyo tanggap na raw naman ang LGBTQ+ community yet ayaw naman nila bigyan ng pantay na karapatan bilang mamamayan. Sana nga pinipiling tangkilikin ang mga ganitong klaseng pelikula di lamang dahil pag sinabing “gay” film, alam nilang good vibes at puro katatawanan kundi dahil sinusuportahan talaga nila yung LGBTQ+ community. Regardless naman of whatever belief or values they have, this film can help address the bigger picture with the underlying issue and hopefully the Philippine cinema would push through these kind of mainstream (indie) films.

IV. Opinion and Remarks

NICOLE: Personally, I liked the part in the hospital where Chiqui had her miscarriage, because it’s where Samuel realized na hindi naman talaga mahalaga 'yung mana na makukuha mula kay Don Emilio, at mas pinahalagahan niya yung morale niya, yung pagiging makatao. Doon din kasi nagstart din na marealize nila Gabbi at Daniel na 'di rin na mahalaga 'yung pera na makukuha kapalit ng hiling ni Don Emilio dahil produkto lamang ng pangangailangan ang batang dinadala ni Chiqui at hindi pagmamahal. Gusto ko na nagkaroon ng development in a way you’d expect na someone would finally inherit the money but they all had that realization na ang mas mahalaga pa rin ay totoo ka sa sarili mo at wala kang ibang tinatapakang tao. From that moment on, kita mo talaga yung pagprogress ng development nila individually and then as siblings or sisters. I also love the ending, kahit na it felt a bit rushed. The scene where Don Emilio had a change of heart since Daniel’s death and confronted his two daughters about him not being accepting of them and Gabbi saying that they forgive him. The wedding scene of Gabbi and Kat was more than powerful to me, although it may seem a bit controversial to others, I love how they implied that marriage has nothing to do with your sexual orientation and gender identity and should be with someone you truly love and whom you see yourself living and growing with. Although what I didn’t like was that a few of the dialogues felt forced, especially the punchlines. But I do commend that the jokes made aren’t offensive and also funny, I just find some of the lines unnecessary, especially at times where the scene is either heavy or serious. Another one was Daniel’s death was unnecessary to me in a way that it felt like there was more to her character than what we saw on screen. Although the characters did progress from the moment she died and it definitely made the message they wanted to address more powerful. Maybe it all felt so fast and sudden that it became as a shock to me as an audience. Regardless, it there was still enough closure to lift back the atmosphere of the entire movie.

V. Conclusion

NICOLE: I love the film, in a way that I would watch it again and recommend it to other people. It didn’t only represent the community well but have also empowered it through the messages they delivered within the movie. Sobrang meaningful and at the same time, sobrang feel-good family movie siya. It tackled the toxicity and the conflicts within a family, especially those of the LGBTQ+ community na kung saan pinaparusahan sila kapag nahuhuling nagpapaka-“bakla”. However, napakinggan naman both sides which was also a plus point to me, na kung saan the father, who is an epitome of toxic masculinity only wanted to protect them from judgment. Although it seemed ironic kasi he resorted before to abuse, it was a good shot for me kasi in the end, he realized his mistakes and is apologetic of his bigotry. With all that happening in one movie just feels good and hopefully it would pave the way para mas maging mulat ang masa pag dating sa pagkilala ng LGBTQ+ community 'di lang bilang comic relief kundi bilang tao rin.

VI. Recommendation

#2 Cinemalaya Entry: Pandanggo sa Hukay, dir. Sheryl Rose Andes (2019)

I. Face Value or Surface Level Analysis

PETER: Pandanggo sa Hukay at face value seems to create somewhat of a mysterious atmosphere, from its settings the film indicates poverty and struggle, the color grading for the film creates a dark and dead toned ambiance that suits the theme and story of the film. The scores in the film did help in creating the desired feel or vibe in each scene, whether it’s a fast paced action scene or a suspenseful one it helps invoke the audience in a certain way.

NICOLE: The film is about a mother’s love, especially to the single mothers, where in it implies how they sacrifice and strive to give the best life they can to their children. It takes a different perspective on mother-love, as it is a crime, suspense film. The characters on this one are naturally realistic, especially Iza’s character, Elena. She’s a very simple mother with also a simple lifestyle who works as a midwide in Cavite and is seeking to work abroad in Saudi in order to have more income enough to be able to support her son, EJ. Technical wise, the setting feels realistic and you’d really feel for it in a way that you think you are in the film. It’s as if you’re not watching a film but rather in the actual point of view of Elena. What’s more is that, the long pauses or intervals in the film, watching Elena either do the chores or her doing her daily routine. They’re simple and have no underlying meaning but it speaks to the audience to some extent. Narrative wise, the storytelling in the movie was slow-paced, I have to be honest with that. Though the ending really did seem pretty much like a cliffhanger in a way that I was expecting something where everything gets resolved and perhaps we might even see her finally work in Saudi or at least get to see EJ, but none of that where shown anymore. It’s more of an open-ended ending, but I do think that I get what the director was trying to tell on this one.

II. Film Language

NICOLE: This felt more of a formalism film, yet of course, it is neorealism as it’s always a modified take on reality. It’s alarming, and the suspense in the movie doesn’t just take place within the screen but also in real life, how possible it can happen to anyone and you wouldn’t even know. Films that make you feel like that are what really builds up the suspense factor, especially considering how the crimes shown in the film are really prominent in the Philippine setting. The dialogues of the film at least seemed all realistic like it wasn’t even gotten from a script. It all seemed so natural and that’s what’s traumatizing. I love the camera movements in the film and the use of the angles that depict whether something may be happening or something is important. Especially in terms of the sound design. You know how they want to subtly imply what they want to push through in the movie when a certain dialogue or sound effect is being emphasized or prolonged. This applies to the scenes or cuts where it’s either long or prolonged. I haven’t observed as to what film theory it may be with this film, but it is heavily influenced or implied that it has something to do with POV or Point of View Theory, as the character may reflect as to what the director want to tell the audience.

III. Social Relevance in the Philippines

PETER: Pandanggo sa hukay was filled with social issues, some were said in subtle ways and some were explicitly told through scenes, and dialogues. One of the issues tackled was about being a single mother and how hard it is to be one as the main protagonist goes through different struggles and sacrifices in order to provide for her child. The sacrifice of a single mother is more than two parents as she’s the only one providing for the child’s needs. The film elaborates on this in a deeper level as the mother undergoes into a series of unfortunate events. It also tackles another issue regarding the pay of laborers in the country and how unfair it is to get less of what you worked for, filipinos tend to work abroad as the pay there would be higher but would be in a lower position compared here in the Philippines. It was implied sa film na gusto lumipat ng bida sa ibang bansa dahil mas malaki ang kita kahit assistant lang ang magiging posisyon nito. The film also elaborated on the poor justice system in the country, it showed how slow the police are in terms of catching the crooks.

NICOLE: I would say that this has changed the game in the Philippine cinema crew wise, as they did have an all-female crew in the making of this film. That alone is something that I wish could be applied to all the films that have the same theme, plot, or set of characters, especially since the cinema in general consists mostly of men. Representation matters most, and through these, you as a viewer are able to comprehend the film more. There have been prominent social and moral ills that have been shown in this film that is occuring in the real Philippine setting. It had tackled about the single parenthood, where there is this unspoken thing that mothers, regardless if they are being supported by the father of the child or their family, their initial response is to do everything it takes to give their child a better life. No matter what the status in life is, there’s that drive within mothers that nothing can be able to hinder their love for their child, even if that means sacrificing their lives for it. It also implied how underpaid our local laborers are, regardless of what position you are in or what kind of job you are working for. It depicts the the Filipino mindset of how we aim to work hard only to be successful in another country. It’s sad, but also very alarming as it is still prominent in the real life society yet no underlying solution. Lastly, is the poor justice system. It wasn’t directly implied but it can be seen through subtle ways, like the news being shown on the televisions in the movie. The prominent news on crime depicts how everyday there are endless crimes yet little justice for the victims who have suffered. Another is when it has been particularly implied in the news about how many victims of the EJK have died since President Duterte.

IV. Opinion and Remarks

PETER: The expectations I had was on par from what was happening in the film, it was satisfying but in the story’s case, it was dark and it was a little too much at first, but helps keep the movie’s flow and in a way it developed the character, making her stronger. In a way pandanggo sa ilaw was straightforward, but how the film presents its story and issues was clear enough and it wasn’t hesitant to show what it needs to show. The film itself was actually straight forward although you wouldn’t know what the film is about at first or going into it with an open mind. In my opinion the film was slow paced, it was at times hard not to doze off or turn your attention into something else inside the theater. The film’s closure was a bit lacking and even if the filmmaker’s intention was to leave the audience with a cliffhanger, it felt as if they were, again rushing although Maganda yung pagkakalatag ng storya all the way to the end in a way na tumatatak talaga siya sayo, all emotions I felt sticked to me even after an hour after watching it, mabigat siya and it really shows na effective ang story sa gustong iparating ng writer at director.

NICOLE: There’s not much to point out on the parts where I disliked any of the scenes. Perhaps what I did dislike in general is the pacing. I liked the way the storytelling was executed throughout the film, though. It’s simple, vague, yet it’s enough for you to be able to understand what the deeper context is in the movie. But going back to the pacing of the movie, it was really quite short or at least felt like it as it was happening slow. I kept on waiting for whatever conflict that was implied to all have its resolution and closure, like if she got the work she’s been applying for, if she ever get to reunite with her son, or if she get the justice for what happened to her. I thought it lacked a lot of resolution with all the plots, characters, and conflicts that they have introduced. From the moment that she was introduced, the town she lived in, her son, her friends and co-workers, her job, the clinic she works at, and her boss. I think they kind of dwelled too much on that that I think the conflict or climax where she gets hostaged by the Etibak Gang felt rushed and all so short up to the moment she got back home.

V. Conclusion

NICOLE: I both liked and disliked the film. As mentioned, I liked the portrayal of the social and moral ills, along with the realistic approach towards its representation. I also liked the message they want to tell the audience, and how they took a different perspective on single mothers. The delivery of the dialogue, acting, and the overall concept of the movie is also commendable. It’s all natural, and less staged. I also love it in a way that the characters are really alive. Each one of them are unique, regardless if they’re the main or supporting character only. It’s one thing that I have noticed throughout the film and also why I truly admire the film. Not only that, but also each of the character has their own story and personality, which makes all of them memorable. The reason why I dislike it is only in terms of, again, the way they paced the film. Moreover, it’s all good and still a great local film in general. It’s not stereotypical or cliche. It’s also a unique choice of what profession they wanted to show the audience. Lastly, it’s also unconventional, yet something very relatable and relevant regardless of what you are and where you live.

VI. Recommendation

NICOLE: There’s nothing much as to what I would like to recommend to the filmmakers, besides the pacing and resolution part. I wished they prolonged it in order to have closure, especially considering how heavy the conflict was. Although if it was intentionally that way, perhaps I would better understand. Regardless, I have nothing to complain about the ending and the plot. It’s just how I wished it happened, but then again not all films are close-ended and have a bright or happy ending.

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tyleroakley-obsessed · 7 years ago

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Ed. Note: Wesley has all the info to help us celebrate New Year’s Eve in Memphis, including New Year’s Eve parties, events, concerts, and more. Send us more ideas for things to do in Memphis on New Year’s here. It’s time to leave 2017 behind. If you had a good year, come party! If you had a bad year, come party harder! Here’s a list of Memphis New Year’s Eve 2018 parties, shows, and food to get you started. Click on each event for more details and how to attend, and if you have any additions, submit them here. – New Year’s at Noon, Children’s Museum of Memphis, Dec. 29, 10 a.m. – 3 p.m., free for members / $15 non-members, all ages CMOM will hold their annual New Year’s at Noon party a couple days early this year. Your kids can enjoy an afternoon of fun activities, including arts and crafts and a dance party. There’s no explicitly listed theme, except they did call the dance party “despicable,” so maybe it’s a safe assumption to come dressed as a Minion? There’s a ball drop at noon, and the event is included with the regular $15 ticket price. – 2nd Annual NYE Homeless Day Party and Assistance Drive, Brinson’s Downtown, Dec. 31, 11 a.m. – 3 p.m., free event Brinson’s Downtown Chicken Lounge is holding an event that functions as both a party and opportunity to help homeless Memphians. Artists and cooks will volunteer their time to entertain and feed homeless attendees, and Brinson’s will be accepting donations of canned food, winter clothing, and personal hygiene products. – AutoZone Liberty Bowl, Liberty Bowl Memorial Stadium, Dec. 30, 11:30 a.m. (CST), various prices, all ages The University of Memphis takes on Iowa State for the 59th AutoZone Liberty Bowl. Get hype the day before at the free Bash on Beale Pep Rally at 4:30 p.m. – Ghost River’s 10 Year Party, Ghost River Brewing Taproom, Dec. 31, noon – 8 p.m., free to attend, all ages/21+ to drink It ain’t exactly a New Year’s celebration, but it’s definitely a Ghost River one. They’ll be serving South Main Pale Ale, the first beer Ghost River brewed ten years ago on December 31st. This could be a good pre-gaming spot, as they’re closing at 8 p.m. Flying Sobie’s Hen House food truck will be in attendance, because you should never drink on an empty stomach. Also, they’ll be doing a ball drop at 6 p.m. so you can celebrate the new year with Londonites, just in case you need a quirky conversation starter later on in the evening. – Peter Pan NYE Matinee, Playhouse on the Square, Dec. 31, 2 p.m., prices vary, all ages New Year’s Eve is the last day to catch Playhouse on the Square’s Peter Pan. The New Year’s Eve performance will have some special fun, including an early ball drop and a meet and greet with cast members. If you’re the kind of person who always ignored the special features on DVDs, the pay-what-you-can shows are on Thu. Dec 29 and Fri. Dec 30 at 7 p.m. Tickets go on sale at 10 a.m. exactly one week before the show. – New Year’s Eve Package at B.B. King’s, B.B. King’s Blues Club, Dec. 31, all night, $20 – $80++, 21 and up Join everyone down at B.B. King’s Blues Club again for the Memphis New Year’s Eve Dinner Package. It includes an $80 three-course dinner, party favors, champagne toast, and live music. If you just want to dance and drink, buy $20 advance tickets or pay $25 at the door. – Paulette’s Restaurant NYE 17, Paulette’s Restaurant, Dec. 31, 5 p.m. – midnight, $70 – $90 Enjoy a four course meal at the ever-classy Paulette’s while you ring in the new year. Seats could go quickly, so you’d best make a reservation. – 10th Annual Hard Rock Guitar Drop, Dec. 31, 5 p.m. – 2 a.m., $35 general admission, $150 VIP per person/$250 per couple, 21 and up You know how this works– post up on Beale Street, buy some drinks, hear some live music, and mingle. The VIP tickets net you prime seating in the Memphis Hard Rock Cafe VIP floor and Guitar Drop balcony, along with hors d’oeuvres and a champagne toast at midnight. – NYE 2018 at Lafayette’s Music Room, Dec. 31, 6 p.m., $25 – $150, 21 and up Lafayette’s in Overton Square will be busy on New Year’s, with two party bands Pearl and Almost Famous, plus a midnight champagne toast and party favors. VIP tickets get you limited butler passed hors d’oeuvres and “Vegas-style” reserved seating, which I just had to Google. – NYE Party at, Bleu Restaurant (inside the Westin Hotel), Dec. 31,6 p.m. – midnight, $35, 21+ to drink Bleu is New American cuisine, and it’s quite good. $35 gets you in their New Year’s Eve party, which includes a midnight champagne toast, party favors, and free valet. There will also be a $55-per-person surf and turf dinner special. – NYE With Southern Avenue, Loflin Yard, Dec. 31, 6 p.m. – 2 a.m., $20 – $75, 21 and up Southern Avenue, a blues rock band that we featured on I Love Memphis earlier this year, will be performing at Loflin Yard, along with the Stax Academy Alumni Band and special guest DJs. Ticket price includes a champagne toast at midnight. – Sensory Friendly NYE Party, Hope Church, Dec. 6:30 p.m. – 8:30 p.m., free event Autism Resources of the Mid-South will be holding a special Disney-themed sensory-friendly event for children who require visual, auditory, and olfactory stimulation to be at a minimum. Dress as your favorite Disney character and enjoy food, games, and a quiet ball drop at 8:30 p.m. RSVP at [email protected]. – 2018 New Year’s Celebration with Mr. William Davenport Live, Memphis Sounds Lounge, Dec. 31, 7 p.m. – 2 a.m., $20/$35 for couples Soul and R&B artist William Davenport will be performing at the Memphis Sounds Lounge downtown while you enjoy free food, party favors, and toast to the new year. Did I mention free food? – Peabody Hotel New Year’s Eve Party, Peabody Hotel, Dec. 31, 8 p.m. – 2 a.m., $40 advance online / $50 door, 21+ This “high energy dance party” at the Peabody’s New Year’s Eve event will spread across the lobby and mezzanine areas of the hotel. Party bands Garry Goin Group and Seeing Red will provide the music, and DJ Epic will spin hits between sets.The Rene Koopman Trio will be at the Corner Bar playing your favorite jazz standards. If you spring for the $150 VIP lounge tickets, you’ll have access to hors d’oeuvres, champagne, Stella Artois, and valet parking. – New Year’s Eve on Beale, 4th and Beale, Dec. 31, celebration begins at 8:45 p.m., free to attend outdoor show/covers for bars vary, 21 and up This is the tried-and-true Memphis New Year’s event. This year you can see Tito Jackson perform for free, which is probably the closest to Michael you can get for that price. Beale Street is 21+ after dark and individual establishments may enforce a 21+ entry at their discretion during other times. – NYE Celebration w/ Spaceface, Young Avenue Deli, Dec. 31, 9 p.m – 1 a.m., $10 presale, $15 at door, 21 and up Spaceface has been throwing laser rock shows in Memphis for the past several years, with each one dreamier than the last. If this show is even half as debaucherous as its Facebook event details says it’ll be, then it’ll be worth the $10. 3D glasses, photo booths, lasers, confetti, $2 beer, kissing, and champagne? Let’s get weird. – NYE Masquerade Party, the Grand Carousel at CMOM, Dec. 31, 9 p.m. – 1 a.m., $75 presale, $90 at door This will be the first ever event at the Children’s Museum of Memphis’s newly constructed Grand Carousel wing, and it’s a bit of a society event, cocktail dress and all. The $150 VIP tickets get you a three course meal from a surprise Memphis chef prior to the party, and the option to skip ahead to the front of the bar line. How exclusive! There will be a mask and costume contest, live entertainment from local party band City Mix, a silent disco, and, of course, the carousel. You best be dressed–don’t let me catch you slippin’ in RSVP mag. – The Party Life: A New Year’s Eve Experience, Marriott Memphis East, Dec. 31, 9 p.m. – 2 a.m., $65 – $300, 21 and up This Memphis New Year’s hotel party will be held at Marriott East, this time with an Old Hollywood Glam theme. Live entertainment, hors d’oeuvres, midnight champagne, and a ball drop round it out. The $300 admission price gets you a table for four. – The Schwag: A New Year’s Grateful Dead Experience, Growlers, Dec. 31, 9 p.m. – 3 a.m., $12 advance, $15 day of show, 21 and up The Schwag will perform three sets of Grateful Dead music at Growlers. If you like hula hooping in public and you’re into your party favors being a little more fun than hors d’oeuvres and champagne, hit this up. – Daisyland Presents: NYE Blackout 2018 ft. BT, New Daisy Theatre, Dec. 31, 9 p.m. – 5 a.m., $20 – $100, 18 and up Daisyland’s throwing a dance party where the music’s loud and the lights are low. Featuring a set from electronica DJ BT and other special guests, this thing won’t stop ‘til 5 in the morning, just in time to beat the Waffle House breakfast rush the next day. Trust me, you’ll need something greasy. – 2018 NYE Party at the Tin Roof, Dec. 31, 9 p.m. – 5:30 a.m., $30 – $150, 21 and up The Tin Roof on Beale’s NYE party will feature music from Mad Hatters and DJ String Bean, plus party favors and a champagne toast. Tickets are $30 at the door, but you can buy a $50 fast pass to skip to the front of the line. If standing’s not your thing, you can buy a $150 VIP table with free champagne and reserved seating. – Hi-Tone NYE With Quintron And Miss Pussycat, Jack Oblivian & Room Thirteen Hi-Tone, Dec. 31, 10 p.m., $15 – $20, 18 and up New Orleans-based Quintron and Miss Pussycat always put on an electric live show, with frantic, distorted dance beats played on many instruments–some of which Quintron made himself. Miss Pussycat puts on puppet shows to supplement the spectacle. Also, the Hi-Tone has two bars, so go nuts. – NYE Show, The Blue Monkey Midtown, Dec. 31, 10 p.m. – 1 a.m., $10 per person /$25 per couple, 21 and up Louder Than Bombs, a local Smiths/Morrissey cover band, will perform, just in case 2017 wasn’t sad enough already for you. New Year’s Eve at the Blue Monkey will include a midnight champagne toast and midtown’s favorite Blue Monkey camaraderie. – NYE Party at Marlowe’s Ribs, Marlowe’s Ribs and Restaurant, Dec. 31, 10 p.m., $20 advance, $30 at door, 25 and up Grab some ribs at Marlowe’s this New Year’s if you’re hungry. Music will be provided by ProBeat DJs. You have to be 25 or older to attend, so if you can’t rent a car, you can’t hang at Marlowe’s that night. – Overton Square NYE event, details TBA – P&H NYE Event with Dead Soldiers, details TBA Did we miss something? Submit it here About The Author Wesley Morgan Paraham loves the 901 so much that his cat is named Belvedere. If playing RPGs were a full time job, he’d be a rich man. He’s currently seeking a degree in public relations at the University of Memphis, and does freelance writing for I Love Memphis and graphic design in the meantime. Are you a home owner in Memphis, with a broken garage door? Call ASAP garage door today at 901-461-0385 or checkout http://ift.tt/1B5z3Pc

http://ilovememphisblog.com/2017/12/memphis-new-years-eve-events-2018/

#I Love Memphis

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unratedmagazine · 8 years ago

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Louder Than Life 2017 Line Up Announced

Ozzy Osbourne, Prophets of Rage, Five Finger Death Punch, Rob Zombie and Incubus Headline Louder Than Life

Celebrating The World’s Top Bourbon, Music and Louisville Cuisine Saturday, September 30 & Sunday, October 1 at Champions Park in Louisville, KY Also Featuring Rise Against, Stone Sour, Mastodon, Gojira and More Tickets on Sale Friday, June 2 at Noon ET “Louisville: The Home Of Bourbon. Great People. Great Food.” Ozzy Osbourne featuring Zakk Wylde, Prophets of Rage, Five Finger Death Punch, Rob Zombie and Incubus top the bill for the fourth annual Louder Than Life destination festival, Saturday, September 30 and Sunday, October 1 at Champions Park in Louisville, KY. Tickets go on sale Friday, June 2 at Noon ET at www.LouderThanLifeFestival.com. Rock legend Ozzy Osbourne -- recently reunited with guitarist Zakk Wylde for the first time in over a decade – leads a Saturday bill that includes Five Finger Death Punch, Rob Zombie, Mastodon, and many more. Prophets of Rage -- bringing together the sonic firepower of Rage Against The Machine, Public Enemy and Cypress Hill, with members Tom Morello, Tim Commerford, Brad Wilk, Chuck D, B-Real, and DJ Lord – closes Louder Than Life on Sunday, joined by Incubus, Rise Against, Stone Sour and more. Produced by Danny Wimmer Presents, America’s premier production company for rock music festivals, Louisville’s Louder Than Life features a selection of award-winning bourbons, whiskey, spirits, craft beer, the best food Louisville has to offer, along with a powerful music lineup of rock legends and breaking talent performing on three stages. The festival celebrates the bourbon culture and culinary heritage of this unique American city. The full 2017 Louder Than Life music lineup also features: Halestorm, Gojira, The Pretty Reckless, In This Moment, Eagles of Death Metal, Thrice, Hollywood Undead, Of Mice & Men, Steel Panther, Falling In Reverse, Sleeping With Sirens, Nothing More, Beartooth, Starset, We Came As Romans, Lacuna Coil, Miss May I, Radkey, Bleeker, While She Sleeps, Greta Van Fleet, Fire From The Gods, ’68, Badflower, He Is Legend, Black Map, DED, Through Fire, Palisades, and BITERS. "Prophets of Rage are psyched to bring a brass knuckle Marshall Stack beatdown to the Louder Than Life festival. We are gonna unleash the RAGE, BRING THE NOIZE and TAKE THE POWER BACK so come on down and get some," said Tom Morello of Prophets of Rage. Rob Zombie said, “The Zombie and his horde are ready to throw down and get weird at Louder Than Life. Zombie and Ozzy together again! Dig it! See you in Louisville!” "It’s been way too long since we’ve played Louisville, and we’re stoked to be coming back in a big way to join friends Prophets of Rage, Thrice and the rest of the amazing lineup at Louder Than Life,” said Tim McIlrath of Rise Against. Mike Einziger of Incubus commented, “We’re excited to be returning to Louisville and playing the Louder Than Life festival on October 1st with our friends, Prophets of Rage and all the other great bands on this amazing lineup. It’s going to be a great show and we can’t wait to see everyone!” Danny Wimmer, founder of Danny Wimmer Presents added, "I’m excited to have Prophets of Rage close out the festival. After seeing them in a small setting in LA, I couldn’t wait to get them added to our festivals this fall. Tom, Tim, and Brad from Rage Against The Machine, along with Chuck D and DJ Lord from Public Enemy and B-Real of Cypress Hill, playing the hits that made Rage one of the most iconic bands in history is a special thing to see. Adding that along with Ozzy Osbourne, Incubus, Rob Zombie, Five Finger Death Punch, Rise Against, Stone Sour…how could you miss this lineup? And after an incredible run with Gojira this spring I can’t wait for them to come to Louder Than Life as well. I’m beyond excited for this year’s festival. It’s a can’t miss experience.” Single day and weekend tickets for Louder Than Life will be available at www.LouderThanLifeFestival.com starting on Friday, June 2 at Noon EDT. Tickets and VIP packages start at the following prices. Fans are encouraged to buy early and save, as ticket prices will increase in the coming weeks. Weekend General Admission: $99.50 Weekend VIP: $259.50 Single Day GA: $69.50 Single Day VIP: $144.50 A limited number of GA ticket 4-packs and Zippo VIP 2-packs, as well as camping packages, will also be available starting June 2. Discounted online hotel rates will be available through Curadora. Visit www.LouderThanLifeFestival.com for details. General Admission ticket discounts will also be available for active military through Louder Than life partner GovX (www.govx.com). VIP tickets include: VIP entrance lanes into venue; VIP lounge area featuring dedicated bar, beverage and food options; VIP-only viewing area of Main Stage featuring grandstand bleachers; private, upgraded restroom facilities; and VIP-only commemorative laminate. All Louder Than Life camping passes include campsite space for 3 nights as well as access to campground bathrooms, showers, food and beverage concession stands, and a general store. Campers also have in and out privileges between the campground and festival grounds throughout the event. Car (tent) camping passes are $99.00 and RV camping passes are $175.00. Also, Louder Than Life is presenting an official aftershow event with Pierce The Veil on September 30 at Mercury Ballroom (611 S. 4th St., Louisville, KY 40202). Head to www.mercuryballroom.com or www.LouderThanLifeFestival.com for more information. Tickets to the aftershow event will be available for purchase starting Friday, June 2 at Noon ET. This is a separate event; a Louder Than Life ticket does not grant entry into this official LTL aftershow event. Here are the preliminary lists of Louder Than Life bourbon, craft beer, spirits and food partners: Bourbon World presented by the Louisville Courier-Journal: Featuring the world’s TOP bourbon’s including Angel’s Envy, Basil Hayden’s, Benchmark, Buffalo Trace, Bulleit, Eagle Rare, Evan Williams, Four Roses, Jim Beam, Knob Creek, Maker’s Mark, Michter’s, Old Forester, Larceny, Town Branch, Wild Turkey, Woodford Reserve and more! Whiskey & Other Beverages: El Jimador Tequila, Jack Daniel’s, Monster Energy, Miller Lite, Southern Comfort Craft Beer (Regional) & Artist Inspired Beverages: Alltech Lexington, Falls City Beer, Goodwood Brewing Company, Motörhead Shiraz, New Albanian Brewing Company, TROOPER Beer, West Sixth, Caduceus Cellars and Merkin Vineyards Food Village: Boss Hog BBQ, Cellar Door Chocolates, Doc Crow’s, Gelato Gilberto, Gospel Bird, Hebros Kitchen, Hi-Five Doughnuts, Island Noodles, Joelle’s Hot Chicken, Mike’s Kentucky Kitchen, Merle’s Whiskey Kitchen, Momma’s BBQ, Pie Baby, Sacrilicious, The Big Cheesy, Tumbleweed (serving Jack Daniel’s inspired food items), Up In Smoke BBQ, and many more Louder Than Life will also feature interactive music, food and beverage experiences including: • Artist autograph signings and beverage sampling at the Monster Energy Hospitality Rig • Jack Daniel’s Experience • Zippo Encore Music Experience • FYE Fan Experience • Bourbon World presented by the Louisville Courier-Journal • The Music Experience • It’s Miller Time VIP Lounge and Sports Bar • Heavy Tiki • The Big Easy Boil • Rock & Roll BBQ • Love & Fire (open flame cooking) • Dyin 2 Live / Fxck Cancer • and more to be announced in the coming months. Louder Than Life is produced by Danny Wimmer Presents, a producer of some of the biggest rock festivals in America, including Rock On The Range, Monster Energy AFTERSHOCK, Monster Energy Welcome To Rockville, Monster Energy Fort Rock, Monster Energy Carolina Rebellion, Chicago Open Air, Monster Energy Rock Allegiance, Northern Invasion, Houston Open Air, and more. Sponsors for Louder Than Life include Monster Energy, USMC, Fxck Cancer, FYE with Roadrunner Records, Razor & Tie, Century Media and Another Century, Jack Daniel’s, El Jimador, and Zippo, with more to be announced. Louder Than Life Festival Website | Facebook | Twitter | Instagram About Danny Wimmer Presents: Since 1993, music industry veteran Danny Wimmer has been producing concerts and festivals, both large and small. In 2011, he formed Danny Wimmer Presents, which now produces several of the largest rock and alternative festivals in the U.S. By combining A-list talent with local cuisine and culture, DWP has become recognized within the industry for delivering the highest-quality entertainment experiences to fans, artists, sponsors, partners and host cities. DWP creates memorable and all-encompassing festival experiences, leaving both consumers and partners with lasting and meaningful impressions. DWP will continue to add new music festivals to its already stellar portfolio, which includes Rock On The Range, Monster Energy Aftershock Festival, Monster Energy Welcome To Rockville, Monster Energy Carolina Rebellion, Louder Than Life, Monster Energy Rock Allegiance, and Chicago Open Air, among others. www.DannyWimmerPresents.com Click to Post

#Louder Than Life Festival

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