#David Steffens

[mozart2006]

Staatsoper Stuttgart - Das Rheingold (ripresa)

Foto ©Staatsoper Stuttgart/FB La Staatsoper Stuttgart riprende in questi giorni la prima e l’ ultima parte del nuovo allestimento del Ring wagneriano, completato poco più di un anno fa. Continue reading Staatsoper Stuttgart – Das Rheingold (ripresa)

[ulrichgebert]

Ich erwähnte angesichts des gediegenen Carmen-Films  hier, daß ich Sebastian Nüblings Stuttgarter Inszenierung mochte, mit ihrem grünen Eifersuchtsmonster, das den armen José in seinem Sesselchen mit Stehlampe, Wodka und langweiligen Fenrsehprogramm plagt, der über der ermordeten Carmen brütet, wie es dazu kam. Send in the Clowns! Und mehr Stehlampen! Netterweise wird sie wieder gespielt, und müßte eigentlich ja inzwischen als legendäre Kultinsezenierung gewertet werden. Sie ist aber so fabelhaft, daß sich immer noch Leute darüber aufregen. Es ist in jedem Fall ein Erlebnis, hier noch besonders der stimmgewaltige Martin Muehle als beherzt altersblind besetzter José. Er stielt der Carmen fast die Show. Das ist in dieser Oper auch eher ungewöhnlich. Sagt man altersblind?

[cuntfan]

Good omens brain rot has me acting crazy, I'm out here watching a show made by absolute menace Steffen Moffat (idk how his name is spelt and idc) just cuz it has David Tennant in it after promising myself to never put myself through such horrors again

[thislovintime]

Peter Tork, 1967.

“Peter was absolutely handsome in an all-white outfit for a banjo solo. Nobody wanted him to go.” - Charlene Steffens (16), on The Monkees’ Cow Palace concert; Tiger Beat (?), 1967

“[Monkees fan Loreen Mahoney said that Peter] ‘looked absolutely gorgeous, his hair was so shiny.’ […] Of the whole performance [in Seattle] she says she remembers most of all, Peter’s opening words of: ‘Let you in on a secret, we love you all.’” - The Calgary Albertan, September 2, 1967 (x)

“Then, clad in a very tasteful chunky knitted white sweater and knitted trousers, Peter Tork returned with his banjo for one of the highlights of the evening — a beautiful version of a Buffy Sainte-Marie folk song. By straining all my ear-power in one direction I could just catch the sound [over the screaming of the fans] — at least sufficient to realize that this is a Monkee talent we should hear much more of.” - David Hughes, Disc & Music Echo, July 8, 1967

[noosphe-re]

A fragment of the crystal structure of meionite Ca 4 Al 6 Si 6 O 24 (CO 3 ) refined in space group I4/m, showing planar Ca 4 CO 3 group: crosses are T(1)O 4 tetrahedra, and dashes, T(2)O 4 tetrahedra. (Sherriff, Barbara & Sokolova, Elena & Kabalov, Yurii & Jenkins, David & Kunath-Fandrei, Gerald & Goetz, Steffen & Jaeger, C. & Schneider, Julius. (2000). Meionite: Rietveld structure-refinement, 29Si Mas and 27Al Satras NMR spectroscopy, and comments on the marialite-meionite series. Canadian Mineralogist - CAN MINERALOG. 38. 1201-1213. 10.2113/gscanmin.38.5.1201.)

[travelella]

David of Michelangelo, Accademia Gallery, Florence, Italy

Steffen Lemmerzahl

[dustedmagazine]

Henry Kaiser — Mahalo Nui (Metalanguage)

John Fahey was 27 years old when he recorded Requia. While parts of it play as a sincere ceremony of remembrance for people who meant something to him, it was nonetheless the work of an ornery young man. That provenance showed, especially on the spectacularly trollish, side-long musique concrete composition, “Requiem For Molly.” Henry Kaiser knows all about Fahey, guitars experimental music, and Requia in particular. He’s recorded a couple albums of his own using that title, and posed for one of them in a visual homage to Fahey’s record. But Kaiser’s also managed to live a longer life than Fahey, very different but no less astounding. He has been able to carry on a career as a boundary-straddling guitarist who gets to play whatever he wants with pretty much whoever he wants and also to work as a research diver with a specialty in under-ice video work.

Several tracks from this projectstarted out as a COVID-era project, when Kaiser included among the regular YouTube videos that he posted from lockdown with shout-outs to recently passed musicians, such as Steffen Basho-Junghans and David Lindley. Over time, the partings tend to proliferate. Kaiser found himself with ten mostly-solo tracks that shared two criteria: they memorialized fellow travelers who adventured with him upon or under the ice, or who made music, films or musical instruments; and they continued Kaiser’s decades-long determination to do more with the guitar than it previously had been able to do. These became Mahalo Nui.

Born in 1951, Kaiser has now lived long enough to know loss in ways that Fahey could not when he recorded Requia in 1967. Across its two sides, Fahey dug deep into sorrow and respect, and also let fly some ill-focused antagonism. You’ll some sorrow on Mahalo Nui, particularly on the sole non-solo performance, a slide guitar trio in honor of David Lindley. But you’ll hear a lot more joy and gratitude; the album’s title translates from Hawaiian as Thank You Very Much. “Hard Time Killin’ Spoonful Requiem For Paul Hostetter” mashes up Derek Bailey and Skip James gestures with more glee than rue; perhaps Kaiser assembled the performances from licks that the late luthier loved? The glistening tones and complex timbres of “Antarctic Requiem For Liz Sutter & Bija Sass,” which is named after two of his fellow Antarctic travelers, evoke a state of drifting wonder and weightless solace.

In 1990, I caught a Kaiser solo concert and came away as impressed with the looming height of his effects rack as I was with his music. He’s never been afraid to indulge the possibilities of technology and technique, and there have certainly been times when they have gotten the better of him. That never happens on Mahalo Nui. The occasions when he foregrounds technical interventions, such as the school of psychedelic blurs on “Mysterious Requiem For Paul Plimley” and the real-time combination of scything slide guitar and MIDI-controlled piano notes on “Some Of The Great Ancestors Inside My Guitar,” pay off real musical dividends. This record makes a strong case for both the technical and emotional aspects of Kaiser’s art. One caveat for those who prefer physical formats; if you go to Kaiser’s Bandcamp page, this title is only offered as a download. However, it is also available as a CD if you’re willing to search a bit.

Bill Meyer

[el-delacruz]

GOOGLE // Your Life with Pixel // LENNOX STORY from Stefanie Soho on Vimeo.

Lennox is heartbroken about the fight he had with his best friend, with whom he’s secretly in love. Instead of confessing his love, he pushed her away. Now he’s figuring out how to make it up.

This is the Director’s Cut. ______

Client: Google Brand Marketing Manager: Alexa Rose Head of Brand & Creative: Jakob Kriwat Creative Strategy: Janosch Einck Associate Product Marketing Manager: Mariya Kvitka

Agency: Anomaly Berlin Managing Partner: Simon Owen Managing Director: David Barton Creative Director: Anna Nowok, Henrik Edelbring Business Director: Amelie Schad Project Manager: Kurt Mattich Creative: Anna Broujean Creative 2nd Unit: Greg Marangon Copywriter: Fabiot von Falkenhayn Senior Producer: Roy Ami Production Assistant: Aliaa Salaheldin

Production: BWGTBLD GmbH Managing Partner: Jakob Preischl Kryptonite-Wrangler: Philipp Ramhofer Producer: Rayk Hawlitschek, Greta Mueller Production Coordinator: Johanna Katz Team: Alex Göke, Leonor Alexandrino, Louise Wachtmeister, Theo Fleury, Prodromos Antoniadis Production Manager: Steffen Gregorowius Production Assistant: Sophia Repp Set Manager: Marc Drobny

Director: Stefanie Soho DOP: Christophe Colette 2nd Unit Director: Lukas Keuchel 2nd Unit DoP: Moritz Matlik

1st AD: Matthias Nerlich Script Supervision: Jackie Jansen 2nd Unit AD: Imri Kahn 1st AC: Tom Zylla 2nd AC: Simon Wandelt Key Grip: Olando Gübel Gaffer: Albrecht Silberberger DIT: Frank Hellwig Sound Recordist: Manuel Vogt Production Design: Tommy Stark H&M: Nadin Wagner, Kieu Anh Duong Styling: Julia Quante Casting: Vollmar Casting Cast: Lapo Hans Schleifer & Lillemore Leistenschneider Post Producer: Johannes Böttge Edit: Jacob Ipsen Music: Alexis Troy Sound Design & Mix: Moritz Staub Color: Nicke Cantarelli VFX: NHB Berlin Online: Marvin Kühner

[sa7abnews]

Allowing two million Gazans to starve ‘may be moral’ – Israeli minister

New Post has been published on https://sa7ab.info/2024/08/12/allowing-two-million-gazans-to-starve-may-be-moral-israeli-minister/

Allowing two million Gazans to starve ‘may be moral’ – Israeli minister

Bezalel Smotrich has complained that it’s impossible to wage war in today’s global reality

Starving the citizens of Gaza could be a “just” way of forcing Hamas to release hostages, but this would spark outrage from the global community, Israeli Finance Minister Bezalel Smotrich has complained. Israel controls the flow of humanitarian aid entering the besieged Palestinian enclave but its distribution is managed by aid groups within Gaza. Speaking at a right-wing conference earlier this week, Smotrich said Israel was being forced to allow aid into the enclave “because there is no choice,” and because West Jerusalem needs “international legitimacy” to wage its war against Hamas. He argued that Israel is unable to use humanitarian aid to pressure the Palestinian militant group because today’s global reality makes this “impossible.” “No one in the world would let us starve and thirst two million citizens, even though it may be just and moral until [Hamas] return our hostages,” he said. Smotrich suggested that, if the distribution of aid within Gaza was controlled by Israel, then the current war would have already ended and the hostages captured by the Palestinian fighters on October 7 would have been returned. “You cannot fight Hamas with one hand and give them aid with the other,” Smotrich added, claiming that humanitarian aid is the Palestinian militia’s “money,” “fuel,” and its method of “civilian control” in Gaza.

Read more

US complicit in Israeli war crimes – NATO member

The minister’s comments have been met with widespread outrage, including in the West. The EU’s chief diplomat Josep Borrell has called on West Jerusalem to distance itself from the remarks, arguing that starving civilians constituted a “war crime,” and that advocating for this was “beyond ignominious.” UK Foreign Secretary David Lammy has also called on the “wider Israeli government to retract and condemn” Smotrich’s comments, insisting that “there can be no justification” for his remarks. Germany’s ambassador to Israel, Steffen Siebert, also called the finance minister’s statements “unacceptable and appalling,” and said it was a “principle of international law and of humanity to protect civilians in a war.” Meanwhile, the issue of humanitarian aid deliveries to Gaza has continued to raise concerns from the international community, with human rights organizations warning that the enclave remains at high risk of famine.  The International Criminal Court prosecutor Karim Khan has blamed Israel for the crisis and has sought arrest warrants for Israeli Prime Minister Benjamin Netanyahu and Defense Minister Yoav Gallant for using “starvation as a method of war,” among other crimes. Israel, however, has denied accusations of restricting aid deliveries to the Palestinians, instead suggesting that Hamas was stealing the resources.

[mozart2006]

Internationale Hugo-Wolf-Akademie - HAPPY BIRTHDAY, Franz Schubert!

Per festeggiare l’ anniversario della nascita di Franz Schubert, la Internationale Hugo-Wolf-Akademie ha organizzato Continue reading Internationale Hugo-Wolf-Akademie – HAPPY BIRTHDAY, Franz Schubert!

[wolfliving]

H-Town Till We Drown

This is how a bubble ends: not with a bang, but a discount. It's begun. We're not ready.

ALEX STEFFEN

JUL 16

I’ve been talking about the brittleness bubble — the widespread and growing over-valuation of brittle assets, and their certain repricing as climate risks are acknowledged — since 2002. Now we are seeing the beginning of its end.

Over the next five years (ten at most) we’ll see it rip through exposed communities, shredding hundreds of billions of dollars of paper wealth and leaving in its wake something like the Subprime Crisis, topped with eroded streets, downed bridges, killer heat waves and mass-migration.

Houston is America’s bellwether.

J. David Goodman is reporting what’s going on there right now, in the aftermath of Hurricane Beryl. It’s tense. His piece ‘This Storm Has Broken People’: After Beryl, Some Consider Leaving captures the feeling of foreboding spreading in climate-battered places around the world; the feeling that what can’t go on, doesn’t.

Houston is no stranger to natural disasters, but living through two crippling power outages in two months has driven some in the city to consider what may be the ultimate evacuation plan: moving out.

The more powerful of the storms, Hurricane Beryl, devastated the power infrastructure over nearly the entire city. When it hit, thousands of people were already living in shelters and hotels, according to state officials, because they had been displaced by an earlier weather event, the spring thunderstorms that caused wind damage and flooding.

Driving around Houston, it can be hard to tell which of the storms that crashed through the city had mangled the highway billboards, torn out the fences or knocked down the trees still strewn along roadsides.

Everyone knows how long it took to get their power back from the first big storm — and when they lost it again. A second round of spoiled food. Of sweltering temperatures. Of emergency plans. In many cases, of repairs to homes that were damaged in the major May storm had yet to be finished when Beryl arrived as a Category 1 hurricane.

For some, it was too much.

People are worried. They’re fearful in a way they haven’t been. That’s because they’re starting to see the world around them as it actually is: a world in the grips of a terrible crisis whose like we’ve never seen before; a world where things no longer work the way things have always worked.

The response, predictably, has been a mix of rage, defiance and collapse.

Consider these excerpts from Beryl was the weakest a hurricane could be. Why does it feel like Houston isn't the same? by Sarah Smith, in the Houston Chronicle.

These lines resonate with the passions and griefs of a city whose sense of its own value (or even habitability) is breaking down. (The same piece also manages to only obliquely mention the climate chaos and unsustainability that are the major drivers of that crumbling stability — Houston, after all, being America’s oil town.)

Beryl advances on us Monday, delivering 84 mph punches. Telephone poles topple. Roofs collapse. Buffalo Bayou swells until it kisses the bottom of the tree canopies. Streets drown. The winds roar. Power snaps out. We crouch in our innermost rooms.

…

We are the fourth-largest city in America. We are the so-called energy capital of the world, and today, we are powerless.

The heat index climbs to 105; at least 1.8 million wake up without air conditioning.

…

None of the disasters that have rolled through in the past decade has been so singularly devastating that we fled en masse. Instead, we strain under the weight of flooded-out cars and warped wallpaper and drenched family photos and chicken turned sour in silent freezers. Our cars get clipped at intersections with broken lights and, as we sit in the repair shop, we wonder: Why are we still here?

Some of us are (proudly, foolishly, admirably) H-town till we drown.

…

Some of us ache with a new knowledge: One day — maybe not now, but one day — we will have to leave this place we love. The lives we envisioned for ourselves here, we worry, cannot hold against what we know will come.

We begin to grieve the futures we wanted.

That last line is a perfect summary of the tragedy of personal discontinuity.

When we come to see that the world isn’t as we were taught to expect it would be, we also see that our own lives aren’t going to be what we dreamed. I’ve spoken with hundreds of people who’ve gone through this loss of cherished hopes. For many, it’s shattering.

Now whole cities are going through this experience. Houston won’t be the last. Indeed, the planetary crisis is not yet done with Houston… or the hundreds of other frontline communities around the world.

I can tell you what is happening, right now, in places all around the world where reality has slammed through the roof like a fallen tree: a reckoning. Folks are measuring their options, weighing how long they can wait, calculating how much of a loss they can bear, trying to figure out where they might live instead.

Does it even make sense to repair our home? Will the insurance cover enough of the cost to be able to sell it, maybe at a discount? Will we even have insurance in a few years? Will the next storm turn this city into a buyer’s market, as more people look to relocate, and homes flood the market — or will it be the storm after that? If we wait a few years, will there still be buyers, and if so will they demand fire-sale prices? What will our town be like, if home prices crash, the economy falters and everyone who can leave has left? Where would we go? Where can we afford to go? Should we leave now, before others start relocating in greater numbers? What will happen to us if we wait too long? Will our kids be able to afford some degree of relative safety? How do we make a path for ourselves and our loved ones, in a world that’s suddenly hard to understand?

Millions of us are already wrestling with these thoughts, and discussing these worries with our family and friends. These thoughts are starting to take form, in “For Sale” signs, moving trucks and GoFundMe campaigns for relocation expenses. This is only the beginning.

A lot of us will take less than we thought we could expect, out of fear that if we wait, we’ll get far less than that.

We’ll offer our old lives up on a discount, hoping to fund new ones before time runs out.

And that is how the bubble ends.

I teach classes on developing your own personal climate strategy. The class schedule for the rest of the year will be announced this month.

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Book a consultation with me to discuss personal ruggedization in your life or business, or to explore a business opportunity.

Want me to give a keynote talk at your conference, or a bespoke presentation for your meeting? Email to inquire.

Check out my books: Worldchanging and Carbon Zero

View my TED Global talks on sustainability and cities.

I was featured in a 2022 NY Times Magazine piece, "This Isn't the California I Married," and my writing was the jumping-off point for an episode of This American Life: Unprepared for What Has Already Happened. I’ve recently talked about ruggedization and sustainability on these podcasts: Without; The Big Story; Everybody In the Pool.

Visit my Bookshop shop to discover some of my top reads.

[ulkaralakbarova]

Five years after their summer together in Barcelona, Xavier, William, Wendy, Martine and Isabelle reunite. Credits: TheMovieDb. Film Cast: Xavier Rousseau: Romain Duris Wendy: Kelly Reilly Martine: Audrey Tautou Isabelle: Cécile de France William: Kevin Bishop Gérard: Olivier Saladin M. Boubaker: Zinedine Soualem Natacha: Evguenya Obraztsova Neus: Irene Montalà Grand-père: Pierre Gérald Barbara: Frédérique Bel L’homme qui veut aller aux toilettes dans le train (uncredited): Cédric Klapisch Kassia: Aïssa Maïga Edward: Gary Love Celia Shelburn: Lucy Gordon Mère Xavier: Martine Demaret Platane: Pierre Cassignard Madame Vanpeteguem: Hélène Médigue Productrice TV: Carole Franck Auteur Série: Robert Plagnol Directeur Série: Nicolas Briançon Michel Hermann – Editeur: Bernard Haller Soledad: Cristina Brondo Alessandro: Federico D’Anna Tobias: Barnaby Metschurat Lars: Christian Pagh Snowboarder: Lannick Gautry Jean-Édouard: Julien Guéris Odile: Laura Weissbecker Caroline – Copine Isa 1: Sophie Barbe Juliette – Copine Isa 2: Julie Durand Copine ‘Cogneuse’: Catherine Lebegue Copine Fête Isabelle: Florence d’Azémar Nounou Grand-père: Fatiha Cheriguene Concierge Xavier: Marie-Renée George Père Natacha: Igor Gusev Mère Natacha: Yelena Solovyova Frère Natacha: Aleksandr Karpukhov Père William: Nicholas Day Mère William: Amanda Boxer Copain Celia Moscou: Julien Hans di Capua Miguel: Jake Canuso Traductrice Russe: Senia Devine Chorégraphe Russe: Katrina Vasilieva Mac Master: Julien Pabion Journaliste ‘Prune’: Agathe Robilliard Journaliste Cosmo: Annette Faure Copine Xavier 1: Anne Steffens Copine Xavier 2: Stéphanie Ricco Copine Xavier 3: Isabelle Joly Lucas: Amin Djakliou Danceuse de ballet (uncredited): Amanda Jane Manning Danceuse de ballet (uncredited): Stéphanie Montreux Livreur (uncredited): Philippe Soucy La Fille de la Gare (uncredited): Eléonore Stern Film Crew: Screenplay: Cédric Klapisch Producer: Bruno Levy Producer: Matthew Justice Executive Producer: Elena Yatsura Music: Loïc Dury Editor: Francine Sandberg Orchestrator: Laurent Levesque Musician: Christophe Minck Key Makeup Artist: Judith Gayo Unit Production Manager: Anne Férignac First Assistant Director: Kira Sinelshikova Assistant Costume Designer: Julia Patkos Digital Colorist: Christine Szymkowiak Musician: Simon Andrieux Script Supervisor: Barbara Constantine Catering: Georges Gautier Production Accountant: David Kerney Extras Casting: Jeanne Millet Makeup Artist: Véronique Nguyen Set Dresser: Stephanie Guitard Key Grip: Colin Strachan Location Manager: Frédéric Vialle Location Manager: Martin Wady Assistant Unit Manager: Benjamin Dewaele Assistant Director Trainee: Samantha Mialet Second Unit Director: Bertrand Normand First Assistant Art Direction: Florian Sanson Art Direction: Tim Stevenson Assistant Camera: Mounia Lamrani Musician: Guillaume Dutrieux Administration: Géraldine Toitot Second Assistant Art Director: Chloe Leguay Key Grip: Michel Dechaud Assistant Camera: Kathy Sebbah Location Manager: Tony Hood Musician: Felix Niel Music: Bruno Epron Mahmoudi Production Manager: Caroline Levy Second Assistant Director: Ophélie Gelber Assistant Director Trainee: Gabriel Levy Assistant Sound Editor: Sophie Durand Sound Assistant: Sergey Ekinow First Assistant Camera: Julian Bucknall Lighting Technician: Philippe Wegiel Set Decoration: Shirley Robinson Compositing Supervisor: Sylvian Fabre Still Photographer: Jérôme Plon First Assistant Camera: Galatae Politis Director of Photography: Dominique Colin Assistant Unit Manager: Laurent Blu Unit Production Manager: Antoine Théron Third Assistant Director: Paul Bennett Sound: Xavier Prêtre Digital Intermediate Producer: Sophie Denize Production Secretary: Séverine Guignard Costume Design: Anne Schotte Props: Daniel Ainslie Sound Recordist: Vincent Laurence Boom Operator: Jean-François Schenegg Digital Compositor: Sebastien Dupuis Casting Assistant: Hermine Poitou Executive Music Producer: Monte Christo Painter: Thierry Poulet Sound Re-Recording Mixer: ...

[year2fmprv]

Pixel Artists Research

David Filus "David Filus is a pixel artist specialized in game oriented art, characters, animations, backgrounds and anything you might need." After looking over david's work I find his work very pleasing and also something that i find similar to what i do. I think his designs are so well put together and just flow so smoothly from the colour palette to the design of the art itself. His Fiverr Page

EbOY "EbOY is Steffen Sauerteig, Svend Smital and Kai Vermehr. One of the things they do is create with re-usable pixel objects. They then use them to build complex and extensible artwork. Their style of work is often filled to the brim with exciting objects and characters. The scenes they create are saturated with activity. Visit the EbOY site or view a sample of their pixel work below." His Website I find EbOY's pixelart fascinating as from one glance you can tell so much time and effort went into it. There is so much going on in each image its so inspiring.

[movienized-com]

Role Play

Role Play (2023) #ThomasVincent #KaleyCuoco #DavidOyelowo #BillNighy #ConnieNielsen #RudiDharmalingam Mehr auf:

Jahr: 2023 Genre: Action / Comedy / Krimi Regie: Thomas Vincent Hauptrollen: Kaley Cuoco, David Oyelowo, Bill Nighy, Connie Nielsen, Rudi Dharmalingam, Lucia Aliu, Reagan Bryan-Gudgeon, Simon Delaney, Sonita Henry, Jade-Eleena Dregorius, Julia Schunevitsch, Stephanie Levi-John, Steffen Jung, Betty Kaplan … Filmbeschreibung: Emma (Kaley Cuoco) hat einen wundervollen Ehemann und zwei Kinder in…

[middleageamerican]

atone

Mary’s birthday list is out w my noted adds omitted . . Nelson Steffen Goldie . . Ellen is the matriarch of this family and it will b matriarchal 4 at least another 2 generations . . tho leadership might change gender and . . . Ellen Marty David Ann . . it may seem silly 4 me 2 suggest rule x fers fr Ellen 2 me . . . 1st born 2 the baby . . yet Ellen has groomed no successor as mom groomed Ellen…