#Jason Frank Rothenberg

[adreciclarte4]

Mikéah Ernest Jennings by Jason Frank Rothenberg

[mayanhandballcourt]

Photographer Jason Frank Rothenberg

[alexzafiris]

Charlotte Gainsbourg for Paper Magazine cover story, photographed by Jason Frank Rothenberg, 2006

[leilighet]

[kuriphoenix]

photo: Jason Frank Rothenberg

[fuckyeahcagatayulusoy]

‘The Protector’ Star Cagatay Ulusoy on How Netflix Is Disrupting Turkish TV via Variety ( : picture by Jason Frank Rothenberg )

Turkish actor Cagatay Ulusoy plays the titular character in Netflix’s first Turkish original, “The Protector,” currently in production on its third season. His role as young antiques dealer Hakan Demir, who discovers he hails from an ancient line of superheroes and must protect present-day Istanbul from evil forces, marks the first foray into fantasy tropes for a Turkish show.

Ulusoy spoke to Variety about how Netflix is disrupting production models and storylines in Turkey’s TV market, which, despite the impact of the country’s economic turbulence, remains among the world’s top five exporters of serial dramas.

Why is “The Protector” such a novelty?

This series introduces a new genre [of Turkish dramas] to global audiences. It’s a unique mix of fantasy and superhero plot-lines mixed with the elements of social drama and romance that are typical of Turkish TV shows. Instead of a mainstream superhero narrative, it’s more an epic story with a modern hero at its center, but the plot is fast-paced and full of unexpected twists. There is also an element of comedy every now and then to balance the tone.In terms of format, the episodes are much shorter (33-45 minutes) than typical Turkish dramas – shorter, for example, than in “Medcezir,” the Turkish adaptation of “The O.C.,” in which you starred previously. Has shooting shorter episodes made a difference for you in terms of your acting style, of the way you get into character?It’s actually way better for me. It means I can really focus and give my character my full energy. It makes me more creative.Netflix has greenlit four seasons, so it looks like ‘The Protector’ is going to be keeping you busy for a while. I’ve heard production schedules for TV series in Turkey can be quite tough. How tough is yours?We are working under more humane conditions than those in most other Turkish TV series. Netflix uses a different production system. We work just 10 hours a day, five days a week. I feel more productive, and so do the other talents and the crew. Typically, each episode in a Turkish TV series is, like, 120-150 minutes long. That means you have to work much harder to wrap up an episode in a week. With this show, a lot is changing in terms of the approach to storytelling, locations, characters and also working conditions. It’s like the rules of the game are being rewritten.Speaking of writing, can you talk to me about the rest of the show’s creative team?I work with three different directors for each season, which has never been done in Turkey before. It seems like a complex system, but it’s actually not. Each director brings their point of view for the episodes they handle, and having different visions makes the show fresher and more varied. In terms of writers, one of them is Jason George [who also serves as executive producer], who did “Narcos.” He has been the “third eye,” as it were, of the show. His global experience and different vision has been immensely helpful.

source : https://variety.com/2019/digital/news/the-protector-star-cagatay-ulusoy-netflix-disruption-turkish-tv-market-1203260849/amp/?__twitter_impression=true

[sinceileftyoublog]

Live Picks: 11/12

Dirty Projectors; Photo by Jason Frank Rothenberg

BY JORDAN MAINZER

On the one hand, you’ve got beatific harmonies and arrangements--on the other, pummeling intensity.

Dirty Projectors, Sleeping Village

When we previewed Dirty Projectors’ show at Thalia Hall in May, we were curious whether the then upcoming Lamp Lit Prose would continue Dave Longstreth’s string of disappointments because all we had heard was overcooked single “Break-Thru”. While Lamp Lit Prose is, as expected, nowhere near as breathtaking as Bitte Orca or even Swing Lo Magellan, it exceeds expectations because Longstreth returns to the vibrant positiveness of Orca minus the navel-gazing melancholy of last year’s disappointing self-titled LP. Opener “Right Now” juxtaposes Longstreth’s trademark melismas and guitar plucking with Syd’s assured coo, with stabbing horn blares and broken synths to match. Don’t get me wrong: This is still music for people who like too many toppings on their pizza. But even if it doesn’t suit your taste, Lamp Lit Prose’s many elements at least seem cohesive.

It’s also worth mentioning that Dirty Projectors’ best song was a collaboration, and Lamp Lit Prose succeeds, too, because it’s full of ‘em, whether the sharp Haim-featuring “That’s A Lifestyle” or Amber Mark-featuring hand-clap dance banger “I Feel Energy”. Empress Of provides classic Projectors harmonies on “Zombie Conqueror”, and Fleet Foxes’ Robin Pecknold as well as Rostam circle around Longstreth on the mellow “You’re The One”. The jazzy, Dear Nora-featuring “(I Wanna) Feel It All” caps off the promising set of songs for the new-look Dirty Projectors.

Local experimental band Wei Zhongle open.

Julien Baker, Phoebe Bridgers, & Lucy Dacus, Thalia Hall

While Baker and Bridgers technically co-headline this show and Dacus opens, three of today’s most talented songwriters will also undoubtedly play songs by their boygenius project. The self-titled 6 song EP showcases some of each person’s talents individually, but the shining moments are when they collectively harmonize, like on “Bite The Hand” and “Ketchum, ID”. Meanwhile, “Souvenir” gives each singer her own verse about fixating on darkness, a theme that connects them all though their voices and singing and playing styles differ. Still, be glad that tonight’s show will feature solo sets from each, because the boygenius songs do, for me, lack Bridgers’ sense of humor and Dacus’s guitar chops and arrangements, minus the excellent, penultimate “Salt In The Wound”. For the most part, the builds are straightforward and eclipsed by emotion--something Baker exudes--but lack the climax of songs like Dacus’ “Night Shift” or even Baker’s “Turn Out The Lights”.

Every Time I Die & Turnstile, Metro

We previewed Every Time I Die’s set at Durty Nellie’s in March:

“Buffalo hardcore band Every Time I Die rocked Riot Fest 2015, and since that performance, they’ve released another great album, 2016′s Low Teens. Though they don’t have any new material since then, the combination of songs from their past two records, which includes their best, 2014′s From Parts Unknown, makes their set worth it alone, not to mention other career highlights.”

We previewed Turnstile’s show at Bottom Lounge in April:

“Earlier this year, Baltimore hardcore punk band Turnstile released their very good, genre-hopping second album Time & Space. It will be worth seeing to what extent they try to replicate live the studio flourishes present on the album. Nonetheless, they should play a fair amount of older material.”

Hardcore bands Angel Du$t & Vein open.

[thingermabobbers]

Dirty Projectors, photo by Jason Frank Rothenberg

[theseventhhex]

Amber Coffman Interview

Amber Coffman

Photo by Jason Frank Rothenberg

Ex Dirty Projectors member Amber Coffman strikes out solo with ‘City of No Reply’, a mesmeric record full of self-encouragement and enticing melancholia. ‘City of No Reply’ is a more forthright musical and emotive statement and is confessional in a way which suits the singer/songwriter’s thrilling arrangements. Coffman's debut is about beginnings, framing her reflections and declarations in neat cadenced pieces with a unique pop-oriented feel. Amber sings about independence, establishing a new life and learning how to be alone. Coffman's solo work is somewhat less trivial, allowing more room for her lyrical frankness and delightful vocals. Pleasant on the ears, earnest and finely detailed, ‘City of No Reply’ cements Coffman as both an inventive and accessible artist… The Seventh Hex talks to Amber Coffman about pulling from her surroundings, collaboration and the dread of indoor malls…

TSH: ‘City of No Reply’ is truly a great representation of your musical motivations. Having received so many kind words, how do you feel in the wake of this release?

Amber: It’s nice to have it out there and it feels really satisfying for me personally. I had completed the record in 2015, so I was sitting on it for quite a while; therefore patience was a key factor too. I’m glad that others have liked it and found their own connections with the record. For me, the process felt like taking baby steps again with my music. Overall, I’m mostly glad to be playing shows in support of this record.

TSH: During the early stages of forming this album you found yourself at a writing residency for women called Hedgebrook. Whilst you were out there you had your own tiny cabin, you listened to owls at night and fed llamas...

Amber: Oh yeah! That place was really amazing. The whole time I spent there was really beneficial to me with regards to this record. It was really nice to just have my distractions tucked away and to be able to nurture myself in a unique way. We had wood burning stoves and we’d gather wood in the morning at the wood shed, and like you said, we each had our own solo cabins. It just felt very special all in all.

TSH: Does this album bring to mind a specific state of mind for you?

Amber: I guess it can, but I’m not sure if it’s about one certain state of mind. It might be more about moving through different states. Since the album took so long, it represents a couple of very transitional years in my life. I feel that there were a lot of things that I was moving through and working out, which I’m sure is reflected within the record.

TSH: Your surroundings in Los Angeles were also quite impactful for this release?

Amber: Yeah, I just think to be situated here is really interesting, it’s the type of place where you sort of exist differently from the city in a way, whereas in other cities you’re constantly a part of them and a part of a moving machine. In Los Angeles, I don’t feel this way. Out here, it feels like you’re really alone with your thoughts, which is how the album title ties in, because there’s no one to answer you, but you.

TSH: What was the process like in bringing together ‘No Coffee’?

Amber: That song came together in such an organic way. I never had an idea or a type of song that I was trying to make before it was already in my head. The first thing that happened was the melody and from there the song already seemed to know what it was. I guess I was just embracing what was coming out of me.

TSH: What resonates with you most about a track like ‘Kindness’?

Amber: It’s a song that listeners can relate to and apply to their lives since it’s quite universal. I guess from my point of view the song is more like a snapshot in time.

TSH: One of the important things that you’ve taken away from this record was that you’ve learnt to respect your own process...

Amber: Yes, which was extremely important. Everyone has their own way of working, but not everyone is writing 25 songs in one month - not everyone goes so fast. I think that our world system of capitalism, consumption and production has really pushed people to want continuous output all of the time. However, this approach doesn’t really work for me, it’s not my personality. I need to think about things and take my time, which is why I want my creative process to feel valued.

TSH: You’ve had to overcome unfortunate adversities in your life both internally and externally in recent years. Do you feel like you’ve conquered a lot of the darkness?

Amber: Yeah, I do feel that I’ve definitely overcome a lot of the darkness in my life, including a lot of the struggles and issues that were brought to light with past issues. You know, I feel like I’m at the beginning of something now, which is a cool feeling to experience. In general, when you release music it feels like a moment of arrival, but for me it feels like the very beginning of something new, which is very exciting.

TSH: You’re somebody who is very vocal on Twitter about the injustices that take place in America with each passing day. Do you feel some sort of clarity amidst so much bedlam?

Amber: Oh man, I really don’t know. It’s hard to have clarity with the state that America is in right now. I think everyone is just feeling overwhelmed, numb and hoping for a positive shift to come into play. I do feel that there is hope and some positive changes and small victories are happening, bearing in mind so much chaos in the country. Nonetheless, since Trump’s arrival everyday has been so crazy and has left people feeling bummed out. I just think that we have to remain hopeful and have faith that we can enable positive changes. It sounds clichéd, but you have to remember what’s important and to be grateful for what you do have.

TSH: Do you still enjoy listening to the Intercepted Podcast to escape some of the disillusionment?

Amber: I do. I drift in and out and tend not to dive in too much though. Sometimes I really need it and sometimes I’m having trouble peeling myself away and I need to stop, haha. In addition to that podcast I also like following and looking into a host of interesting journalists on Twitter to keep up with what’s happening.

TSH: Can it be valuable for you to unplug from the constant newsfeeds coming at you from all angles and instead be out in nature?

Amber: Yeah, definitely. I do like to take a step back at times. I have to admit it’s hard for me to take a backseat since I like to keep engaged and informed, but sometimes you need to just get away and have some alone time. I often take the opportunity to leave the city and go somewhere really beautiful in order to feel separated from my normal surroundings. It’s just nice at times to not stare at a weird glowing screen because it’s not healthy. So yeah, being out in nature and processing your own thoughts is always helpful.

TSH: You’ve collaborated with the likes of Major Lazer, J. Cole, Frank Ocean and Riff Raff. It’s impressive how you’re not limited to one type of music. Does collaboration very much allow you to excel and broaden your horizons?

Amber: Yeah, I think so. It’s all been a bit of a learning curve for me to collaborate with other musicians. I think maybe there was a time when it didn’t matter as much to me what somebody’s message or meaning was with their music, since I was always very open to trying stuff out with whoever, especially if I liked the song. However, I’ve evolved from this standpoint now. I wouldn’t collaborate with someone now if I’m not vibing with what their messages are and what they are putting out there in general.

TSH: Talk us through why you tend to experience an existential feeling of dread when you’re in an indoor shopping mall...

Amber: Haha! It’s just this weird thing that we all seem to get lost in with regards to consuming. Going into a mall can definitely feel nostalgic, but there is also something a little disturbing about it. I think a lot of people just fall in line and consume all of this crap. Also, so many of the stores are giant corporations that are just exploiting people overseas and selling us a load of garbage. It goes for the food as well - the smells can trigger memories from childhood, which is kind of comforting in a way, but it also makes me feel like ‘get me out of here!’

TSH: What sort of preferences do you have in mind with your future musical ideas?

Amber: I just want to continue to explore. Also, I don’t want to compromise who I am or what I like with music in order to survive, I don’t intend on doing anything along this path. Going forward, I would like to work with a lot more women, that’s for sure. It’s something that I know is important to me and I feel strongly about. More than anything though, I just don’t want to repeat myself with my work, so I’ll continuously look to switch it up.

Amber Coffman - “No Coffee”

Amber Coffman - “All to Myself”

City of No Reply

[dentmay]

photo by Jason Frank Rothenberg

[mayanhandballcourt]

Photographer Jason Frank Rothenberg

[zwentner]

Dirty Projectors: ‘Lamp Lit Prose’ erscheint heute!

Ab heute ist das neue Dirty Projektors Album ‘Lamp Lit Prose’ im Handel.

13.07.2018

Seit ihr bereit für eine Neuauflage des crazy experimental pop der Dirty Projectors? Also ich schon und ich werd dann direkt mal schauen ob ich die “red & blue” limited Vinyl bei meinem Plattendealer erhaschen kann. Die ersten Fotos auf Discogs sehen noch schöner aus als auf den Mockup’s. Gibts natürlich auch online z.B. noch auf Amazon (affiliate link).

Happy Weekend!

( Erst wenn Du “Play” klickst, sammelt Google Deine Daten: Infos >Hier< )

( Erst wenn Du “Play” klickst, sammelt Google Deine Daten: Infos >Hier< )

Image Source: © JASON FRANK ROTHENBERG

*** Belong to the cool Kids! It’s Easy: Follow ZWENTNER.comon Social Media like Twitter, Facebook, Snapchat or Instagram for more Content of this Blog & about my Life ***

  from ZWENTNER.com https://ift.tt/2KUb4PB via IFTTT

[tvwriteups]

tvw’s 32 of 2016

#30: Fear the Walking Dead Alternative Title: Nick the Magical Gringo Junkie

If there was no Jason Rothenberg, I’d have no problem shoving Robert Kirkman to the bottom of the list of showrunners. The characters on this show make no sense and most of the actors on the show aren’t good enough to elevate the crappy material that they’re given. I’m happy they get paid for this dreck and get to do some cool action-y things but, ugh, please find a way to escape this show.

Winner of TVW’s...

Most Boring Spinoff Series

Pointless Web Series Award: Flight 462. So they come across the plane crash and a couple of survivors, one of whom they sort of screw over who them screws them over. And it...like, what was the point?

White Savior Award: Nick Clark (Frank Dillane). Mexicans are apparently dumb and need the magical gringo Nick to “save” them.

Least Convincing Couple Award: Madison Clark (Kim Dickens) and Travis Manawa (Cliff Curtis). Let’s put it this way, Victor Strand (Colman Domingo) and Thomas Abigail (Dougray Scott) were together for an episode and a half at most and they were far more convincing than Madison and Travis have been at any point for the entire series.

Worst TV Family Award: The Manawa-Clark family. The only member of that family I don’t want to throw something at is Alicia. At first I thought Ofelia Salazar was stupid for running away from them but now I wish Victor would do the same (and he sort of is).

Token Gay Character That Doesn’t Offend Me Award: Victor Strand. He’s also black. He’s a two-for.

Worst Actor on a Show TVW Watched Award: Kim Dickens and her inability to be compelling with anyone not named “Colman Domingo”. If Dickens were better, this show wouldn’t be this low.

Actor Too Good For This Show Award and Please Leave This Show So I Won’t Feel Like Watching It Anymore Award: Colman Domingo.

Actor On Too Many Bad Shows Award: Alycia Debnam-Carey. I watched 32 shows in 2016 and somehow ADC ended up on two of the three worst. (If you were on MacGyver you’d have scored a trifecta!) At least you ended up becoming an icon to the baby gay set who will follow you wherever you go.

[universomovie]

Décor do dia: banheiro chique em tons terrosos

Décor do dia: banheiro chique em tons terrosos

Bancada de mármore rosado está entre os destaques do ambiente FOTO JASON FRANK ROTHENBERG

Além dos tons terrosos, tão em alta na decoração, este banheiro tem outros elementos que, juntos, fazem do ambiente um objeto de desejo imediato. Enquanto os azulejos de metrô compõem uma base branca para a chegada do espelho redondo e das arandelas com acabamento dourado, a bancada de mármore rosado serve…

[fuckyeahcagatayulusoy]

Photo Credit: Jason Frank Rothenberg

[lovingdragonchaos]

Will the Suburbs Flip the House? Watch These Seats

Will the Suburbs Flip the House? Watch These Seats By Stuart Rothenberg

If elections and national surveys over the past year have shown us anything, it is that suburban voters could well be the key to the 2018 midterm House elections.

Turnout among minority voters and younger voters could affect the result in a district here or there, but an increase in suburban turnout or a substantial shift by suburban voters (especially suburban women) from the Republicans to the Democrats could have a much broader impact on the fight for control of the House.

In Virginia’s 2017 gubernatorial election, Democrat Ralph Northam ran ahead of 2013 Democratic nominee Terry McAuliffe by 11 points in Fairfax County and 10 points in Loudoun County, two large suburban areas outside Washington, D.C. He also did 9 points better than McAuliffe in two Richmond-area suburban counties, Henrico and Chesterfield.

Northam even drew a larger percentage in those four suburban counties than Hillary Clinton in the 2016 presidential election. The same trend held in the Alabama Senate special election in December, won in an upset by Democrat Doug Jones.

While Republican Roy Moore ran up large margins in rural areas, Jones won five of the state’s six largest counties. (Of course, Jones’s strong showing in those urban and suburban areas was undoubtedly due to the unique set of liabilities carried by his GOP opponent rather than President Donald Trump’s weaknesses.)

According to the 2016 exit poll, Trump carried rural areas comfortably, 61 percent to 34 percent, and most of those voters remain loyal to him. That shouldn’t be a surprise, since rural voters tend to be whiter and more traditional in their outlook than voters in urban America. (For a different view of defections from the Trump coalition, see Ron Brownstein’s Jan. 11 piece “The Voters Abandoning Donald Trump” in The Atlantic.) 

Given that, House Republicans campaigning in heavily rural districts are less likely to suffer because of Trump’s standing. That should be good news for GOP lawmakers like Maine Rep. Bruce Poliquin, whose district is 72 percent rural, and Montana Rep. Greg Gianforte, whose at-large district is 77 percent rural.

Suburban shifts Non-rural voters are a different story.

Clinton carried urban voters by 26 points (60 percent to 34 percent), but Trump’s narrow 49 percent to 45 percent margin in the suburbs, which accounted for almost half of all voters, allowed him to win an Electoral College majority even while he was losing the popular vote by more than 2 points.

Indeed, Trump’s winning margins over Clinton among suburban voters in Michigan (53 percent to 42 percent), Pennsylvania (52 percent to 44 percent), Wisconsin (55 percent to 39 percent) and Florida (53 percent to 43 percent) produced that victory.

If there is a partisan shift in the suburbs in November, a couple of dozen House Republican seats should be among the first to feel the movement.

In New Jersey, Rep. Leonard Lance’s district is 92 percent suburban, while the districts of retiring Reps. Rodney Frelinghuysen and Frank A. LoBiondo are 90 percent and 72 percent suburban respectively. Virginia Rep. Barbara Comstock’s district is 83 percent suburban. (All district breakdowns by suburban, urban and rural areas come from “The Almanac of American Politics, 2016.”)

In California, the districts of Reps. Steve Knight and Duncan Hunter are each 90 percent suburban, while retiring Rep. Darrell Issa’s open seat is 69 percent suburban.

Retiring Rep. Ed Royce’s district is evenly split between suburban and urban areas. In Michigan, departing Rep. Dave Trott’s seat is 99 percent suburban, while Rep. Mike Bishop’s is almost 78 percent suburban. Minnesota Rep. Jason Lewis’s district is 83 percent suburban, and Rep. Erik Paulsen’s is 66 percent suburban. Illinois Rep. Mike Bost’s district is 65 percent suburban.

Of course, all suburbs are not alike.

In some places, closer-in suburbs tend to be older and more moderate, while suburban areas farther out tend to be newer and more conservative.

Strongly conservative suburbs are less likely to be strongly anti-Trump, but even in those areas a shift to the Democrats could have a significant impact.

Not every Republican in a district that is at least 50 percent or 60 percent suburban is likely to lose, but many of them probably will if we have anything approaching a “normal” midterm election with an unpopular incumbent in the White House.

Expanding map Looking for other names to watch? Colorado Rep. Mike Coffman’s district is 49 percent suburban and 1 percent rural. Illinois Rep. Peter Roskam’s district is 77 percent suburban and 0 percent rural. Texas Rep. Pete Sessions sits in a district that is 47 percent suburban and 0 percent rural. Kansas Rep. Kevin Yoder’s district is 79 percent suburban.

There are other GOP seats that are majority suburban — including Georgia’s 6th (Karen Handel), New York’s 24th (John Katko), Virginia’s 7th (David Brat) and Ohio’s open 12th (Pat Tiberi) — and I have not listed any Pennsylvania districts, which have only recently been redrawn.

But clearly, at least four GOP-held seats in southeast Pennsylvania — Rep. Ryan A. Costello’s, Rep. Brian Fitzpatrick’s and those of retiring Reps. Pat Meehan and Charlie Dent — are at risk.

Finally, a handful of Republican-held seats in heavily urban districts that also have some suburban areas — Nebraska’s 2nd (Don Bacon), Florida’s 26th (Carlos Curbelo), Kentucky’s 6th (Andy Barr), North Carolina’s 9th (Robert Pittenger), California’s 44th (Mimi Walters) and Texas’ 7th (John Culberson) — could also be affected by movement in the suburbs, especially if combined with turnout and vote choice shifts in urban areas.

With Republican retirements and a new Pennsylvania map giving Democrats better House opportunities, the GOP needs to hold on to suburban voters who supported Trump in 2016. That won’t be easy, especially considering the president’s problems with more highly educated voters and suburban women.

View Article at Inside Elections

http://ift.tt/2D44opp