#Lars Sandberg

[elegancemultimuse]

OPEN: Female. CONNECTION: Ex-partner PLOT: Lars and your muse broke up some time ago. Things between the two of them just didn't work out but Lars wants for your muse to be happy Mostly Lars has been throwing himself into work as his failing business was one of the reasons for the breakup. The two of them have decided to meet for coffee to try to regain some sort of friendship between them.

"I hope you're feeling happier than you've ever been." Lars said honestly as he wanted nothing more for her at the moment. He'd been throwing himself into his ranch and some needed repairs. As a result he'd managed to save the ranch that a few months ago he'd been so convinced he was going to lose. He'd found a sense of happiness in that fact. Now all he wanted was the same for her. "I hope you find somebody new." Lars added as he wasn't sure if she'd met anyone. If she had, he wanted her to know that he'd be supportive of that idea. After all, break ups were meant for people to move on.

[elegancemultimuse]

Lars felt that he and Amanda really seemed to understand each other. It was not something he took for granted because he felt that real connections between people was rare these days. "I cannot see my feelings towards you changing." Lars told her as he could only see himself growing more fond of her as time goes on. "I am glad we can talk so openly about things."

the more the two of them spoke, the more compatible that they seemed to be and she liked that she could trust him to be honest with her. her smile grew as he spoke and she leaned up again to press a kiss against his cheek, lingering for just a moment. “i’m really happy to hear that. i mean, i want you to like me, especially since i like you as much as i do.”

[elegancemultimuse]

Closed Starter: @aeternuswords​ (Cora) 

Lars ran his finger along her bare thigh as he watched her read in bed. There was something about it that was irresistible. Even when she was just sitting here and trying to do something so simple, he found it almost torturous.  “You have no idea what you do to me.” He whispered softly into her ear. The man was hoping that he’d be able to break her away from her book, if even for a little while. He slide his fingers a little higher up now and waited for a response. 

[elegancepromos]

Rolling Up The Welcome Mat

Anthony Williams (Alfred Enoch FC): Anthony just proposed to his long-term girlfriend and was rejected. Your muse is the one who rejected him.

Harmony Jones (Janel Parrish FC): Harmony feels that her marriage is falling apart and she is ready to stop trying. Your muse is the estranged husband.

Garrett Walker (Elliot Fletcher FC): Garrett is reflecting upon the end of his marriage. Your muse is a close person to him.

Aaron Burke (Ben Levin FC): Aaron has recently started a new relationship but just ran into his ex for the first time. Your muse is his ex.

Alexandria Roberts (Adelaide Kane FC): Alexandria recently got out of a very serious relationship and has been avoiding telling people. Your muse is a close friend of hers.

Lars Sandberg (Zach Gilford FC): Lars wants to try to regain a friendship with his ex and agrees to meet them for coffee. Your muse is his ex.

Isaac Boucher (Avan Jogia FC): Isaac is into casual hookups which he is always clear about. Your muse has caught feelings.

Lana Neves (Luisa D'Oliveira FC): Lana recently lost the love of her life and is now going on her first date in a long time. Your muse is trying to pump her up.

[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: ...

[elegancemultimuse]

"I know you can handle it. It's more that you shouldn't have to." Lars said as he knew that he hadn't exactly been the nicest to her in recent months. It was easier for him to not expect things from her. Lars knew that if Wren saved him from himself that he'd just be even more of a jerk than he already was. He knew he'd overreacted and gotten too angry towards Wren. Lars had been able to work through his own feelings since then. "That is fantastic, Wren. I am happy for you."

Lars wished that life was easier. There had never been any sort of complication between him and Wren before, so it had been so weird having one lately. He just wished things could be normal again, or some new form of normal at the very least. "I shouldn't have reacted the way that I had. It wasn't fair on you." Lars admitted as it wasn't as though he'd been completely in the right either.

"What, you don't think I could handle that? I've helped you on the ranch before." Wren was never scared about getting down and dirty. And she had always liked helping because she got to spend time with Lars. Did he deserve her help? Probably not, but that was the thing about Wren. She didn't care about stuff like that, as long as she got her friend back. "The bakery has been doing really well. I hired two new girls to work the counter while Tanya and I bake. Things are running really smoothly. You should come check it out sometime."

She was relieved that he agreed to stop avoiding her. She had been pretty respectful she thought, but it had sucked. Not only had she lost Lars as a friend, but she had to stop hanging out with their mutual friends in order to avoid being around him and making him uncomfortable. Thinking about it made her emotional, so she tried to shake the thought from her brain. "I miss you too." She gave him a small smile, looking back down at her drink. "I thought I was doing the right thing by telling you my feelings. But I realize now that I was in the wrong for doing that. I didn't realize the consequences, that I'd end up losing my best friend. I hope someday you can forgive me."

[alexskarsgardnet]

New Interview & Photo Shoot!  Alex photographed by Johan Sandberg and interviewed by Timothy Small for L’Uomo Vogue (October 2020)!

Alexander Skarsgård: the photo shoot and interview for L'Uomo

BY TIMOTHY SMALL, JOHAN SANDBERG 25 SEPTEMBER 2020

Alexander Skarsgård is a really, really nice man. A Swede through and through, Alexander, or Alex, is a very down-to-earth gentleman who could definitely act as more of a big shot, considering he is also one of the most interesting actors in Hollywood right now, a town that, in true Swedish style, he once defined as “kind of silly”. After getting his first big break as the lead in David Simon's excellent Iraq War mini-series for HBO, Generation Kill, Skarsgård exploded in our collective imaginations as Eric Northman in True Blood, while also acting for Lars von Trier in the wonderful Melancholia. 

Since then, he has been a very buff Tarzan in The Legend of Tarzan, a mute bartender in future Berlin in Mute, a very dark killer in Hold the Dark, and a hilarious Canadian Prime Minister in Long Shot, as well as giving an Emmy- and Golden Globe-winning turn in HBO's Big Little Lies. The self-defined “restless” 43-year-old is set to star in The Northman, Robert Eggers's highly anticipated third film, a “Viking revenge story” that Skarsgård himself was crucial in bringing to production – and, by all accounts, it seems like it could have all the right pieces to become a future cult classic. It certainly has that kind of hype.

L'Uomo Vogue:  The Northman is such an interesting project. I know it's important to you. It's also part of a growing resurgence of interest in the Viking era and Norse mythology and that sort of epic Scandinavian adventure. How did it all begin?

Alex:  It all started seven or eight years ago. As a Swede living in America, I realised there was a certain level of fascination with the Viking era and Viking culture – and this was before any of the Viking shows that have since happened. It made me realise that there basically had never been a real great epic Viking movie made, and I thought that that's what I wanted to do.

LV:  So how did the project kick off?

Alex:  I started having conversations with a studio back then, trying to crack the best story. All I knew at the time is that I wanted to make a big Viking movie. We had a couple of potential different starting points: we had a story about two brothers, and then one about the Viking travels down to Constantinople with the Viking siege of the city. We were looking for the right story, but I never really felt we were there. I knew the scope I wanted it to exist in. But what was the story?

LV:  And that's when you met Robert Eggers.

Alex:  Yes, like three or four years ago. We met about something else. I can't remember how, but we started talking about Vikings. And he was, like me, a huge fan of Viking culture and of that historical era, and I immediately felt he would be the perfect guy to direct this movie. And then we found an author and poet in Iceland, Sjón, who came onboard to write the screenplay – and they did a fantastic job, just cracking the story and the essence of it.

LV:  Sounds great.

Alex:  It's a real adventure movie, but it's much more. It taps into the culture, and the mysticism of the Vikings, it becomes more intimate and more personal. I didn't want it to be a generic “swords-and-sandals” movie. Robert is one of the best filmmakers out there. And the whole process is so much more gratifying than when you're quote-unquote “just an actor”. It's been truly extraordinary.

LV:  But then you had to halt production.

Alex:  Yeah. I was in Belfast, Northern Ireland, three months into prep on The Northman about seven days away from principal photography. Just gearing up, you know, getting ready to start a very long, very intense shoot -- a shoot that we were scheduled to wrap in July – and that's when the virus hit.

LV:  What did you do then?

Alex:  I normally live in New York, while my family lives in Stockholm. When the first wave came, I was on the fence: nobody really knew how long it would be, or what precisely was going on. So we shut down production for six weeks. The idea was to then see what would happen. I basically moved to Stockholm for four months.

LV:  How do you feel about this forced break from work?

Alex:  I had not been home for this long in... more than 20 years. It was strange. We were in a bubble; we were all healthy and safe. In a lot of ways, I had moments when I felt being surrounded by my loving family, feeling safe and loved, and taking a break from work, but then also feeling very guilty because I was, for the lack of a better term, being spared.

LV:  In the past, you've described yourself as being a nomad. Did you miss Sweden and the North?

Alex:  I realised how much I have been missing it. I go to Sweden regularly, but usually only for three or four days, maybe a week, tops. My father and two of my brothers are actors, so we're used to never being in the same city. We all travel all over the world. Maybe we'd get back together for Christmas. And I can really say that I had missed spring in Sweden.

LV:  Do you think we will change the way movies are produced?

Alex:  We're going to have to figure out how to shoot movies with dozens of crew members and hundreds of extras while still respecting social distancing rules. It's an unprecedented situation and everyone is scrambling to figure out the best approach. My brother was one of the first people who worked in our industry during the pandemic. He shot a movie in Iceland in the middle of the lockdown. The way they solved it is they split the crew into colour sections. So, hair and make-up had yellow armbands and the camera department had blue, and they had a “Corona appointee” on set who would call out, “Now blue go in!” and then “Blue, out! And yellow, in!” And then they would all do their job in turns. It was very military-like. Productions are already complicated, so we'll just have to add another layer.

LV:  How did you become an ambassador to the Clarks brand?

Alex:  To me, authenticity is very important. I don't want to endorse products I don't genuinely like. That's why I was excited when Clarks reached out. I've been wearing Desert Boots for 25 years. Also, I like to travel a lot. I like to explore new cities by foot. I want to be able to walk around comfortably in a classic, iconic shoe. I travel from movie set to movie set, and I often live out of a suitcase. And this teaches you to be frugal. Whatever fits in that suitcase, that's all I can bring.

LV:  Is that the Swede in you?

Alex:  Maybe. But we consume way too many things in this society. Also, you give things more meaning when you live with them, and when you go on adventures with them. Like, these are my boots. I've been places with them. And when they fall apart, I'll buy a new pair. If you have the right stuff to begin with, you don't need more.

LV:  Going back to The Northman, that really sounds like a dream project.

Alex:  It is. It will be a rollercoaster ride. I can't wait to get back to Northern Ireland and get back to the production. It's also a very physically demanding project, so I have been training for, well, since a few months before production stopped.

LV: In a way, getting into a role, getting on a movie set, acting through it, the whole process of making a movie is a bit like a little adventure. You have to prep, you have to travel, often with people you don't know, and you have to push boundaries.

Alex:  Absolutely! A huge part of the appeal of this profession is you get to travel, and you meet amazing, interesting people from all over. And the uncertainty, you know? What was it, 12 years ago, I was in New York, and I'd never heard of Generation Kill. And then two days later I was on a plane to the Kalahari Desert to be out there for seven months to shoot the series. And I'll never forget the feeling, sitting on that plane, thinking, “Two days ago I didn't even know about this project, and here I am on my way to Southern Africa to spend seven months in the desert with 200 strangers.” It's very exciting.

LV:  What a feeling that must be!

Alex:  And every single job is like that. Every movie is different. Your part, the tone, the energy, the people – it's always different. And for someone like myself, who has that kind of wanderlust, who's always looking on the horizon, it's very attractive to never know just what the next adventure might be.

October 14, 2020:  Updated with the full interview courtesy of our friends at the ASkarsLibrary (x).

Fashion credits:

Photographs by Johan Sandberg Styling by Martin Persson Grooming Karin Westerlund @ Lundlund Hair Amanda Lund @ Lundlund Stylist’s assistant Isabelle Larsson Digital Daniel Lindgren Production Madeleine Mårtensson and Olle Öman @ Lundlund

Read the full interview by Timothy Small and see the photo shoot by Johan Sandberg in the October issue of L'Uomo, on newsstands from September 22nd.

Sources/Thanks:  Interview:  Timothy Small for L’Uomo Vogue (x), Photos:  Johan Sandberg for L’Uomo Vogue (x), artlistparis.com (x) via artlistparisnewyork instagram (x),  luomovogue instagram (x) &  atomomanagement.com (x) via atomomanagement instagram (x), our caps from artlistparisnewyork’s September 23, 2020 insta story (x, x)

[elegancemultimuse]

Closed Starter: @aeternuswords​ (Leila)

Lars had known there was going to be some backlash when he came in and bought the ranch. People didn’t like change and he’d come in with a list of things he felt needed to be improved. It didn’t help that the previous owner had died and left behind a daughter who seemed to hate Lars solely because he’d been the one to buy the ranch. The man was out in one of the fields fixing a fence when he felt a set of eyes on him. He looked up and spotted Leila. “What is it now?” Lars asked as he was sure she was about to complain about something.

[elegancemultimuse]

"Easier is good." Lars said as life could be complicated. Sometimes it was fine to accept easier. Most stuff in his day to day life didn't have an easy solution though, and he felt that was true for most people. Lars wasn't sure how to respond to Kaia's words. He wasn't used to compliments if he was being honest. At least not the ones that seemed to trail on like the one's that Kaia was giving him right now. "Thank you, that means a lot." He finally said as it seemed like the best response that he could give her right now. "Most creatures do tend to be a little more at ease with life once they've been fed."

"It comes with the territory." Lars replied but it was just his norm by this point. He'd never really had the chance to sleep in or anything in his life. Lars had always had too many responsibilities. "To be honest, I am not sure I'd like it to become with giant corporation." Lars told her as the ranch was plenty successful as it was. He wouldn't like the attention that came with it becoming a huge business. "I do sell my stuff there occasionally."

@elegancemultimuse​ || Continued from ➤THIS

“Good, it will make your life a lot easier.” She smiles, joking with him. “Nobody does, but I think it’s an interesting quality about you.” She admits. “I like mysterious. It means you have got a lot to offer the world, and you will do anything in your power to make it work. A lot of times, mysteries go unnoticed a lot, especially in the workplace, but I see you and I think you are great at what you do.  I hope you continue to do it and follow your gut.” Kaia really wanted Lars to know, she thought he was awesome and proud of all he’s done so far for the company. She knew their bosses didn’t do it, so Kaia appointed herself the company’s personal cheerleader for all good employees.  “I would imagine they wouldn’t as long as they got their food.” She says with a sweet smile.

 It really amazed Kaia how dedicated Lars was because she knew for a fact, she could never run a farm and work at a high-end advertisement firm all at once. Lars had a talent. “I now understand why you look tired all the time,” she chuckles a little. “I think so too, I just want them to use something and not complain, you know. Have you ever considered using the firm to help expand your farm business?” She asked him curiously. “You know, like with all the advertising and stuff. I bet you’d make a killing in the industry. Plus, it could be like your way and maybe it might help you in the end, you know? Do you like to go to farmers markets?”

[wapiti3]

Anguis fragilis, or slow worm

Tommi Sandberg-Lars Bergendorf photographers

[nicksswedishblog]

10 Swedish fiction books

1.We Know You Remember- intricately plotted police procedural set in the alluring landscapes of Sweden’s High Coast region of Ångermanland. A murder in a small town brings the memory of a long-closed murder case rising to the surface, uprooting guilt, collective grief and the town’s festering secrets. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

2.Rites of Spring - After moving to the small, inward-looking community of Tornaby in Skåne, a doctor becomes embroiled in the investigation of a decades-old murder of a young girl. Feeling an affinity with the young girl’s troubled past, she becomes increasingly determined to unearth the truth – and with it the community’s painful secrets. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

3. Anxious People - From the multi-million-selling author of A Man Called Ove comes this witty, unpredictable story about a bank robbery gone wrong and the havoc that ensues. After trying to hold up a cashless bank, a would-be robber bursts into an open apartment viewing and politely takes everyone hostage. In true Backman form, the novel is packed full of exuberant, entertaining characters, from bitter IKEA addicts to ridiculous estate agents to an actor-slash-rabbit. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

4. Osebol - this quiet, meditative ode to a small Värmland village on the brink of depopulation is quite unlike anything else. Composed of the interwoven testimonies of almost all of the 40 remaining inhabitants of Osebol- - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

5 The Family Clause- a bad-tempered, arrogant father’s ten-day visit to Stockholm to see his adult children brings old tensions to breaking point. Told from the perspectives of multiple characters (including a ghost and a four-year-old child), personal crises, generational conflicts and painful memories build to a heady cocktail of familial resentment and frustration, as the son tries to break free of a pact he made with his father. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

6. To Cook a Bear - It is the summer of 1852 in a small village in Sweden’s far north. Jussi, a young Sami boy fleeing an abusive home, is taken in by kind and charismatic Revivalist preacher Lars Levi Læstadius. Jussi becomes Læstadius’ eager disciple. When a spate of murders strike the inward-looking community, Jussi assists the preacher in unmasking the true predator. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

7.Nordic Fauna - In this collection of strange, mesmeric short stories, Andrea Lundgren explores the borderlands of the human and natural (and even supernatural) worlds to create a northern magical realism with a dark, earthy undertow. From foxes to whales to angels, the creatures that roam through this collection spark a desire for something more in their human counterparts: a longing for transformation. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

8. The Bear Woman - As punishment for a scandal aboard a ship, a sixteenth-century French noblewoman, Marguerite de la Rocque, is abandoned on a small island north of Nova Scotia. Against all the odds she manages to survive. Centuries later, a writer sets out to rescue her story from the margins of history, but her search for ���the Bear Woman’ forces her to contemplate much wider questions of fact and fiction, and her own writing process. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

9. W. - In this internationally acclaimed novel, Steve Sem-Sandberg masterfully pieces together the life of Johan Christian Woyzeck – a former soldier who killed the woman he claimed to love, and the subject of Georg Büchner's ground-breaking unfinished play from 1836. Making use of archive and documentary material, Sem-Sandberg explores the life and inner turmoil of Woyzeck, and the unjust society that created him. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

10.  The Antarctica of Love - Opening with the brutal murder of a young woman on the margins of society, Sara Stridsberg’s stunning yet haunting fifth novel follows its protagonist, Inni, into the afterlife, as she looks back on her life, her murder, and the ongoing lives of those she left behind. - https://sweden.se/culture/arts-design/10-must-read-books-from-sweden

[academicus]

30+ Buku Rekomendasi 2017 Dari Twitter & Instagram Stories

Dua hari yang lalu saya menulis daftar 10 buku terbaik yang saya baca di tahun 2017. Saya membagikan daftar ini di twitter dan instagram stories, dan menanyakan buku seru yang dibaca teman-teman selama 2017.

Ternyata banyak banget yang reply dan kasih rekomendasi buku terbaik 2017 versi masing-masing.

Karena banyak banget rekomendasi buku seru yang masuk, saya memutuskan untuk merangkum semuanya dan membagikan daftar rekomendasi ini supaya lebih banyak orang bisa baca buku keren di tahun 2018.

Berikut daftar rekomendasi buku beserta penulisnya yang bisa jadi target bacaan di tahun 2018:

Hilbilly Elegy - J.D. Vance

Present Shock: When Everything Happens Now - Douglas Rushkof

The Alchemist - Paulo Coelho

Option B: Facing Adversity, Building Resilience and Finding Joy - Sheryl Sandberg

Grit - Angela Duckworth

Design Your Life - Bill Burnet

Mindset - Carol S Dweck

Hooked - Nir Eyal

The Subtle Art of Not Giving A Fuck - Mark Manson

Unboss - Lars Kolind

The Art of War - Sun Tzu

The Panama Papers - Bastian Obermayor

The Four: The Hidden DNA of Amazon, Apple, Facebook, and Google - Scott Galloway

An Astronaut’s Guide to Life on Earth - Chris Hadfield

The Fall of Ottomans - Eugene L. Rogan

The Book of Joy - Desmond Tutu & Tenzin Gyatso

Prophetic Parneting - Muhammad Nur Abdul Hafizh Suwaid

The One Thing - Gary Keller

What If?: Serious Scientific Answers to Absurd Hypothetical Questions - Randall Munroe

Faces and Places: A Traveler’s Note - Desy Anwar

Misbehaving: The Making of Behavioral Economics - Richard Thaler

The Minto Pyramid Principle

Origin - Dan Brown

Find Your Why - Simon Sinek

Manuscript Found in Accra - Paulo Coelho

The Curios Incident of A Dog In Midnite - Simon Stephens

Kolam - Sapardi Djoko Damono

Pingkan Melipat Jarak - Sapardi Djoko Damono

Sisi Gelap Cinta - Mira W.

7 Habits of Highly Effective Teens - Sean Covey

The Namesake - Jhumpa Lahiri

Gen M: Young Muslim Changing the World - Shelina Janmohammed

21 Kualitas Kepemimpinan Sejati - John C Maxwell.

Sapiens - Yuval Noah Harari

Berbagi daftar buku favorit jadi cara yang menyenangkan dan seru untuk menutup akhir tahun. Saya akan menjadikan ini habit yang akan saya jalankan setiap tahun.

Terima kasih untuk teman-teman yang sudah ikut rekomendasi. Semoga daftar ini bisa bermanfaat dan jadi acuan untuk memenuhi 2018 dengan lebih banyak buku.

Salam kreatif!

Follow saya di twitter dan instagram: @iqbalhape

[anettetheresepettersen]

En stille katastrofe

I en tid med stengte teatersaler er det gledelig å se at flere av de norske teatrene nå også utforsker radioteatersjangeren. Ett av disse initiativene er Oslo Nye Teaters Til ettertiden.

Det er rart å leve i en tid som man ennå ikke har et begrep for, i en samfunnstilstand man foreløpig ikke vet hvordan eller hvor lenge vil strekke seg ut i tid. Vi lever med «de mest inngripende tiltak som er gjort i fredstid», sier Erna Solberg, og samtidig lever mange av oss i en privilegert tilværelse. Det finnes en utside, en tilværelse som ikke samsvarer med innsiden, med opplevelsen av den samme. Der ute er det fortsatt vekselvis sol og regnvær, måkeskrik og barn som leker i hagen tvers over gata for kjøkkenvinduet mitt. Det livet som utspiller seg innenfor og utenfor vinduet er så trivielt og lite spektakulært, og stemmer overhodet ikke overens med det nyhetsbildet som formidles fra radioen på kjøkkenbenken. Hvordan vil fremtiden omtale denne tiden og denne tilstanden vi nå befinner oss i? Det er mot dette punktet frem i tid at hørespillet Til ettertiden retter seg med den samme ambivalensen, som en famlende hånd som forsøker å forstå hvordan noe kan være hardt og mykt samtidig.

Radiodramakollektiv Til ettertiden ble initiert av ensemblet på Oslo Nye Teater, og de har fått selskap av en lang rekke skuespillerkolleger ellers i feltet. Replikkene er spilt inn av hver enkelt, og siden satt sammen til én lydfil. Teksten er skrevet av Ida Marie Hede, Marie Bjørn, Niels Erling og Jörgen Dahlqvist, og ble først produsert av danske Akt1 og Teater Momentum. Akt1 er et radiodramakollektiv som omtaler seg selv som «hele Danmarks lydteater», og som siden 2013 har lydiscenesatt nordisk samtidsradiodrama. Dette radioteateret har også et eget program eller en strategi hvor de utfordrer forfattere til å skrive for radio. Blant dem er forfattere som Olga Ravn, Amalie Smith og Stine Fevik (som også er skuespiller ved Oslo Nye Teater). I 2017 begynte Akt1 å utgi antologier med hørespill, og på teaterets nettside ligger hele ti bind i denne serien med «debuterende radiodramatikeres bud på et hørespil af i dag» (Kilde her, side 10.) Blant de mange tilgjengelige podcastepisodene finner vi også en iscenesettelse av Lisa Lies Medeamonologer.

I presentasjonen av Til ettertiden står det på Akt1s hjemmeside: «Vi har været frustrerede. Vi har været bange. Vi savner jer. Derfor har vi skabt et ekstraordinært hørespil specielt til denne mærkelige tid. Det hedder TIL EFTERTIDEN (SAMMEN HVER FOR SIG).» Og det er altså denne teksten som nå foreligger i norsk hørespillvariant. De 135 danske skuespillerstemmene er erstattet av 88 norske (hvorav tre av dem er barn), i regi av Ilene Sørbøe. De 88 stemmene speiler bredden i opplevelsene, kroppene og minnene som teksten omhandler. Teksten kan kanskje best beskrives som et kor hvor medlemmene av koret fremfører deler av individuelt – omtrent som en lang, lang rekke solonummer.

Tilværelsens ytterpunkt «Jeg vil be deg om ikke å glemme smaken av saltvann». Slik åpner hørespillet, som består av en lang rekke ting man oppfordres til ikke å glemme. Alt fra det første kyss, en elskers kropp eller opplevelsen av redsel ved en mors hjerteinfarkt – til lyden av oppvaskmaskinen og alarmen på telefonen. Med andre ord både de store hendelsene i livet og de mer hverdagslige. Teksten gir et nikk til Inger Christensens diktantologi Alfabet (1981), hvor Christensen alfabetisk ramser opp eksistensen av ting. «Aprikostrærne finnes», åpner Christensens dikt, mens Til ettertiden altså åpner med en direkte oppfordring om ikke å glemme smaken av saltvann, fra et jeg til et du. Etter en beskrivelse av den sanselige dimensjonen av saltvannets smak, som flyter over i beskrivelser av kyss, kommer det en ny stemme som ber «deg ikke å glemme huden på magen, huden til en elsker etter et bad». I stedet for å konstatere at noe finnes, så er det en direkte henvendelse fra en lang rekke jeg-stemmer som ber ‘deg’ om ikke å glemme. Dette knytter teksten og erfaringene som ramses opp tettere til lytterens egne erfaringer og iscenesetter på sett og vis lytterens fantasi og hukommelse. «Jeg ber deg om ikke å glemme meitemarkens toleranse for menneskene», sies det. Og jeg undrer: Er det toleranse eller er det egentlig avmakt meitemarken opplever? Tanken om at meitemarken har toleranse for oss gir den agens og er mer spennende enn avmaktsteorien.

Replikkene fremføres med vekslende grad av patos og med ulik grad av bakgrunnsstøy. Dette, samt de mange dialektene skuespillerne benytter, får teksten til å fremstå kollektiv. Mellom, og tidvis under, stemmene høres et lydbilde som innledningsvis er monotont og melankolsk. Det begynner med enkle akkorder og vokaler, som etter hvert utvikler seg til et mer drivende lydbilde med trommer. Det er et annet lyddesign enn det i Akt1 og Teater Momentums versjon, men lydstrømmene minner likevel om hverandre.

Kontrastfri Jeg driver inn og ut av mine egne minner parallelt med hørespillets oppramsing av alt det som er verdt å huske. Samtidig fører du-grepet til større distanse hver gang det er dissonans mellom erfaringen som deles og egen erfaring eller opplevelse, og etter hvert fremstår også teksten noe monoton. Hva vil det for eksempel si å «stå ren overfor eksistensen»?

Kanskje skyldes denne lytteopplevelsen også at jeg hører hørespillet nå, i begynnelsen av mai, etter nesten to måneder i en slags hjemmekarentenetilværelse, mens det opprinnelig ble skrevet i mars, nokså kort tid etter at tiltakene var iverksatt og opplevelsen av kaos (og potensiell apokalypse) var mer nærværende. Jeg befinner meg i en ettertid, men muligens fortsatt for tett på den tilstanden teksten beskriver. I den monotone hverdagen jeg nå oppholder meg, hvor dagene er så til forveksling like at jeg daglig sjekker kalenderen fordi jeg helt på ordentlig ikke klarer å holde oversikt over hvilken dag det faktisk er. Kanskje er det også motstand i meg fordi noe av det eneste jeg gjør nå om dagen er å huske, og fordi tekst og lydbildet er motstandsløst.

«Lengselen etter å kunne leve og over å kunne dele den følelsen av liv med andre», sies det i Til ettertiden. Det er en replikk som er lett å kjenne seg igjen i. Er det ikke det nettopp denne lengselen vi ofte kjenner på når vi er i kunsten? Men «følelsen av liv» oppstår særlig i de mer uventede tekstpartiene i hørespillet. Som oppfordringen til å huske Pisang ambon og de som holdt håret ditt da du kastet opp. Pisang ambon! Denne ufyselig søte, grønne likøren hadde jeg faktisk glemt.

FAKTA

Til ettertiden Av: av Ida Marie Hede, Marie Bjørn, Niels Erling og Jörgen Dahlqvist Regi: Ilene Sørbøe Lyddesign: Audun Melby Original musikk: Audun Melbye og Steffen Hofseth Med: Kari-Ann Grønsund, Stine Fevik, Suzanne Paalgard, Andreas Stoltenberg Granerud, Modou Bah, Trine Wenberg Svensen, Emilie Mordal, Ingvild Holthe Bygdnes, Henriette Faye-Schjøll, Sarah Christine Sandberg, Knut Wiulsrød , Johannes Joner, Eldar Skar, Mari Dahl Sæther, Helle Haugen, Birgitte Victoria Svendsen, Petter Vermeli, Tarjei Sandvik Moe, Ida Cecilie Klem, Linn Skåber, Iver Innset, Duc Mai-The, Heidi Ruud Ellingsen, Bjarte Hjelmeland, Bibi Nerheim, Mads Henning Skar-Jørgensen, Melina Tranulis , Olavus Udbye, Sven Nordin, Helle Haugsgjerd, Niklas Gundersen, Karina Cecilie Bergmann, Jannike Kruse, Espen Mauno, Bente Børsum, Ine Marie Wilmann, Marit Østbye, Ester Grenersen, Ivar Nørve, Julie Støp Husby, Kari Simonsen, Solveig Andsnes , Janne S. Bønes, Hina Zaidi, Lars Berge, Kim Haugen, Cato Skimten Storengen, Lena Kristin Ellingsen, Cornelia Børnick, Hilde Louise Asbjørnsen, Ingrid Liavaag, Ida Ursin-Holm, Charlotte Øverland Våset, Trond Fausa Aurvåg, Kim Sørensen, Sindre Postholm, Dagfinn Tutturen, Eivin Nilsen Salthe, Unni Wilhelmsen, Ingrid Vollan, Ida Holten Worsøe, Thea Bay, Guro Karijord, Håkon Ramstad, Gunnar Eiriksson, Maja Evenshaug Kristiansen, Arthur Hakalahti, Mari Maurstad, Marte Germaine Christensen, Øystein Røger, Hanne Dahle, Hans Marius Hoff Mittet, Kim Helge Strømmen, Helén Vikstvedt,  Mari Lerberg Fossum, Svein Tindberg, Sisi Sumbundu, Hanne Skille Reitan, Eli Stålhand, Henny Stålhand Arnø, Oscar Stålhand Arnø, Mattis Herman Nyquist, Marit Andreassen, Caroline Navestad, Marian Aas Hansen, Per Emil Grimstad. Oslo Nye Teater, premiere 30.april 2020

Teksten ble opprinnelig publisert på Scenekunst.no 7.mai 2020.

Foto: Oslo Nye teater.

[elegancemultimuse]

Lars was glad the feeling was mutual. He didn't have a lot of positive things going for him lately. "A top up sounds good." He said as he was running low. Lars had been drinking mostly as something to do with his hands. It was a a bit of a nervous habit really.

"Me too..." She didn't know exactly what caused them to land in each other's laps, but she was grateful for it nonetheless. Lars was a good man and he made her happy, something that no one had done for a long time besides herself. "Need a top up?" she asked, motioning to his glass.

[faschingsvanner]

Ett Gott Nytt Mycket Mycket Bättre År 2021🎶 🎶 🎶🎶

Bästa Faschingvän,

Låg årets julklapp - boken Fasching The Finest Live Jazz since 1977 - i tomtens julklappssäck? Om inte, skrid till handling och köp den själv, det är du värd! Fasching har extra öppet för dig som har möjlighet att göra ett besök och hämta boken, närmast fredag 8/1 kl 11-19 och lördag 9/1 kl 12-16. Ditt vänpris för boken är 270 kr. Du kan också köpa boken on line via Faschings hemsida för leverans till närmaste DHL Service Point, 69 kr frakt tillkommer. Använd rabattkoden FVJUL20. Fyll i den i webshopen under presentkort/rabattkoder.

Köplänk: https://secure.tickster.com/893y517u6ecjl9p?t=t7y698h0

Läs mer om boken här: https://www.fasching.se/boken-om-fasching/

På Fasching har det varit full aktivitet för Eric Birath och personalen med att packa beställda böcker och sälja på plats. Eric uppskattar att ca 1/3 av alla beställda böcker redan har sålts och han är mycket stolt för alla positiva kommentarer från tidigare medarbetare, fotografer, köpare mfl. Boken kommer att finnas i handeln någon gång efter nyår, men inte till samma förmånliga pris som via Fasching. Vid vårt besök hade barchef Fredrik Olsson säljjour, barens alla färgglada flaskor är nu bortplockade och hyllorna fyllda med böcker - detta praktverk om Fasching i storformat på 256 sidor och över 200 bilder och illustrationer. Boken ges ut av Carlson Förlag och är skriven av författaren och journalisten Göran Jonsson. Läs Patrik Sandbergs intervju med Göran på länken

https://orkesterjournalen.com/ny-bok-om-jazzklubb-fasching/

Bästa hälsningar från Faschings Vänners styrelse Emil, Bosse, Eva, Hasse, Hans, Lars, Jari och Anders.

Vi är tacksamma för att alla som betalar sin medlemsavgift gör det via Swish eller bankgiro med OCR så att vårt digitala medlemssystem inkl digitala medlemskort blir korrekt uppdaterade. Har du frågor, skriv till medlem@faschingsvanner.se

[vassaeggen]

Lista! Här är alla litterära referenser i Kerstin Ekmans Grand final i skojarbranschen

Kerstin Ekmans roman Grand final i skojarbranschen (2011) är en av Kerstin Ekmans mest underhållande. Det är också en slags självbiografi där hon gör fiktion av sitt liv och sin författarkarriär genom att påstå att böckerna skrivits av en Babba Andersson medan ansiktet utåt varit Lillemor Troj (Ekmans flicknamn var Hjort, alltså Troj baklänges).

Men romanen ger också en inblick i den litteratur som hela tiden följt och format Kerstin Ekmans författarskap. Ekman slog igenom som deckarförfattare 1959 och några av den tidens stora författare som Vic Suneson, HK Rönblom och Maria Lang nämns, men inte i särskilt varma ordalag.

Ekmans kanon är snarare klassikerna och den seriösa litteraturen. De två verk som hon refererar flest gånger till är romansviten om Släkten Thibbault, skriven av nobelpristagaren Roger Martin du Gard i början av 1900-talet, samt Thomas Manns Doktor Faustus. Det sistnämnda är kanske inte så märkligt, då hela Grand final i skojarbranschen bygger på den där Faustmyten att sälja sin själ till djävulen.

Martin du Gards romaner är ganska typiska 1900-talsromaner i åtta delar. Det är kronologiskt, detaljrikt och väldigt rotat i sin tids stora frågor som religion (katolicism, ateism) och politik (revolution eller konservatism). Det är frågor som Martin du Gard inte lyckas göra till evigt intressanta som t ex Dickens och Tolstoy, för att nämna två andra författare som Ekman nämner i sin roman.

Jag har satt samman en lista på alla författare och deras verk som nämns i Grand final i skojarbranschen. Jag har uteslutit några som inte används som litterära referenser utan t ex en von Heidenstam-dikt som används som en tidsmarkör av ett barndomsminne. Alla sidhänvisningar gäller pocketutgåvan.

Percy Bysshe Shelley - Ode to the West Wind (s.11)

Gunnar Ekelöf - Om hösten (s. 46)

Karen Horney - Att förverkliga sig själv (s. 49)

Thomas Mann - Buddenbrooks (s. 52)

Roger Martin du Gard - Släkten Thibbault (s. 52)

Stendhal - Rött och svart (s. 52)

HK Rönblom (s. 61)

Honoré de Balzac - Den Mänskliga komedin (s. 64)

Nevil Shutes - På stranden (s. 68)

Vergilius - Bucolia (s. 68)

Gunnar Ekelöf - En värld är varje människa (s. 87)

Tolstoy - Anna Karenina (s. 114)

Truman Capote - In cold blood (s. 114) referens till Herb Clutter

Steve Sem-Sandberg - De fattiga i Łódź (s. 114)

Sven Delblanc - Prästkappan  (s. 131)

PO Enquist - “hade nätt och jämt kommit i stöten vid den här tiden” (s. 131)

Dagmar Edqvist (s. 131)

Alice Lyttkens (s. 131)

Birgitta Trotzig  (s. 131)

Sara Lidman (s. 131)

Rachel Carson - Tyst vår (s. 134)

Walter Scott - Ivanhoe (s. 134)

August Strindberg - Röda Rummet (s 134)

Honoré de Balzac- Förlorade illusioner (s. 134)

Thomas Mann - Doktor Faustus (s. 149)

Lars Ahlin - Stora glömskan (s. 161)

Eyvind Johnson - Strändernas svall (s. 161)

Charles Dickens - Bleak House (s. 164)

Moa Martinson - Kyrkbröllop (s. 175)

Karin Boye - För trädets skull (s. 210)

TS Eliot - Det öde landet (s. 210)

Bo Setterlind - Döden tänkte jag mig så (s. 210)

HG Wells - The History of Mr Polly (s. 264)

Herman Wouk - Youngblod Hawke (s. 270)

Jan Fridegård - En natt i juli (s. 273)

Karin Boye - Astarte (s. 336)

Hjalmar Bergman  - Jag, Ljung och Medardus (s. 338)

Astrid Lindgren - Pippi Långstrump (s. 338)

Elias Canetti - Masse und Macht (s. 362)

Eyvind Johnson - Hans Nådes tid (s. 363)

Lars Ahlin - Natt i marknadstältet (s. 363)

Lars Ahlin - Gilla gång (s. 363)

Willy Kyrklund - Solange (s. 363)

Willy Kyrklund - Mästaren Ma (s. 363)

Harry Martinson - Aniara (s. 363)

Sisela Bok - Lying (s. 365)

Robert Musil - Mannen utan egenskaper (s. 369)

Jane Austen (s. 388)