#Lennie lfs

[cornbread818]

Thank you to everyone who participated in my two different events! Here is the finished pieces ^3^ I had alot of fun. I want to try to include more Tumblr suggestions since only 2/13 chr. are from Tumblr — “Wait?! But there’s only 12 chr. here?” That’s correct, I had to move Igor to another canvas so that it’d be even, he will appear in my next event. I will take a rest now.

If you want to use these as icons, go ahead! Remember to credit me.

[tr4sh-talker]

bbau stuff

[ayupimqueen]

Toughts on Red dead redemption 2 so far as someone who is playing it for the first time with really few spoilers pt.3

😭😭😭😭😭😭😭😭

Lmao and thers the Tahiti joke WAIT HOW THE FUCK DID I ENDED UP IN CUBA????

IT WENT FROM 0 TO 10 TOO QUICKLY

ALL LF MU FAVOURITES ARE GONEEEE

LENNY AND HOSEA GOT KILLED 😭😭😭😭

JOHN IS ARRESTED CHARLES SACRIFICED HIMSELF AND JAVIER GOT ARRESTED IN CUBA

I DONT KNOW WHERE SADIE IS 😭😭

ALSO KIERAN MAAAAN 😭😭😭😭

AND HOW DUTCH JUST SAID HOSEA THE FREAKING PINKERTONS KILLED HIS HUSBAND 😭😭😭

I CANT I DONT WANNA PLAY ANYMORE 😭😭😭😭😭

AND THAT COCKROACH NAMED MICAH IS SOMEHOW STILL ALIVE AAAAAGH

[goalhofer]

2024 Detroit Tigers Famous Relations

#25 Matt Manning: Son of former Alnujum Alzarqa C Rich Manning. #49 Alex Faedo: Nephew of former tigers hitting coach Lenny Faedo. #15 Carson Kelly: Brother of Spokane Indians 1B John Kelly. #28 Ednel Báez: Brother-in-law of Toronto Blue Jays P José Berríos. #22 Parker Meadows: Brother of former tigers LF Austin Meadows. 3B coach José Cora: Brother of Boston Red Sox manager Alex Cora. Bench coach George Lombard: Father of Tampa Tarpons SS George Lombard; Jr..

[miyacreampie]

Lenny sensei's night class has begun!~♡

“Senpai~♡”

synopsis 💭;; Tanaka gets jealous bc some bitch talking to his man.

note 🖋️;; IT TOOK A WHOLE FUCKIN WEEK TO WRITE THIS. WHY DOES WORK ALWAYS PREVENT ME FROM DOING THE THINGS I LIKE? WHAT THE ACTUAL FU- by the way, ‘Isayama Misaki’ is based off of some asswipe I used to know- also, I ran out of ideas at the end, so it kinda cuts of lf at the good part. I apologize to the anon that requested this.

Requested by anon ♡

Male pronouns used

Tanaka wasn't a jealous man. Or at least he'd like to think so.

(Y/n) was pretty popular around campus, so it wasn't a surprise to see a few fangirls here or there. It kinda reminded him of Oikawa—except (Y/n) didn't exactly pay his fangirls any attention. (And he didn't have an ass as flat as printer paper.) But did that stop them from trying to get into his pants? No.

In all honesty, Ryu felt lucky that he had someone like (Y/n) as a boyfriend, although he didn't like the fangirls—who paid him no mind whenever they were together. It annoyed him that they kept surrounding (Y/n) who clearly wanted nothing to do with them, begging him for dates, one night stands, anything.

To say that Tanaka was mildly uncomfortable was an understatement.

🌇🌇

Today was a bit different. Instead of a crowd of women rushing towards (Y/n), it was just one—; Misaki Isayama. The woman (almost) every guy considered perfect. This was...manageable, but what did she want? Well—at least it was only one girl. He had only woken up a little over an hour ago, and wasn't exactly ready for his simps just yet.

“(L/n)-chan, can you help me study for the science exam that's coming up?”

“Just because you're my upperclassman, doesn't mean you can call me that.” (Y/n) said quietly, rubbing his eyes, then yawning. “I'm on my way to the lecture hall though, so maybe after that? I should be fully awake by then..”

Misaki smiled and nodded her head. “It's a date!”

“No. No it's not.”

🏙️🏙️

Tanaka let (Y/n) lean on him during the lecture. That turned into one sided cuddling from the sleepy man. Ryu thought it was cute how (Y/n) always clung to him when he was sleepy. He was a little sad when (Y/n) fully awoke, and let him go, but it was for the best.

“Oh, Ryu-san. I'm tutoring the rumored ‘perfect woman’, and it's gonna be awkward with just the two of us, so can y—”

“You headin to the library? I was on my way there anyway. I'll join ya.”

The (h/c) haired man nodded, and they both walked all the way to the other side of the schoolyard to the library building. Tanaka even held (Y/n)'s hand to flex on the girls they passed by. Some of the girls were noticeably annoyed or a little angry, which pleased him.

When they finally arrived, Misaki was standing by the door. Upon seeing Ryu, she scowled. But it was only for a second.

“Ah, (L/n)-kun..who's this?”

(Y/n) smiled, oblivious to Misaki and Tanaka glaring at each other. Needless to say, the intense atmosphere went right over his head. “This is my boyfriend..Tanaka. He'll be joining us if that's okay.”

“‘Perfect woman’ my ass..the only ‘perfect woman’ I know is Kiyoko-san.” Tanaka mumbled under his breath. (Y/n) may not have known, but Misaki and Tanaka were always competitive with each other. Other times he wouldn't have cared, but now that (Y/n) is what he's fighting for, he wasn't gonna back down.

“Oh, it's fine.” Misaki said through gritted teeth.

🏙️🏙️

Isayama and Tanaka were left sitting at a table alone, while (Y/n) searched for the science books. They sat in complete silence, but it was almost as if you could hear their thoughts—mentally arguing with one another.

(Y/n) returned with three books, seating himself between Isayama and Ryu. “Okay! Let's get started!”

***

As (Y/n) went on explaining the laws of physics (because Tetsurou used to tutor him), Misaki and Tanaka continued their epic staring battle. The battle ended once they noticed that (Y/n) had stopped talking. He was chewing his tongue in thought, trying to figure out how to pronounce a word.

Misaki didn't notice, but (Y/n) had gone from physics, to microbiology. In less than five minutes.

“Something wrong?”

“How do you say this word again..?” The (e/c) eyed man pointed to a bolded word in the textbook, leaning back a bit so the other two could see.

A suffocating silence reigned over the three of them, but only for about three seconds.

Isayama squinted a bit before she spoke. “Endothelial?”

“Oh yeah. Thanks, senpai.”

Isayama smiled smugly at Ryuunosuke. The said man had a visible tick mark (💢) on the side of his head, symbolizing his annoyance. Tanaka only wanted (Y/n) to call him ‘senpai’—even if they were the same age (if not, then (Y/n) might be older). It made him feel like he was a dependable upperclassman, maybe even a bit turned on in certain situations. But hearing (Y/n) call someone else senpai..made him a little sad.

His thoughts were interrupted by his phone vibrating. As Tanaka reached into his pocket to get his phone, he caught (Y/n) putting his own phone in his jacket pocket. Tanaka turned on his phone to see a message from (Y/n) in his recent notifications.

Pretty boy💖: Go to the bathroom. I'll join you later.

Although he was a bit confused, he got up from his chair. “‘M gonna go take a leak.” Ryu said as he started to make his way towards the men's restroom.

Almost five minutes pass before (Y/n) goes into the bathroom after Tanaka, telling Misaki that he was checking on him. As soon as (Y/n) had passed the first bathroom stall, he was yanked into the second one, the door locking almost immediately after it shut behind him. He wasn't given any time to react before he felt a familiar pair of soft lips violently smash against his own. (Not violent enough to make his mouth bleed or anything. Chill.)

A heated battle for dominance arose between the two, (Y/n) quickly taking the lead as he gently bit Ryu's lip.

They didn't want this to end, but eventually Tanaka had to break the kiss because he couldn't breathe. He stood there, breathless in his boyfriend's arms, not wanting (Y/n) to let go.

“Ryuunosuke..” Tanaka flinched upon his first name being said—even though (Y/n) said it many times before. His reaction brought a smile to (Y/n)'s face. “I love you~..” He said, drawing out the three words in a sing-song voice.

Ryu felt his legs getting weak, and held onto (Y/n) for dear life. (Somewhat out of fear that he might fall.) He wasn't actually feeling like this because of three words...right? “Babe..am I supposed to be kinda horny right now?” It was a bit of a strange question, but hey, it never hurts to ask.

(Y/n) chuckled. “Well, yeah. I might have to carry you out of here once we're done.” His warm smile from earlier didn't falter as he spoke.

‘How can he say something like that so casually? If I say something like that, I'd get d–’ Ryu's thoughts were snapped away when he felt his chest touch the stall divider and his pants being pulled down. He let out a soft moan as (Y/n) stroked him through his boxers.

🏙️

‘What the hell is taking them so long?!’ Isayama got up from where she sat, and went to the men's bathroom. There wasn't anyone around, so no one would see her going in. She opened the first stall's door. ‘If they ditched me, I swear to go–’

“W-Wait, (Y/n)!~ Haa!~♡”

“Geez senpai, you're so wet inside~..♡”

Misaki froze. She couldn't be sure that it was (Y/n) and Tanaka in there—but those were definitely Tanaka's pants hanging over the second stall's door. Now she felt more..curious than angry. Isayama slipped into the first stall, carefully and quietly closing the door behind her, and slowly locking it so it didn't make noise.

Ryu tried to keep his breathing steady as (Y/n) fucked him with his fingers—even though that did absolutely nothing to help his current situation. Hell, he couldn't even process words anymore. The only actual word he could say was his boyfriend's name. He eventually remembered how to speak after about two minutes of being finger-fucked.

He wanted to sound more demanding, but his voice came out more whiny than what he'd have liked it to. “Fuck me already..ya fuckin– Hng!~” It may have been that he couldn't process it, or that (Y/n) had moved at the speed of sound, but Tanaka wasn't able to register how fast (Y/n) pulled his fingers out, and shoved his cock into his still tight hole. He wanted to say something, but all that came out was a choked whine.

“You were saying?~♡” (Y/n) asked, though it sounded more like a demand than a question.

Tanaka wasn't given a chance to answer due to (Y/n) ruthlessly fucking the poor man senseless. His loud whines and moans echoed throughout the bathroom, much to (Y/n)'s pleasure. He wanted everyone to know that he was a taken man. He wanted everyone on campus to hear Ryuunosuke's pleasurable cries.

Hearing the two men fucking in the next stall turned Isayama on to no end. (Even though it was more of (Y/n)'s voice that made her wet.) But she resisted touching herself because she wouldn't be able to forgive herself if she masturbated to her rival getting fucked. (A kinda stupid reason, but okay.)

“Fu–fuck, (Y/n)!~ So good..it feels so good!~” Ryu babbled, the words almost incoherent as he attempted to push back against his boyfriend's cock. “More!~ Give me more!~♡” He begged, voice broken and choking on his own breath.

The (e/c) eyed man didn't say a word. As his senpai had politely asked of him, (Y/n) drove his cock so deep into Tanaka that the said man let out the loudest drawn out moan (Y/n) had ever heard from him. If it weren't for the cum spewing from the teary eyed man, (Y/n) would've thought he had hurt his lover. He wasn't entirely sure until he felt Ryu continue to push back against him, desperate for more friction.

“Aww..you're so cute when you act like a bitch in heat, senpai~..♡”

He only got a choked whine in response.

“I'm pretty close anyway..do you want it inside?~♡” (Y/n) asked, pulling the shaky man up to his chest. Again, only a whine. (Y/n) parted Ryu's lips with his fingers, those fingers soon being coated in saliva. “Use your words~..”

Finally, Tanaka spoke, despite his unintentional dry heaving. “Fuck me- please~..”

“As you wish~♡” (Y/n) almost whispered, gripping Tanaka's cock firmly, earning another broken moan from the said man. “You're the only person I'd fuck like this, you know that, right?” He said, as he rubbed the shorter man's stomach.

“Y-Yeah..that makes me happy~..”

Lmao this was like- 80% highschool drama (in a college setting), and the remaining 20% being me getting horny for no reason. Also, I'm aware this made no sense. None of the stuff I write makes sense. :)

The class session is now over!~♡

[honey-and-clover]

Westend Libri. Magyar irodalom. Fentről a második polcon ott ül a regényed. Segítséget kell kérnem, hogy le tudjam emelni. Nehéz és elég meggyötört állapotban van. Csak ez az egy van az egész boltban. Hatszáz oldal. Hatszáz oldal, egy épülésről, mely leomlásra ítéltetett. Csütörtökön a kocsmában azt mondtad, hogy ne hallgassam végig az ötven perces kritikát róla; elég, ha beleolvasok a folyóirat néhány soros szövegébe. Nem értettem akkor még.

De most eszembe jutott, hogy BT-nek azt mondtam, hogy a top három könyv, amit ki nem állhattam az utóbbi időben az Murakami Haruki: A kurblimadár kronikák, Zoltán Gábor: Orgia és Mishima Yukio: Egy maszk vallomása. Hogy az egész könyvet végig picsogta és játszotta az áldozatot. És hogy nem érdekel Mishima Yukio mennyire volt fontos a japán történelemben én mégegyszer nem akarom egy regényét a kezembe venni. Vajon elmondta neked? Miután 2019 márciusában BT és a nagyokosok mind az Egy maszk vallomásaihoz hasonlították a hatszáz oldalas szégyenvallásod, remekműved.

Nem értettem miért mondtad azt, hogy nem lehet az új könyvedről 45 percet beszélni vagy, hogy nem lehet olvasni a JÉ-t. A LF-ből, amit olvastam, hangosan nevettem rajta, és végre értettem a szavaidat. Ez megkönnyebbülés volt, hiszen abból a két filozófiai tanulmányból egy mukkot se értenék, a tíz regényedből, meg csak annyit kérdeztél, hogy olvastam-e a gyerekkönyved. Mégis mit gondolsz hány éves vagyok? Csak megsúgom, hogy most a Mekis Happy Meal menü mellé kapható is. De nem, még nem olvastam.

J azt mondja nem kedveled az intellektuális nőket, mert eleve nem vagy “alfa” alkat. De a buta nőket se szeretetheted igazán, mert nem tudsz velük jól elcsevegni, max csak okosnak érezheted mellettük magad.

BT és te olyan különbözőek vagytok. Ő egy self proclaimed filozófus, aki folyton arról beszél, milyen nehéz ELTE professzornak lenni, mellette irodalom kritikusnak és még filozófusnak is. Te ezzel szemben egy szót se szóltál a saját munkáidról. C&A-s sötétszürke farmerben, mélypiros, nem egészen vörös pólóban, kardigánban ülsz le elénk és egy Spár Budget-s kávét iszol. Ennyire telik a magyar kortárs irodalom legzseniálisabb alkotójának?

Megfogadtam minden tanácsod. Másfél órán át szedted szét a novellám, de legalább mostmár tudom, mit rontok el és egy kisregény van készülőben. Te nem vagy olyan, mint MA, aki tizenöt perc alatt zúzta porrá és kötött bele minden szavába egy experimentális novellámnak.

Most jut eszembe, úgy éreztem büszke vagy rám a magad módján, amikor azt mondtam, hogy a Garaczi könyvet is utáltam - nagyrészt mert BT-hez kellett elolvasni - de valahogy mégis hatással volt rám. Azt mondtad kezdem megtalálni a saját nyelvem. Vagy, amikor az egyik órán a Piritre referáltál és, mintha kedvesen összemosolyogtál volna velem.

Hiszem, hogy húsz év múlva te is kötelező leszel a középiskolás irodalom órákon és igazán köszönök minden eddigi ajánlást, kritikát, személyes történetet vagy egy egy mosolyt a borzasztó vicceim után.

12:00. Belépek az Írók boltjába. A LF után kutatva járom körbe a viszonylag terjedelmes helységet. Két könyvespolc között akarnék átmenni, de túl szűkös a hely. Egy férfi áll a másik be-útnál. Gyorsan mégegyszer körbenézek. Megtaláltam. Itt volt a bejárattal szemben. A két könyvespolc közötti rés nagyobbnak tűnik, könnyedén átsétálok közöttük. Visszanézek és látom egy polcon vagy Mishima Yukio-val. A kasszánál fizetek. Kisétálok a boltból.

[him-e]

(1)do you think Rahegar and Lyanna got married, so Jon would be a legitimate Targaryen? And how this could be of any importance, because even though Dany claims she's the rightful queen, she's taking the throne by force, using her army and the dragons. It's not like the people in westeros are like ''oh ok you're a targaryen so you should be the queen''. And even Jon kind of said that he doesn't think the fact that she's a targaryen gives her right to something, because as he said,(+)

her ancestors took the throne by force as well. So how this information could change anything to Jon, would he suddenly think that he has the right to rule because he’s a Targ?

The idea of Jon turning out to be a legitimate Targaryen creates a series of problems in the narrative:

it makes little sense from a logistic/worldbuilding point of view: why would Rhaegar set aside his already living and breathing children to legitimize his third one with Lyanna? What king of legitimacy such a marriage would have? How can people unequivocally prove that it happened and was completely legal in front of the realm?

it nullifies Jon’s entire character struggle about being a bastard: there’s no point in learning to embrace the stigma concerning your birth and no existential victory in getting others to accept it too (KitN), if you’re eventually proven to have been legitimate all along. The message would be that people were right to put their trust in Jon not because he’s brave and gentle and strong (*lenny face*) but because he’s actually a Real Prince, which is… exactly the sort of easy trope-y solution that asoiaf challenges;

it creates an unsettling narrative for Dany: she’s defined her entire identity around being the last Targaryen and only legitimate heir to the Iron Throne, she fought for it, she broke free of her chains and written path for it, and while her destiny is to ultimately put her claim aside to focus on saving humanity from the Others, imagine if she has to step back not because she understands what her real mission is but because… a Rightful Male Heir has unironically a better claim to the throne. 

to explain why I said “unironically”, compare it to the books where you have Aegon VI who IN THEORY fills that role except… he’s no Jon and no real prince, but a fraud. Not a “Rightful Male Heir”, but its deconstruction. (and once Dany learns of Jon’s parentage in the books, she won’t feel threatened, because she already went through the whole dance of dragons 2.0 shebang with Aegon, and she won’t do it again). 

BUT the show completely erased Aegon VI and is apparently using his name as Jon’s *Targaryen* name, which, coupled with the spoilers re: Rhaegar and Lyanna marrying, makes me think they’ll play book!Aegon narrative straight, and give Jon an ACTUAL stronger claim to the Iron Throne. 

To what purpose, exactly? 

how this information could change anything to Jon, would he suddenly think that he has the right to rule because he’s a Targ? 

Jon would not (how could he, when he just made clear to Dany that he thinks house Targaryen broke their oath to the realm and lost their right to rule with Aerys?) but the people who back him up might. And we know that a big part in Jon’s narrative is the endless struggle between what he wants and what it is expected from him / what’s best for his people. We know he ended up as KitN without even wanting the title; chances are the North or even some of Dany’s current supporters (Tyrion? Varys?) might push him forward without leaving him any choice. Which is actually nothing but a repetition on a larger scale of what happened at the end of season 6, but it wouldn’t be the first time the show recycles the same conflict for a character over an over again (see: Sansa and LF, Jaime and Cersei).

In conclusion: I don’t think the show has time for an actual Targbowl or Dance of the Dragons 2.0 at this point, even though I have no doubt it will tease it.So whatever Jon’s being a legitimate Targaryen brings to the table, I suspect it will be either a temporary source of conflict in J and D’s relationship, or a plot device to further cement it as endgame (i.e. they “must” marry to merge their respective claims); in either case, something that impacts on Jon and Dany’s dynamic, rather than the political scenario on a large scale. I don’t expect it to have a great and compelling resonance from a character standpoint though.

[korkep-blog]

Kalita Gábor: Mitől szép a petróleumlámpa lángja?

az Omega 55 – Volt egyszer egy vadkelet, című szcenárium változatát, több ismeretlenebb, ám zenei szempontból a legigényesebb zenei produkciójukat hozták el.

Nyitókép: Passzio.hu

  arácsonyi Omega koncert – Pozsonyban, 2018. december 20.

  Én abba a korosztályba tartozok, melynek képviselőivel még „élesben” éltük meg a petróleumlámpa lángjának varázsát.

  Az ötvenes évek elején, amikor Nyíren /Lévai járás/, nagyanyáméknál nyaraltam, a falusi esték a petróleumlámpa lángjánál teltek, hiszen a villanyt a helység lakóházaiba csak ötvenhatban „húzták” be.

  Nagyanyám, a vacsora után, a tiszta szobában eloltotta a csillárként szolgáló, díszes, cirádés petróleumlámpa erősen fénylő lángját, majd egy másikat, a Szűz Anya, s Jézus keretezett képeivel, korpusszal kiegészített házi oltár mellett lévő, úgynevezett kézi lámpa, vagyis kisebb petróleumlámpa kanócát gyújtotta meg.

  Ennek, a helyiség sarkából érkező, meghittséget, melegséget sugárzó, hullámzó fénye olyan izgalmas, különleges, megnyújtott ábrákat rajzolt, vetített a falra, melyek gyermeki képzeletemben lepkeként, ördögként, nagy bajuszú betyárként, vagy szárnyaló angyalként jelentek meg.

  Aztán a közös esti ima következett, nagyanyám Szűz Mária oltalmáért fohászkodott, majd nyugovóra tértünk. De előtte, még nagyapám fogta a petróleumlámpát, s körbe nézett a nagyságában is tekintélyes portán, hogy – az ő szavaival élve – minden úgy van-e, ahogyan annak lennie kell.

  Himnusszá változott, szívünk himnuszává

  Az Omega Petróleumlámpa című dala, de a többi nagyszerű szerzeménye is  végig kísérte sokunk serdülő korát, érett fiatalságát, hiszen 1962 szeptemberében alakult a banda.

  Ahányszor részt vettem honi földön, vagy az anyaországban Benkő Lászlóék koncertjén, azt tapasztaltam, hogy az emberek könnyes szemmel hallgatták a dalokat, mert – egyszerűen – nekünk szólnak, mert a szívünkig érnek el. Persze ezek a dalok nemcsak a mi szívünket simogatták meg.

  Omega – Petróleum lámpa 1969. Kép: youtube.com

  Kóbor János a vele készített interjú alkalmával említette, hogy, ahogyan „vénül,” a határ túl oldalán mindig nehezebben tudja könnyek nélkül elénekelni legismertebb dalaikat, legyen az bárhol, a magyarok lakta vidékeken. De nemcsak a mi nyelvterületeinken. Amint mondta, látott ő már koncertjeinken könnyes szemű szerbet, lengyelt, németet, de cseh nemzetiségűeket is, akik a szöveget sem értették, de a szívük, lelkük – bizony – nagyon is értette a feléjük intézett, megzenésített ódát.

  „Itt a Szabad Európa rádió”

  Valami hasonló, könnyes örömben volt részem akkor, amikor a hetvenes évek elején prágai katonáskodásom idején, éjjel, fülhallgatón keresztül hallgattam Panasonic rövidhullámú táskarádióm társaságában az éjszakai könnyűzenei műsorokat. Legnagyobb meglepetésemre, az egyik cseh rádióban, egy, a Karel Gott által interpretált „Lédikarnevál” után felcsendült a „Petróleumlámpa.”

  Persze, ez nem volt a véletlen műve, hiszen 1971-ben, az akkor már befutott Omega tagok, lemezt is feljátszottak cseh stúdiókban, s koncertjük is volt itt. De német adók is hozták a banda dalait, és a baráti társaságom által „Lakszinak” becézett adó (Rádió-Luxemburg) is zsinórban hozta dalaikat.

  Nem is beszélve a Szabad Európa magyar adásáról, ahol Cseke László szeretett Omegája, s természetesen, a Mi Omegánk napi terítéken volt.

  A gazdag zenei pálya kockában

  A teljesség igénye nélkül, hadd idézzem fel néhány pontban azokat a főbb eseményeket, amelyek végig kísérték az Omega ötvenöt évre visszatekintő pályáját.

  A Liszt Ferenc-díjas Omega együttes 1962-ben alakult, két zenekar összevonásával. Omega védjegy alatt, az említett év szeptember 23-án léptek fel először a Műegyetem Hess András téri kollégiumában. Az akkori felállás a következő zenészekből állt:

  – Benkő László /”Laci”/ – ének, zongora, furulya

  –  Kóbor János /”Mecky”/ – ének, ritmusgitár

  –  Kovacsics András /”Öcsi”/ – szólógitár

  –  Künsztler Tamás /”próféta”/ – dob

  –  Varsányi István /”Gergely”/ – basszusgitár

  A kezdeti évben számos fellépésük volt beat és táncdalfesztiválokon, 1966-ban ismert nyugati slágereket hordozó lemezt adtak ki. Többek között a The Rolling Stones Paint,it Blak feldolgozás hozta meg első külföldi sikerüket. Ennek révén sokan az Omegát a „keleti Rolling Stonesként” emlegetik, ugyanis egy évben alakultak, s mind a két zenekar az egyedüli, ma is aktív, legrégebbi rock bandának számít.

  1967-1971 időszakban neves zenészek is gazdagították az Omega repertoárját, ebben az időszakban Presser Gábor/ „Pici”/ – ének, orgona és zongora játékával, zeneszerzői tudásával, ma is játszott, több sikeres dallal, orgona fellépéseivel nagyban hozzájárult a világhírnév felé vezető úton.

  1968-ban angliai turnén vettek részt Omegáék, s a menedzsment ajánlására, Omega Red Star From Hungary léptek fel számos helyen, s elkészítették az első albumukat – angol nyelven.

  Másodszor is kimentek az Albionba, de a turnét félbe kellett szakítani a Magyar Hanglemezgyártó Vállalat kifogásai miatt, ugyanis a magyar cég tudta nélkül adták ki első albumukat.

  Így Magyarországon elkészült az első könnyűzenei albumuk, mely a Trombitás Frédi, a Rettenetes emberek, Ha én szél lehetnék című dalaikkal robbantak be immár a magyar zenei piacra is.

  De nem ez volt legnagyobb „dobásuk,” hiszen 1969-ben elkészült a kislemezük Naplemente címmel, itt futtatták be a Régi csibészek közismert dalukat. Majd jött a második magyar albumuk, az Ezer lépés. Ez a csapat beat korszakának az aranykora. Itt található az – 1958-ban,a boogie-woogie klubban, az örökzöld Petróleumlámpa, a Tízezer lépés, a Tűzvihar, az Udvari bolond kenyere, s az Omega eddigi legnagyobb slágere, A gyöngyhajú lány.

  Állandósult a  zenekar „rendes” tagjainak a száma

  Presser és Laux, valamint Adamis Anna 1971-ben elhagyja a zenekart, a felállás azóta változatlan. Tehát, Benkő, s Kóbor mellé csatlakozott  MihályTamás /”Misi”/- basszusgitár, ének, Molnár György /”Elefánt”/ – gitár, s Debreceni Ferenc/”Ciki”/ – dob.

  1974-ben megjelent a hattételes Omega 5. A Szvit című kompozíció feljátszásán részt vett a Magyar Állami Hangverseny zenekar is. l995-ben megjelent a Nem tudom a neved című Omega 6 albumuk, a csapat Hard rock korszakának legsikeresebb albuma. Aztán sorra születtek újabb és újabb dalaik, A madár, az Addig élj, A bűvész, Szomorú történet, Hűtlen barátok, Rég várt kedvesem, Addig élj, stb.

  A Space rock-korszak legismertebb dalai a Napot hoztam, csillagot, az Éjféli koncert.

  Ma is közkedvelt albumuk a Csillagok útján 1978-ban jelent meg, itt találhatóak a címhez hasonló Csillagok útján, Az Égi vándor, a Léna című szerzemények.

  Gammapolis albumuk olyan műveket hozott, mint A nyári éjek asszonya, Ezüst eső, stb.

  Tehát, szinte már felsorolhatatlan, óriási zenei anyag lehetőséget adott számukra külföli fesztiválokon, turnékon való részvételre.

  A fellépések sűrűjétől megviselt tagok /1987-2004/ a leállás, az időszakos működés pályájára léptek, de rangosabb fellépéseken – Népstadion koncert /1999/ – ismét részt vettek.

  2006-tól az EurOmega turnét is megszervezték, amely meghívásos fellépés sorozat volt, így a következő évek hosszú során számos alkalommal vettek rész koncertjeikkel a Kárpát-medencében, többek között a Felvidék nagyobb városaiban is.

  De fesztiválokon is részt vettek, például az alsóőrsi motoros találkozón, a Soproni Volt fesztiválon, a lengyelországi Slupskban a Rock Legensen, Dunaszerdahelyen a Dunafesten.

  Pozsony ismét megőrült az Omegáért

  Természetesen, nem először szerepel Pozsonyban az Omega. Az ismétlődő érdeklődést az bizonyítja leginkább, hogy most is teltház, s valóban fegyelmezett, többségükben középkorú, vagy idősebb magyar-szlovák Omega rajongók előtt szerepelt a csapat a Nemzeti Tenisz Központban /NTC/, de szép számban voltak jelen a fiatalok is.

  Omega koncert Pozsonyban 2018. december 20-án. Kép: A szerző archívuma

  A műsor elő zenekaraként a Wasted Strings, öttagú zsolnai női rock együttes lépett fel, akik kőkemény rock-kal hozták nagyszerű formájukat. Itt, élőben hallhattuk a Take it all legismertebb dalukat is, mely sikeres filmzeneként is szolgál. Ők, öten konferálták fel az Omegát, fergeteges gitárjáték, s dobszóló közepette.

  Amint ezt Kóbor János, a záró számok alkalmával bekonferálta, az Omega 55 – Volt egyszer egy vadkelet, című szcenárium változatát, több ismeretlenebb, ám zenei szempontból a legigényesebb zenei produkciójukat hozták el. A legismertebb dalaik amolyan jól időzített „fénygránátként” ott szerepeltek a műsorban. Például a Léna című dalukhoz, a hóban rendszerint fukar Pozsony-Óváros is hozta magát, ugyanis az előadás idejére már néhány centis  hólepel borította a metropolist.

  Omega koncert Pozsonyban 2018. december 20-án. Kép: A szerző archívuma

  Az Omega-rajongó közönség nagyon is figyelte  a káprázatos fényeffektusok kíséretében a már nem sokat szerepeltetett dalok szövegrészeit is. Ahol Mecky /Kóbor János/ nagyon is meggyőzően a tömegbe harsogta egyik számuk refrénjét:

  – „A gazembernek mindent szabad …” Valóban, hiszen a némaságnak ez a hozadéka a „mindent szabad” demokráciánkban, hiszen „szakajtónyi” bőségben tapasztalhattuk ezt az elmúlt közel harminc évben is mind a politika, mind a társadalmi élet területén.

  Mindenki Omegája

  Számos szlovák zenész arcra is felfigyeltem a nézők soraiban, olyanokra is, akik valahol a hatvanas évek végén, a hetvenes évek elején kezdték el karrierjüket. Vagyis akkor, amikor az Omega már nemcsak szűkebb-tágabb életterünkben, de külföldön is sikereket aratott.

  Omega koncert Pozsonyban 2018. december 20-án. Kép: A szerző archívuma

  A magyarul nem értő Omega rajongóknak – a gazdag színpadi effektusok mellett – az anyaországi banda tartalékolt egy bonbont, hiszen – amint ezt a műsor végén Mecky bekonferálta, „csehszlovák” nyelven előadják régi cseh zenész barátjuk, Petr Janda, az Olympic frontemberének egyik ismert dalát. A két együttes tagjainak barátsága 1971-ben, az Omega ottani szereplése alkalmával indult.

  Tehát, számomra is most vált igazán érthetővé az, hogy amikor prágai ottlétem alkalmával, 1973-ban, a Vencel tér akkori, Korona gyorsétterme közelében található, utcai lemezbörzén a gyűjtők részéről a Jesus Christ Superstar című, a komcsiban csakis „kéz alatt” megvásárolható lemez mellett, miért is voltak legkeresettebbek az Omega és az Olympic hanghordozói.

  Omega koncert Pozsonyban 2018. december 20-án. Kép: A szerző archívuma

  Záróakkordként, a banda kétszeri, „állva” visszatapsolása alkalmával jött a csoda, a – Petróleumlámpa.

  Ugyanis ilyenkor, mindannyiunk által várt advent idején, a Hit, Remény, Öröm, Szeretet gyertyafényeinél érzékeljük a leginkább, hogy számunkra miért is örömkeltő, miért is a szívünk csücske, a Petróleumlámpa reményt sugárzó lángja.

  Kalita Gábor

[flynncenter]

John Killacky’s “Embodied Voice: Video Narratives”

This preview of Flynn Executive Director John Killacky’s video retrospective at Champlain College was originally posted by Kiera Hufford  on the college’s Publishing Center’s site.

Interview by Lenny Farrell

Editor’s Note: A retrospective of John R. Killacky’s videos will be on view Jan. 19 through Feb. 16, 2018 at the Champlain College Art Gallery. Killacky, executive director of the Flynn Center, has made numerous films and videos in his hybrid career.

The opening reception with the artist will be Friday, Jan. 26 at 5:00 p.m. Included will be three AIDS-related works from the ‘90s, three disability-themed pieces from the 2000’s, and two recent video collaborations with Vermont artists Todd R. Lockwood and Art Bell.

The Champlain College Center for Publishing and the Champlain College Art Gallery collaborated to produce an Artist’s Catalog for this exhibit, and Professional Writing Student Lenny Farrell ’18 interviewed Killacky about the show.

Lenny Farrell: I wanted to begin with an introductory piece for people who do not know anything about you or the exhibit. What do you want people to take away from it?

John Killacky: When I was invited to do this, it gave me an opportunity to look at my past videos. These are agitprop works, politically engaged narratives that I was doing in response to what I was experiencing. The early works are about AIDS. It was in the early ‘90s, still early in the AIDS crisis, a different era than it is now. People were not living with AIDS; they were dying. It was a carnage. I started making those early videos as a way to grapple with the immense loss of so many people and commemorate friends, and hold them dearly.

I had to embrace bodies. The body was so feared back then in the ’90s. People were afraid of people with AIDS. Medical staff did not want to handle them. They were wearing gloves and masks.  It was very frightening. In these three AIDS pieces, it was about claiming the sacredness of the body. In the works, others and I are nude reclaiming the body. It is not to be feared.

Then I had surgery that went very badly in 1996, where I was paralyzed from the neck down. It took some months to learn how to walk again. Suddenly I had a new relationship with the world.  I had to reorient my own perspective, so I began to make video works about my reality. Again, I went back to the body.

The disabled body is something that society does not want to look at. I found myself again drawn to the body and saying to myself, “Okay, I have to celebrate these bodies to revere them, to hold them sacred.”

When people come into the exhibition, they will be looking at time capsules of what I was dealing with in the ‘90s and in the 2000’s. Last year, here in this gallery, Todd R. Lockwood worked with me to adapt one of the disability-related videos for his exhibition Portraiture Reimagined. I include this work, along with a new piece, which I see as a cleansing ritual, a purification, a coda for the entire exhibition.

In preparing, I realized the gallery experience is very different from screening videos. Few people are going to spend thirty minutes sitting in front of each monitor, listening to every single piece. Therefore, I organized them visually, imagining that people are only going to spend about ten minutes in the space. I created an audio loop with excerpts from all the pieces for people to hear. I hope that it draws the viewer experientially into my world. It was fun to reconceive these works as more of a visual and audio collage. I hope people engage with Embodied Voice.

John Killacky and husband Larry Connolly at work on the “Crip Shots” (2001) video to be featured in “Embodied Voice: Video Narratives” at Champlain College Art Gallery Jan. 19-Feb. 16. Opening celebration Jan. 26 at 5:00 p.m. Photo by Duane Cramer.

LF: You transformed what was already there into something more cathartic to watch, to experience.

JK: I hope so. People have told me these works have been cathartic for them, so it will be interesting to see if people are willing to sit with the individual works. I recently read that in museum galleries the average time someone spends looking at something is 27 seconds. We are painting the walls gray and have three monitors in a darkened room. People enter through a dark curtain, thrown into my psyche in a disorienting way. If I can startle misperceptions of the viewer, I will be very happy.

LF: How would you say that your process has evolved or changed through this work?

JK: I continued making other kinds of films as well: an hour-long PBS concert video, Janis Ian: Live from Grand Center, and my husband Larry Connolly and I did  a 30-minute documentary Holding On featuring three couples dealing with disability, shown on Vermont PBS.  I also have a blast on YouTube with the little pony videos, because I have a Shetland pony, making lots of those silly little things. Those are much more light-hearted.

The works in the exhibition are political pieces. If there is an organizing principle, it is agitprop. I hope to startle people’s misconceptions. It is important; there is a history of AIDS activism that is not being remembered. In the early ‘90s, artists were picking up any tool they can, to rage against the government, rage against the medical establishment, and rage against families who were just throwing their children aside. This kind of an activism also infused my disability work, bringing forward issues, misconceptions, and fear. People feared people with AIDS. People feared people with disabilities. I hope I can break down some of that fear.

LF: Do you plan continuing your activism after you have retired from the Flynn in 2018?

JK: I used to bifurcate my identities as an arts administrator and as an artist. Once I was at the Harvard Film Archives showing one of my AIDS-related works. At that time, I was working at the Walker Art Center. Someone afterwards raised their hand and said, “Do you ever get confused with that guy with the same name who works at the Walker?”

I used to think, “People will think I am a less-serious arts administrator if I’m also an artist. And people will think I’m a less-serious artist if I’m an administrator.”  Since then, I integrate both identities.

I do ongoing commentaries at Vermont Public Radio (VPR) and VTDigger and occasional op-ed pieces for the Burlington Free Press. Therefore, I would say my political activism has remained in print form.

LF: Do you have any other plans or goals moving forward in 2018?

JK: In June, I will be stepping down as the Executive Director here at the Flynn, after eight years. I still have a more than full-time job running the place and I am trying not to figure out what I am going to do next. Next summer, I want to spend time figuring out what my service is going to be. My entire career has been in service to artists, to support artists, to make it possible for them to make their work, for them to share it with audiences, so part of that I hope will remain. In addition, in the ‘90s, I did a lot of hospice work, when my friends were dying from AIDS. I may do some of that work again; however, I am not going to determine it now. I plan to wait, give myself some space, and hopefully the universe will provide.

The Champlain College Art Gallery is located at the Center for Communication and Creative Media, 2nd Floor, 375 Maple St., Burlington, VT 05401. For more information, call (802) 865-8980 or visit http://artgallery.champlain.edu/.

[deepgrooveshow]

New Post has been published on http://deepgrooveshow.com/podcast/nye-2017-special

NYE 2017 Special

Here we go with an 6 hour deepGroove Show NYE 2017 Special with jackin Deephouse by DJ Spinna, Dixon, Kiko Navarro, Manoo, Kerri Chandler, Demarkus Lewis, DJ Spinna, Karizma, Roland Clark, Quentin Harris, Jon Cutler, Blaze

Mix on hearthis.at (HiFi – 320 Kbps)

Listen to deepGroove Show – NYE 2017 Special (HiFi Version) bydeepGroove [Show] by Martin Kah on hearthis.at

  https://hearthis.at/deepgrooveshow/

Mix on Podomatic (LoFi – 128 Kbps)

https://www.podomatic.com/podcasts/deepgrooveshow

  Tracklist

Alton Miller – Love Inside (Club Mix)

Shaun Escoffery And DJ Spinna – Days Like This (DJ Spinna Original Mix Edit)

Sean MCcabe And Cinnamon Brown – It’s My Life

Kerri Chandler – 13 To 41

Trackheadz – Our Music (Unreleased 2001 Mix)

The Journey Men – Close To Me

Soulista – The Foundation (Black Version)

Karizma – The Power

Ron And Manoo – The Sound

Manoo And Raoul K And Ahmed Sosso And Dixon – Toukan (Dixon Rework)

Demajor – Lizwi – Traveller (Kususa & Quetornik Official Remix)

Pablo Fierro – La Palma

Dany Cohiba – The Spear Of Destiny

Kiko Navarro And Julie MCknight And Koki – All Because Of You (Koki Vocal Mix)

DJeff Afrozila And Helen Ting – Awakening

Michael Eclectic – Rotten Apple

Blacky – The Deep

Jaymo & Andy George And Marquis Hawkes – 1968 (The Broken Tape) (Marquis Hawkes Remix)

Lenny Maze – Bring Some Lovin

Lessovsky – Fly High

Miss Luna – Not The Same Old Day (Feat. Q Derhino) (City Soul Project’s Classic Mix)

Seb Skalski – Black Agenda

IndySoul, Darian Crouse, Entity – It’s Me (Entity’s Soulful Reprise)

Homero Espinosa And Phaze Dee And Mikey V – Taste Of Your Love

Dave Anthony And Richard Anthony Davis And Manoo – She Don’t Know (Manoo Remix)

Bertha – Huzzah (Listen)

Chopstick And Johnjon – Keep It Real Son

Kerri Chandler – We Can (Kerri Chandler)

Paul Rudder – Hurlee – No More

May 89th – Komposition I

A2a – That’s What We Need!

B&S Concept – Eva

Roy Davis Jr. And Terry Dexter – My Nation

Enea DjDj Lukas Wolf – Big Apple (Reloaded Chicago Radio Version)

Lupe Fuentes, Kerri Chandler – 1000 Watts (Kerri Kaoz Chandler Vocal Dub)

The Journey Men – Close To Me

Tuccillo – Kiko Navarro – Amor – Lovery (Pablo Fierro Remix)

Rephlex – Lady Lee – Is It Love

Lrusse – Part Of The Plan

Thee Gobbs And Kabomo And Rocco – Time To Rise (Rocco Dub Mix)

324am – Afronautes

Andrea Curato And Wilson Santos – A Night In A Chicago Club (Deep Journey Mix)

Mikaël Delta – Paul Randolph – This Is The Place (Michael Moses Afro Touch Mix)

Demarkus Lewis And E-Man – Behind Closed Doors (Feat. E-Man) (Deez 2017 Work Out)

Allen Craig – String In A Maze

Rainy Payne And DJ Bee – Unspoken (The Definition DJ Bee’s Cool Beats Mix)

Chopstick & Johnjon And Cece Rogers – What Is House Music

Pat Bedeau – Brotherhood

Jesusdapnk And Mastercris – Alive (Mastercris Remix)

Slavic – Letlapa

Demajor – Lizwi – Traveller (Kususa & Quetornik Official Remix)

DJ Spinna – Don’t You Blow (DJ Spinna Refreak)

Karizma – The Sea

Byron Stingily – Get Up (Everybody) (Mousse T. Remix)

Black Loops – Where My Girls At

Roland Clark – I Love My Life

Fabio Tosti – Fight For Love (Deeper Mix)

Modern Walker – House Lovin N Walking (Incl. Luna City Express & Herb Lf Mixes) (Herb Lf Remix)

C. Forman, D. Bennett, R. Medina, Quentin Harris – Spiritual Life (Quentin Harris Instrumental)

Chris Minus And Mr. V – The End

Jon Cutler & E-Man And The Black 80s – The Statement (The Black 80s Mix)

Blaze – Lovelee Dae

Listen dGRShow on Radios 1 week before release

[thelondonfilmschool]

Q&A REVISITED - ‘Room’ with Lenny Abrahamson (Part 2)

After opening up his Q&A discussing the collaborations that had brought Emma Donoghue’s ROOM to the big screen, director Lenny Abrahamson fielded questions from the audience.  

In Part 2 of ROOM’s Q&A, hosted by The London Film School’s Sue Austen and Richard Kwietniowski, Abrahamson delved deeper into structure, on set chemistry and the effect an Oscar win can have on your career.

How did you get the two actors, the mother and son, to connect? 

About three weeks before we started shooting, we did a clever thing which was to get the room built reasonably far in advance so that it was almost finished when they arrived.  And that meant that they could hang out in the space. This other thing I did was to manufacture reasons for them to hang out together with nothing to do. So quite often, we did a little bit of rehearsing, but actually what I used to do was arrange rehearsal and turn up and say, "Do you know what? I’m so sorry but actually, there’s two calls that I have to do". And I ‘d go away and leave them for half an hour. Brie knew what I was doing, but Jake then just had this ‘unstressful’, dead time with her.  

The other thing that I thought was useful was that we got them to actually make some of the props that are in the room. So they did a lot of the craft stuff together. And just what you have to hope is … that they form something of a relationship - and they did. But the first few days were really hard trying to get Jake to relax. And we tried to shoot as much in order as we could because to make it easier for him to understand what’s happening. And in the scene where he barks at her because he doesn’t like the birthday cake, he didn’t want to shout at her at all, and he whispered to me, "I don’t want to shout at her, because shouting’s rude and I really like her”. So what we did was got the whole crew into a shouting competition and we just turned it into this ridiculous game.  

I was just wondering what you said in your letter to Emma [Donoghue]. 

I think Indiewire published it and it might still be there. My background was academic…and I knew that Emma was born in Dublin and she moved to Canada. So I sort of had a sense that I could talk to her person to person because we shared that background. I told her how I felt about the novel, why it was that I thought it achieved the effect that it did. I think what I was also trying to do was to say, "I understand this book". So it was like an essay really about the choices that she'd made.  And I talked to her about what I thought were the real themes of the novel, which was about the kind of claustrophobia of parenting as well as its joy, about the ways in which all of us have to emerge from some sort of protected shell of childhood fantasy into a much more brutal, dull and dangerous world. But how that’s accelerated and compressed in the case of Jack. 

I was aware that lots of people would be pitching on it, so I tried to anticipate other pitches and say why I thought they would be wrong. And she did in fact get a lot of pitches, which were saying, "let’s animate the interior stuff that the boy feels. Let’s use animation; let’s go magical on it". And I made an argument that I felt you could shoot this very much naturalistically and still somehow experience the interior of the child. And I admitted most of the things I didn’t know and that I felt would be really difficult. So I think I was pretty honest about what I thought the challenges were. 

I think the thing she got most from it was that I was very serious and very passionate about it. And I do think that authors really respond to the fact that somebody has put significant thought into it. Because a lot of the time, she said she would get letter saying "Oh, I love your novel, The Room" – even though it’s called ROOM. So [my letter] had the advantage of being a bit more substantial than that. 

Could you talk about this particular structure, like in WHAT RICHARD DID, in which there’s an incident in the middle that changes everything. 

If you sit in a pub with somebody and you talk to them, what is it that holds them on the bar stool next to you? It’s a through-line of articulate, connected, funny whatever type of conversation you’re having – nobody would say that there’s only one way to conduct a conversation between two human beings – and the idea that there is one way to tell a story is just total nonsense. So, while there is a great tradition of Hollywood screenwriting and there are some fantastic examples of it...I always say to people your responsibility to the audience is to hold them. There has to be a thread, you have to want to move forward. 

But I remember reading this ridiculous piece: ‘there always have to be conflict in a scene’. So if a writer was even uninspired enough to write a scene where a man walks up to a door, knocks on the door, somebody opens it and they walk in, and a director was foolish enough to shoot it, that should be cut out. Utter. Cobblers. I mean that could be the most tense thing you ever saw, if you’re anticipating what’s going to happen in that house. If you’re thinking "please don’t go in there". 

So I tend to like that two halves shape. There are different ways to resolve stories as well. We tend to revolve around the coming to a realisation of the protagonist. But that’s a very American psychologised way of thinking. And ROOM is like that more than anything else I’ve done. But I think there are so many other ways to find a formal, or musical, resolution to something. 

Is it possible to tell us a bit about the editing process? 

What I try to do across the process of making a film - I do all the thinking I can. I have multiple ideas of how I might shoot a scene. But I don’t become rigidly attached to anything. I always come with a plan on a given day, and it’s usually in my head. Because I prefer not to put up a storyboard and then everybody gets so invested in that storyboard. So I tend to approach the shoot with all the ideas ready, but prepared to change.  

And I do the same in the edit.  The editor is so wonderfully disrespectful of whatever it is that I thought I was doing. And he’ll open a scene in a way that I had not anticipated. So I think the editor is such a vital part of the process. And if, as the director, you can form a relationship with an editor that lasts, it’s an amazingly great resource. 

Has being nominated for an Oscar made it easier for you to get your next film made? 

Absolutely. I think there are a couple of ways in which it works. Because Brie got an Oscar, actors will want to work with directors that they feel might do films that are performance based and in which they will look good. So, financiers know that you will attract cast, which is the thing that they are most interested in. And it just means that we can talk to whatever actors we want and who knows how long that’s going to last. 

I think the thing that, for me, is the sort of the problem that goes with it, although it’s a good problem to have, is trying to decide what to make next. And I was joking with somebody recently that when I was starting out in making films in Ireland, I would look at people who had made something interesting in Europe and then gone to the States and made something big and glossy and I’d go, "I would never do that, what a sell-out." [But] it’s really easy to take the moral high ground when nobody is calling you to make a big film. It was very easy for me to do that at that point because the phone was decidedly not ringing. So when it does actually ring and you are given opportunities to do stuff, then you discover if you mean it. What is it that you really want to do?  

And how did you work with the production designer, especially at the beginning? 

That was the first time that I’d worked with Ethan [Tobman]. And I’d seen stuff that he’d done and I just thought that it was amazing. And then I met him.  A really good sign that you’ve met somebody that you can really work with is that you probably talk about loads of things outside of the specifics of design. So we talked about the film, the story and the process. Plus we were working in North America and we wanted somebody local. And he just had this amazing presentation which was over Skype, which isn’t ideal at all, but it was his enthusiasm and kind of clarity of thought about the experience of the kid. He felt [the room] had to be absolutely real, and that chimed with me. How do you think about the ways in which a life lived in a space affects it?  

I think the thing as well is that, sometimes, there are different people for different projects. And, while I can’t ever imagine myself working with a different editor, because we have such a particular synergy, I think there are definitely different cinematographers that I would work with, who have a different impulse, and it’s right for some things and not right for others - and the same with designers. 

Here’s another thing, a piece of advise to any directors - Just shut up. Because, certainly when I was young, I would be thinking, "I must demonstrate to this room or these actors or this designer or this DP, that I know absolutely everything, that I know exactly what I want, that this is my vision, splat! Now come and serve it’. And all you do if you do that is you shut down the creative conversation. So, with actors particularly, I’m much more likely to play dumb at the beginning of the day than I am to come in with all my ideas out on the table. And then watch what they do that you weren’t anticipating. So similarly with auditioning designers for ROOM, I thought I was going to miss something. I wanted somebody to come to me and show me something that I didn’t think of.

To read more Q&As hosted by The London Film School, visit our Q&A REVISITED series on the LFS Tumblr website.

[goalhofer]

2022 Detroit Tigers Famous Relations

#49 Alex Faedo: Nephew of former tigers hitting coach Lenny Faedo.

#77 Joe Jiménez: Brother of former Road Warriors C A.J. Jiménez.

#48 Derek Law: Son of former Salinas Spurs P Joe Law.

#25 Matt Manning: Son of former Bulu Starz PF Rich Manning.

#28 Ednel Báez: Brother-in-law of Toronto Blue Jays P José Berríos.

#21 Kody Clemens: Son of former New York Yankees P William Clemens and brother of former Houston Astros minor league coach Koby Clemens.

#7 Jonathan Schoop: Brother of Amsterdamse Piraten SS Sharlon Schoop.

#41 Daz Cameron: Son of former Florida Marlins CF Mike Cameron.

#17 Austin Meadows: Brother of Salt River Rafters LF Parker Meadows.

Hitting coach Scott Coolbaugh: Brother of former Tulsa Drillers 1B coach the late Mike Coolbaugh.

Quality control coach Josh Paul: Brother of former Sioux City Explorers C Jeremy Paul.

[deepgrooveshow]

New Post has been published on http://deepgrooveshow.com/podcast/nye-2017-special

NYE 2017 Special

Here we go with an 6 hour deepGroove Show NYE 2017 Special with jackin Deephouse by DJ Spinna, Dixon, Kiko Navarro, Manoo, Kerri Chandler, Demarkus Lewis, DJ Spinna, Karizma, Roland Clark, Quentin Harris, Jon Cutler, Blaze

Mix on hearthis.at (HiFi – 320 Kbps)

Listen to deepGroove Show – NYE 2017 Special (HiFi Version) bydeepGroove [Show] by Martin Kah on hearthis.at

  https://hearthis.at/deepgrooveshow/

Mix on Podomatic (LoFi – 128 Kbps)

https://www.podomatic.com/podcasts/deepgrooveshow

  Tracklist

Alton Miller – Love Inside (Club Mix)

Shaun Escoffery And DJ Spinna – Days Like This (DJ Spinna Original Mix Edit)

Sean MCcabe And Cinnamon Brown – It’s My Life

Kerri Chandler – 13 To 41

Trackheadz – Our Music (Unreleased 2001 Mix)

The Journey Men – Close To Me

Soulista – The Foundation (Black Version)

Karizma – The Power

Ron And Manoo – The Sound

Manoo And Raoul K And Ahmed Sosso And Dixon – Toukan (Dixon Rework)

Demajor – Lizwi – Traveller (Kususa & Quetornik Official Remix)

Pablo Fierro – La Palma

Dany Cohiba – The Spear Of Destiny

Kiko Navarro And Julie MCknight And Koki – All Because Of You (Koki Vocal Mix)

DJeff Afrozila And Helen Ting – Awakening

Michael Eclectic – Rotten Apple

Blacky – The Deep

Jaymo & Andy George And Marquis Hawkes – 1968 (The Broken Tape) (Marquis Hawkes Remix)

Lenny Maze – Bring Some Lovin

Lessovsky – Fly High

Miss Luna – Not The Same Old Day (Feat. Q Derhino) (City Soul Project’s Classic Mix)

Seb Skalski – Black Agenda

IndySoul, Darian Crouse, Entity – It’s Me (Entity’s Soulful Reprise)

Homero Espinosa And Phaze Dee And Mikey V – Taste Of Your Love

Dave Anthony And Richard Anthony Davis And Manoo – She Don’t Know (Manoo Remix)

Bertha – Huzzah (Listen)

Chopstick And Johnjon – Keep It Real Son

Kerri Chandler – We Can (Kerri Chandler)

Paul Rudder – Hurlee – No More

May 89th – Komposition I

A2a – That’s What We Need!

B&S Concept – Eva

Roy Davis Jr. And Terry Dexter – My Nation

Enea DjDj Lukas Wolf – Big Apple (Reloaded Chicago Radio Version)

Lupe Fuentes, Kerri Chandler – 1000 Watts (Kerri Kaoz Chandler Vocal Dub)

The Journey Men – Close To Me

Tuccillo – Kiko Navarro – Amor – Lovery (Pablo Fierro Remix)

Rephlex – Lady Lee – Is It Love

Lrusse – Part Of The Plan

Thee Gobbs And Kabomo And Rocco – Time To Rise (Rocco Dub Mix)

324am – Afronautes

Andrea Curato And Wilson Santos – A Night In A Chicago Club (Deep Journey Mix)

Mikaël Delta – Paul Randolph – This Is The Place (Michael Moses Afro Touch Mix)

Demarkus Lewis And E-Man – Behind Closed Doors (Feat. E-Man) (Deez 2017 Work Out)

Allen Craig – String In A Maze

Rainy Payne And DJ Bee – Unspoken (The Definition DJ Bee’s Cool Beats Mix)

Chopstick & Johnjon And Cece Rogers – What Is House Music

Pat Bedeau – Brotherhood

Jesusdapnk And Mastercris – Alive (Mastercris Remix)

Slavic – Letlapa

Demajor – Lizwi – Traveller (Kususa & Quetornik Official Remix)

DJ Spinna – Don’t You Blow (DJ Spinna Refreak)

Karizma – The Sea

Byron Stingily – Get Up (Everybody) (Mousse T. Remix)

Black Loops – Where My Girls At

Roland Clark – I Love My Life

Fabio Tosti – Fight For Love (Deeper Mix)

Modern Walker – House Lovin N Walking (Incl. Luna City Express & Herb Lf Mixes) (Herb Lf Remix)

C. Forman, D. Bennett, R. Medina, Quentin Harris – Spiritual Life (Quentin Harris Instrumental)

Chris Minus And Mr. V ��� The End

Jon Cutler & E-Man And The Black 80s – The Statement (The Black 80s Mix)

Blaze – Lovelee Dae

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