#Louise Weber

[2t2r]

18 portraits de Louise Weber, La Goulue, reine de Montmartre au 19ème siècle

Nouvel article publié sur https://www.2tout2rien.fr/18-portraits-de-louise-weber-la-goulue/

18 portraits de Louise Weber, La Goulue, reine de Montmartre au 19ème siècle

[misscromwellsmonocle]

La Goulue (Photos: 1885-90)

Louise Weber, born on July 12, 1866, was a pivotal figure in the realm of can-can. The dance style gained immense popularity, particularly in Paris during the late 19th century. Louise, better known as La Goulue, quickly became an iconic figure of her time.

La Goulue (The Glutton) earned her stagename when she "dried the bottoms of glasses in cabarets." This audacious behavior became synonymous with her fame, contributing to her larger-than-life persona. Her vibrant personality shone both on and off the stage, captivating audiences with her performances filled with enthusiasm and charme.

Legend has it that during a wild performance, La Goulue caught sight of the Prince of Wales nestled between two wheels, as he had come incognito to enjoy the evening at the Moulin Rouge. She allegedly called out: "Are you paying for the champagne? Is it you who invites or is it your mother who treats?"

Her style of fashion was characterized by flamboyant outfits, featuring voluminous petticoats, feathery embellishments, and captivating corsets. She had perfected her leg kicks to such an extent that she could score with calculated glimpses: The insatiable dancer had embroidered a small red heart into the crotch of her slip, which became a sensation and a coveted reward for the gentlemen of her choice.

One can only imagine the scandals, buzz and gossip that surrounded her during the Belle Époque in Paris.

[edgysaintjust]

Louise Weber (circa 1885 and 1890, author unknown)

[spryfilm]

Series Trailer: “Monsieur Spade” (2024)

[perfettamentechic]

13 novembre … ricordiamo …

13 novembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2019: Yukihiro Takiguchi,  soprannominato Takki, attore, cantante e modello giapponese. Divenne soprattutto noto per il ruolo di rilievo svolto nella stagione 2006-07 per l’adattamento teatrale e musical dell’anime The Prince of Tennis. È morto a causa di un’insufficienza cardiaca. (n. 1985) 2018: Katherine MacGregor, attrice statunitense, è stata un’attrice statunitense, nota per aver…

[radiogornjigrad]

Mirna Weber: Epitaf (za Louise E. Glück*)

Epitaf (za Louise E. Glück*) . Jesi li mrtva zlato, ili se rastopio tvoj Teleskop*? Jesi li mrtva? Je li mrtav tvoj AirDrop*? Tvoje je grlo sasvim suho. Izdah k’o uzdah. Djela govore. Nije svejedno, al’ ipak jedno je sve. Ja brojim zvijezde. I prepjevah jednu, za Tebe, za Sve. . 13.10.2023. . *Teleskop – pjesma L. E. Glück *AirDrop – jednostavan, brz i siguran način prijenosa datoteka,…

[chic-a-gigot]

L'Art et la mode: journal de la vie mondaine, no. 28, vol. 15, 14 juillet 1894, Paris. Bibliothèque nationale de France

Principaux Collaborateurs: Louise Abbema. • Bac. • G. de Billy. • Clermont-Gallerande. • Cordova. • Debat-Ponsan. • Detaille. • Fournery. • G. Fraipont. • Gélibert. • H. Gerbault. • Lhermitte. • Marais. • Mars • Henri Pille. • Rochegrosse. • M. de Solar. • Wagrez. • Zwiller.

Principaux Collaborateurs: Jean Alesson. • Paul Bonhomme. • Henri de Bornier. • P. de Cantelaus. • Louis Collas. • Fr. Coppée. • E. Daudet. • Louis Enault. • Henry Fouquier. • H. Gourdon de Genouillac. • Houff. Arséne Houssaye. • H. de Kérohant. • Pierre Mael. • Jean de Nivelle. • Marcel Prévost. • Bne de Spare. • E. Stoullig.

Sommaire du Numéro 28:

Art et Chiffons, par la baronne de Spare. Dessins de M. de Solar. Gazette héraldique, par H. Gourdon de Genouillac. Suzanne Herbain (suite), par Edouard Cadol. Dessin de Paride Weber. Silhouettes et Médaillons (La Reine de Portugal), par Louis Énault. Garden Party. Dessin de M. de Solar. Les Pierres rares, fines ou précieuses (suite), par la baronne Staffe. La Jolie Bouquetière. Dessin de Coëssin de la Fosse. Fantaisies parisiennes (Nos Maîtres), par Paul Bonhomme. Cerf au pacage. Dessin de E. Gridel. Uni Panique. Dessin de Made. A travers les théâtres, par Edmond Stoullig. Dessin de C. Sylvain. Toilettes pour bains de mer. Dessin de M. de Solar. Les Dr��leries de la Semaine, par Maurice Marais. Chronique financière, par Bonconseil.

Prix de numéro: 1 franc; avec gravure coloriée: 1 fr. 25.

A l'Etranger, le port en sus.

Un numéro tous les samedis.

On s'abonne aux bureaux de l'Art et la Mode, dans tous les bureaux de Poste et dans toutes les grandes librairies de l'Etranger.

Voir en haut de la dernière page, les conditions d'abonnement.

Rue Halévy, no. 8, en face l'Opéra.

[klaus1964b]

Henri de Toulouse-Lautrec (1864-1901) "La Goulue Arriving at the Moulin Rouge with Two Women" (1892) - La Goulue, actually called Louise Weber (1870-1929), was the most successful can-can dancer of her time. She appeared at the Moulin de la Galette, the Alcazar, the Elysée-Montmartre, the Jardin de Paris, and later especially at the Moulin Rouge, frequently with Valentin the Contortionist, her partner in the quadrille. She was given her nickname as a result of her uncontrolled appetite (goulue = greedy).

[opera-ghosts]

„GÖTTERDÄMMERUNG“ R. WAGNER „Starke Scheite schichtet mir dort…!“ Brünnhilde's immolation scene

Felia Litvinne as Brünnhilde; Brussels, 1902(?)

Louise Grandjean as Brünnhilde; Paris, 1902

Minna Tube as Brünnhilde; Graz, 1920

Ellen Gulbranson as Brünnhilde; Bayreuth, 1914

Josephine Reinl as Brünnhilde; Berlin, ?

Henny Borchers as Brünnhilde; Breslau, ?

Zdenka Fassbender as Brünnhilde; Munich, ?

Gertrud Rünger as Brünnhilde; Munich, ?

Lilly Hafgren-Waag (-Dinkela) as Brünnhilde; Milan, 1927

Margot Kaftal as Brünnhilde; Rome, ?

Jeanne Paquot D'Assy as Brünnhilde; Brussels, ?

Paula Florentin-Weber as Brünnhilde; Magdeburg, ?

Marta Fuchs as Brünnhilde, Bayreuth, ?

Lotte Burck as Brünnhilde; Milan, 1936

Anny Konetzni as Brünnhilde; Vienna, 1937

Fanny Wahrmann-Schöllinger as Brünnhilde; Hannover, 1926

[detournementsmineurs]

Tombe de Louise Weber dite La Goulue "créatrice du French Cancan" (1866-1929) au Cimetière de Montmartre, Paris, février 2024.

[exhibit-of-the-century]

Masterlist: Lesson Recommended Readings

Masterlist

BUY ME A COFFEE

✨Lucy E. Thompson, 'Vermeer's Curtain: Privacy, Slut-Shaming and Surveillance in "A Girl Reading a Letter", Survelliance & Society 2017 ✨Gregor Weber, 'Paths to Inner Values,' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames & Hudson, 2023) ✨Bernard Berenson on Masaccio, panel in National Gallery, 1907 ✨Giorgio Vadari, Lives of the Most Eminent Painters, Sculptors and Architects (online translation published, 1912) ✨Marjorie Munsterberg, Writing about Art ✨Paul Binski, Westminster Abbey and the Plantagenets: Kingship and the Representation of Power, 1200-1400, 1955 ✨Toby Green, A Fistful of Shells: West Africa from the River of the Slave Trade to the Age of Revolution, 'Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra', 2019

✨Pieter Roelofs, 'Girls with Pearls', extract from 'Vermeer's Tronies' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames and Hudson, 2023)

✨Frantz Fanon, Black Skin, White Masks (1986)

✨Frantz Fanon, The Wretched of the Earth (1963)

✨Decolonial/Postcolonial Voices

✨Honour, Hugh and Fleming, John.  A World History of Art. London: Laurence King Publishing. 7th ed, 2005

✨The Painter of Modern Life, Charles Baudlaire, 1863 Part 2, Part 3 Other Quality

✨The Photographers Eye, John Szarkowski, 1966

✨Elkins, James. Stories of Art. London: Routledge, 2002

✨Paragraphs on Conceptual Art, Sol Lewitt, 1967

✨Nikolaus Pevsner, The Buildings of England. London, volume 1, The Cities of London and Westminster, 1973

✨Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England, 'Material Vulture at the Crossroads of Knowledge: The Case of the Benin "Bronzes", 1994

✨Hatt, Michael and Klonk, Charlotte, Art History: A Critical Introduction to its Methods, 2006

✨Meyer Schapiro, H. W. Janson and E. H. Gombrich, ‘Criteria of Periodization in the History of European Art’, New Literary History, 1970 ✨Thomas DaCosta Kaufmann, ‘Periodization and its Discontents’, Journal of Art Historiography, 2010

✨Kathryn Wysocki Gunsch, The Benin Plaques: A 16th Century Imperial Monument, 2018

✨D'Alleva, Anne. How to Write Art History. London: Lawrence King Publishing, 2010/2013/2015

✨Christopher Wilson, The Gothic Cathedral: the Architecture of the Great Church, 1130 - 1530, 1990

✨Anne D'Alleva, Methods and Theories of Art History, 2005/2012

✨Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987 ✨Paul Binski, Ann Massing, and Marie Louise Sauerberg (eds.), The Westminster Retable: History, Technique, Conservation, 2009

✨Christa Gardner von Teuffel, ‘Masaccio and the Pisa Altarpiece: A New Approach’, Jahrbuch der Berliner Museen, 1977 Part 2

✨John Shearman, ‘Masaccio’s Pisa Altar-Piece: An Alternative Reconstruction’, The Burlington Magazine, 1966

✨Kathryn Wysocki Gunsch, ‘Art and/or Ethnographica?: The Reception of Benin Works from1897–1935’, African Arts, 2013

✨Eliot Wooldridge Rowlands, Masaccio: Saint Andrew and the Pisa altarpiece, 2003

✨Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, 1983

✨Clementine Deliss, Metabolic Museum 2020 ✨Laura Sangha, ‘On Periodisation: Or what’s the best way to chop history into bits’, The Many Headed Monster, 2016 ✨A Gangatharan, ‘The Problem of Periodization in History’, Proceedings of the Indian History Congress, 2008

✨McHam, Sarah Blake, "Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence," Art Bulletin, 2001

✨Eve Borsook, ‘A Note on Masaccio in Pisa’, The Burlington Magazine, 1961

✨Gombrich, E.H. The Story of Art, London: Phaidon Press Ltd, numerous editions

✨Paul Binski, 'The Cosmati at Westminster and the English Court Style', The Art Bulletin 72, 1990

✨Lindy Grant and Richard Mortimer (eds.), Westminster Abbey: The Cosmati Pavements, 2002

✨Peter Draper, The Formation of English Gothic: Architecture and Identity, 2006

✨Paul Crossley, ‘English Gothic Architecture’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨James H. Beck, Masaccio: The Documents, 1978 ✨R. A. Donkin, Beyond Price: Pearls and Pearl-Fishing: Origins to the Age of Discoveries, 1998

✨Nanette Salomon, ‘From Sexuality to Civility: Vermeer’s Women’, National Gallery of Art, Studies in the History of Art, 1998

✨Irene Cieraad, ‘Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes” 1’, Home Cultures, 2019

✨Walter D. Mignolo, ‘Delinking: The rhetoric of modernity, the logic of colonility and the grammar of de-coloniality’ in culture studies (2000)

✨H. Perry Chapman, ‘Women in Vermeer’s home: Mimesis and ideation’, Nederlands Kunsthistorisch Jaarboek,2000

✨Christopher Wilson, ‘The English Response to French Gothic Architecture, c. 1200-1350’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

✨Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

✨Andre Felibien (1619-1695) Preface to Seven Conferences

✨Charles Le Burn (1619-1690) 'First Confrence'

✨Various Authors (Reviews) on Manet's Olympia

✨Zionism and its Religious Critics in fin-de-siecle Vienna, Robert S. Wistrich, 1996

✨Sex, Lies and Decoation: Adolf Loos and Gustav Klimt, Beatriz Colomina, 2010

✨Women Writers and Artists in Fin-de-Siecle Vienna, Helga H. Harriman, 1993

✨Fashion and Feminism in "Fin de Siecle" Vienna, Mary L. Wagner, 1989-1990

✨5 Eros and Thanatos in Fin-de-Siecle Vienna, Sigmund Freud, Otto Weininger, Arthur Schitzler, 2016

✨Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele, Reinhold Heller, 1977

✨Maternity and Sexulaity in the 1890s, Wendy Slatkin, 1980

✨Andre Breton (1896 - 1957) and Leon Trotsky (1879 - 1940) 'Towards a Free Revolutionary Art'

✨Sergei Tretyakov (1892 - 1939) 'We Are Searching' and 'We Raise the Alarm'

✨George Grosz (1893 - 1959) and Weiland Herzfeld (1896 - 1988) 'Art is in Danger'

✨Paul Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

✨Siegfried Kracauer (1889 - 1966) from 'The Mass Ornament'

✨Victor Fournel (1829 - 1894) 'The Art of Flanerie'

✨Various Author's (Reviews) on Mante's Olympia

✨Rosalind Krauss (b. 1940) 'A View of Modernism'

✨Clement Greenberg (1909 - 1994) 'Modernist Painting'

✨Clive Bell (1881 - 1964) 'The Aesthetic Hypothesis'

✨Catherine Grant and Dorothy Price, 'Decolonizing Art History', Art History 43:1 (2020), pp.8-66.

✨Terry Smith (b. 1944) from 'What Is Contemporary Art?'

✨Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

✨Chin-Tao Wu 'Biennials Without Borders?'

✨Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

✨Rasheed Araeen (b. 1935) 'Why Third Text?'

[adamwatchesmovies]

Arrival (2016)

Watching Arrival a second time takes away its surprises but gives you a new appreciation for its storytelling. It’s a wholly different experience. You pick up on certain character beats and structural points that were impossible to spot the first time around. It’s a brainy sci-fi film so make sure you block off at least a half hour after it’s over to discuss it with your friends.

Twelve mysterious alien spacecraft have appeared across the globe. The U.S. government selects Linguist Louise Banks (Amy Adams) to help communicate with the extra-terrestrials. She begins deciphering the way these visitors communicate but progress is slow. While Louise and theoretical physicist Ian Donnelly (Jeremy Renner) desperately try to convey critical human ideas and concepts to the visitors, the rest of the world becomes increasingly wary.

Residing in the same neighbourhood as Close Encounters of the Third Kind and Interstellar, Arrival is about aliens but really, it’s about communication. Think about how many ways we communicate and how so many things are assumed when two people are face-to-face. You don’t have to speak the same language to know what barred teeth means. Smiles are universal. Even with all these things in common, we still misunderstand each other constantly. Now imagine communicating with a creature that (as far as we can tell) doesn’t even have a face. You wouldn’t know where to begin. At least you know they’re intelligent and willing to communicate. They haven’t blown us up yet. That’s promising.

Much of the joy of Arrival comes in the procedural bits. When Louise has an “aha!” Moment and makes a breakthrough, it’s the most exciting thing you’ve seen. The more her work comes together, the more eager you are for her and Donnelly to share what they’ve found with their superior (Forest Whitaker as Colonel G. T. Weber) and then get right back to teaching new words to the Heptapods.

The whole movie could’ve been just about learning to communicate with the visitors but unfortunately, mankind is never as open-minded as it should be. You can see the progress they're making but when Louise tries to explain it to others, they just don’t understand. Tiny, seemingly insignificant decisions snowball into avalanches which threaten not only this operation but the entire human-heptapod encounter and possibly, the world. There’s a sense of wonder and excitement blended with suspense and nerve-eroding fear that something will go horribly wrong any minute.

Now that we know the ending, aspects of the story change completely. Initially, you assume the images of Louise and her daughter Hannah are flashbacks. These "explain" why, she is now alone and isolated. Actually, those are not memories; they're glimpses of her future. Deciphering the alien language and immersing herself in it allows Louise to perceive time as they do: non-linearly. It’s an example of time travel done right. Louise can suddenly look into her future and find crucial information from conversations that haven’t happened yet, bring them “back” and make them happen. How did she know what words General Shang shared with his wife before she passed? In a way, she always knew. That’s how time loops work and if you don’t understand it, this is where that half hour you set aside will come in handy. The problem is that you’re still thinking of time as a line when it isn’t; not anymore.

Arrival has an airtight screenplay. Re-evaluating its story and themes further emphasizes how much time and effort was spent polishing it. It’s complex, which makes the moment where it finally clicks immensely satisfying. As a bonus, it’s wonderfully acted, extremely moody, gorgeous to watch and masterfully directed. This is the best sci-fi film we’ve seen in a long time. (On Blu-ray, March 15, 2019)

[forbiddenclarissaplanets]

@yetihideout summer movie picks!

@yetihideout (Eric Weber) loves Match Game, Louise Lasser, and cats! Here is his list of five summer movies: Piranha (1978) – “People eat fish, Grogan. Fish don’t eat people.” Directed by the always reliable Joe Dante (Gremlins) and a lot more fun than Jaws! Good mix of laughs and scares and some surprisingly sentimental scenes in this spoof of nature-gone-amuck and 1950s monster movies.…

[pan-fried-autism]

OC LIST

you know what. maybe i'll finally make an oc list thing.

AHEM

GREMS FUNNY WORLD

MAJOR

Grementine Mewton (28-37, she/her or they/he [pronouns go to the latter set once grem is 32])

Merell Morgan (29-38, she/her)

M0u5e Mewton (4-13ish, he/she/it)

Cr1ck3t Akdow-Mewton (6, she/her)

Al4baster Akdow-Mewton (1, they/them)

Jack Harris (28-37, he/him)

SUPPORTING

Bunny Harris (nee Hopper) (28-37, she/her)

Easton Harris (2-11, he/him)

Minnie Harris (1-10, she/her)

Natalie Harris (couple months old-8 1/2, she/her)

Beans Akdow-Harris (7 mo, she/her)

Lionel Mewton (55-64, he/him)

Lupus Mewton (55-64, he/him)

MINOR

Leslie Mewton (2, she/her)

Lopsy Shepherd (24-33, all pronouns)

Rolando Rojas (baby, he/him)

Raymond Rojas (baby, he/him)

Lucy Rojas (5, she/her)

Tony Rojas (3, he/him)

Quillin Mewton (6-15, he/him)

Jane Welker (37, she/her)

Willow MacDonald (nee Jerseytail) (37, she/her)

Lewis Flores-Little (37, he/him)

Dorina Whittebaker (nee Wong) (57, she/her)

Louise Whittebaker (26, she/her)

Finnley/Finn Whittebaker (23, he/him)

The Harris family

ROCK MONSTERS WORLD

MAJOR

Keith Beaston/Rock Monster (22, he/him [later he/she])

Maria Wayne/Fame Monster (25, she/her)

Virgil Beaston (19, he/him)

Addison/Addie Blair Fogle (22, they/them)

Mabel Fogle-Beaston (14, she/her)

Lime Beaston (13, she/her)

Nicolas Beaston (11, he/him)

SUPPORTING

Kendall McCormick (21, he/they)

Ferrel Williams (22-41, he/him)

Wendy Tiburóna (22, she/her)

Reese Beaston (nee Wayne) (46, she/her)

Frank Beaston (46, he/him)

Roger Nulling (22, he/him)

MINOR

Arty

Bethany

Lily

Pixel Hernandez (19, it/they)

Jodi Milch (19, she/they)

Holland/Holly Watanabe (19, she/her)

Kevin Ryan (20, he/him)

KINGSLAYERS

MAJOR

Mason Keller (24, he/him)

Amira Gutierrez (24, she/her)

James Lytton (24, he/him)

Maxie Dawson (16, they/them)

Charlotte/Lottie Cumberdale (15, she/her)

Chamberlain/Lain Cumberdale (15, he/him)

Ashwyn Toa (129, he/him)

Derik Strangern I (25, he/him)

Marisel Peters (22, she/her)

Carrie von Sensenmann I (23, she/her)

SUPPORTING

Martin Vulcaton (24, he/him)

Victoria Strangern (nee Crossica) (50, she/her)

Barnabas/Barny Dawson (47, he/him)

Morana Strangern I (23, she/her)

Auric Strangern I (dead, he/him)

MINOR

Janice Watterson (nee Lytton) (24, she/her)

Chloe Dawson (nee Sasaki) (39, she/her)

Jericho Weber (29, they/she)

Nero Strangern II (19, he/him)

Katrianne le Clerk (nee Allard) (dead, she/her)

Elise Keller (nee le Clerk) (54, she/her)

Almorte (immortal, it/he)

Vajasi (immortal, she/he)

Paulina Moore (16, she/her)

Dion Morgan (7, he/him)

THE BAT OUT OF HELL

UH I ONLY HAVE THREE SORRY

Bronach O'Byrne (28, he/it)

Mother Helena Sullivan (24, she/it)

Champagne Stirrwell (30, they/them)

MIITOPIA OCS. I DONT HAVE THAT MANY OF THESE

Help Mii/Helamea (17, she/her)

FNF OC

Lime and Nick

MP/Minus!Plumeria (26, she/her)

MG/Minus!Guzma (26, he/him)

MK/Minus!Koko (15, they/them)

8-Byte (juvenile, it/its + she/her if ur close)

A-Body (adult, he/bit)

RAR OCs

Strawberry/Strawbei (23, any pronouns)

Partridgeberry/Party (23, he/him)

Tomato/Tom/Tommy (23, he/she)

Golden Delicious/Goldie (23, she/her)

Red Delicious/Red/Rouge/Rosie (22, he/she/they [depends how he feels])

Spherekhail Davies (29, he/him)

Fumonis but only because they and Strawbei are dating

DEMON OCs

John Jonn/Mr. Bland/"Osteorachnid" (looks early 20s, he/him)

Laurel/"Amedusa" (looks early 20s, he/she)

Fumonis (looks mid 20s, he/she/they)

Spirece (30+ but demons age differently so they're around 18-19 in human years, they/them)

Beetle (baby, she/rot)

Abalain/Abbie (old, she/they)

Plasma (old, he/him)

Scorpent (not as old but still old, ve/ver)

Spherekhail

A-Body

Help Mii/Helamea

Helena

POLYGONAL ALIENS

Trianna Isomer (25, she/her)

Angulaure Arithmette (22, she/they/ze)

Pentylle Murphy (32, she/xe/it)

Spherekhail

MMHOPH OCS

Ryoshi Mao (16, he.him)

Meowlentine Mao I (14, she/her)

Hanna Keys (11, she/her)

Vinnie Mao (6, he/him)

Nia Mao (5, she/her)

Lennie (15, he/him)

POKEMON OCS

Koherna/Koko Addleson (15, she/her)

Noir Bellin (13, she/her)

Mohna Aether (14, she/her)

Blanca (11, she/her)

Lexi Lox (16, she/they)

Reya Smith (17, she/her)

Robyn Decker (12, she/they)

Kagome (scrafty, she/her)

Inari (scrafty, he/him)

Chihiro (scraggy, he/him)

Trixie (tinkaton, she/it)

Sneaks (salandit, he/him)

Professor Merlin Mahogany (30, he/they)

STEVEN UNIVERSE OCs

Emerald (she/her)

Yukonite/Yukie (she/her)

Blue Sandstone/Blue (he/him)

Calypso Barriga (15, she/her)

MISCHELLANOUSE

Kira Mori (16, she/her)

[schoje]

Nesta sexta-feira (15), às 20h30, acontece a primeira apresentação de uma das atrações mais esperadas do Natal EnCanto de Itajaí 2023: o concerto do grande coro, dos solistas, da orquestra e a projeção mapeada na Praça da Igreja Matriz. O Cortejo do Noel antecede o espetáculo, trazendo o Bom Velhinho pela rua Hercílio Luz, às 20h, acompanhado da banda PercuSax. As apresentações musicais, a feira de artesanato e os food trucks da Rua Coberta (Praça Arno Bauer) também são atrações desta sexta-feira (15) e seguem abertos ao público, no Centro, até o dia 22 de dezembro. Doze corais e grupos vocais integram o grande coro do Natal EnCanto deste ano, sob direção e regência de Normélio Pedro Weber, superintendente administrativo das Fundações. Os grupos representados são: Coro Carpe Diem, Coral da Câmara de Vereadores de Itajaí "Giuliana Von Mecheln", Coral Univali, Coral Luterano, Coral Caixa Acústica, Coral Villa Lobos, Coro Vozes do Vale, Coral do Santíssimo, Sacramento, Coral Fermata, Grupo Vocal Entrecanto, Grupo Vocal Ad Libitum e Grupo Vocal Cantando Por Aí. Já a orquestra conta com 20 integrantes, conduzida pelo músico Arnou de Melo. Na formação estão os seguintes instrumentos: bateria, contrabaixo, piano e guitarra, além de instrumentos de sopro e de corda. O repertório do concerto é formado por músicas natalinas, canções nacionais e internacionais conhecidas, em nova roupagem. Já a projeção mapeada apresenta símbolos e personagens característicos do Natal. As apresentações seguem até sexta-feira (22). Com programação 100% gratuita, o Natal EnCanto começou dia 08 de dezembro com grande desfile na rua Hercílio Luz, apresentações dos Anjos Cantores no Museu e diversas atrações artísticas e gastronômicas na Rua Coberta, localizada entre a Casa da Cultura e o Museu. A Caravana do Noel inicia suas rotas sábado (16) e segue em circulação nos bairros da cidade até o dia 22 deste mês. Confira a programação do Natal EnCanto desta sexta-feira (15): 15/12 – Sexta-feira 18h30 - Apresentação Musical Banda Sui Generis - Rua Coberta 20h - Cortejo do Noel – Banda Percusax - Hercílio Luz 20h - Banda Tom Peixeiro - Rua Estefano José Vanolli 20h30 - Concerto Natal EnCanto + Projeção Mapeada 22h - Apresentação Musical Louise Lucena e Banda - Rua CobertaFonte: Prefeitura de Itajaí - SC

[crg2]

synopsis

List: B

   “BlacKkKlansman” is a comedy movie based on the true story of the first African American police officer in Colorado Springs, Ron Stallworth, and his infiltration into a KKK chapter in the area. The movie begins with him facing backlash and racism for being a black officer from his coworkers. He infiltrates a black student union as a part of an intelligence operation and meets and falls in love with Patrice, who leads the union. He is inspired by her and calls the local KKK chapter, impersonating a white supporter, and gathers intel on them, most notably about a domestic terrorist bombing they are planning. He grapples with himself and the risks posed to him and those around him while gathering intelligence on the KKK chapter, all culminating in the final climax, where he is at risk of having his identity exposed and dying.

Overall, the movie takes a comedic but serious tone on racism and identity, and throughout, it is able to blend elements of comedy with its serious and dangerous tone about racism and social commentary.

List: A

Dr. Louise Banks is a linguistics professor who is hired by the military when mysterious alien spacecraft drop down on various parts of the earth. She is hired by military colonel Weber to investigate the alien craft named “shells” and their inhabitants, called Hetapods, due to their number of limbs. While studying and communicating with them, she slowly begins to have vivid flashbacks to memories of her daughter, who sadly died of a rare, uncurable disease. She begins to find out that the Hetapods experience time in a nonlinear way, allowing them to see all perspectives of time at the same time, which is something she eventually unlocks herself after finally understanding their language. After finally understanding them, she realizes the visions of her daughter are from the future, in which she will have and eventually lose her daughter. She and her co-worker, whom she loves, Dr. Ian, eventually fall into a romantic relationship after tensions rise and the aliens are forced to leave due to human paranoia. Where they live out the future, she foresaw them having and eventually losing her daughter just as she foresaw.

The movie uses a dark and mysterious tone and theme to get the viewers attention, and subtlety hints at the overall twist of the movie, which is that her memories are the future. In my opinion, this is a movie about accepting fate and valuing the life you are given.

Scene: https://www.youtube.com/watch?v=h10sJv3IacQ

The ending was very impactful to me, it represents the movie as a movie about understanding, whether it be understanding alien language or understanding fate and accepting it. In the final scenes, we see their lives as a family, from the moment of her baby’s birth to the final scene where she accepts her and her daughter’s fate and chooses to live that life. The message of the movie to me and what it is themed around is accepting fate and taking life and those around you and cherishing them.