#Mark Brailsford

[milliondollarbaby87]

Arthur's Whisky (2024) Review

When Joan’s husband dies, she finds out that he had created an elixir which when drunk can make you look young again. Sharing it with her best friends Susan and Linda, they are about to take a step back in time. ⭐️⭐️⭐️ Continue reading Arthur’s Whisky (2024) Review

[ulkaralakbarova]

When Queen Elizabeth’s reign is threatened by ruthless familial betrayal and Spain’s invading army, she and her shrewd adviser must act to safeguard the lives of her people. Credits: TheMovieDb. Film Cast: Elizabeth I, Queen of England: Cate Blanchett Sir Walter Raleigh: Clive Owen Sir Francis Walsingham: Geoffrey Rush Sir Christopher Hatton: Laurence Fox Amyas Paulet: Tom Hollander Elizabeth Throckmorton: Abbie Cornish Robert Reston: Rhys Ifans King Philip II of Spain: Jordi Mollà Mary, Queen of Scots: Samantha Morton Anthony Babington: Eddie Redmayne Calley: Adrian Scarborough William Walsingham: Adam Godley Archduke Charles: Christian Brassington Count Georg von Helfenstein: Robert Cambrinus Dr. John Dee: David Threlfall Spanish Minister: Vidal Sancho Ursula Walsingham: Kelly Hunter Lord Howard: John Shrapnel Torturer: Sam Spruell Cellarman: David Sterne Admiral Sir William Winter: David Robb Courtier: Jonathan Bailey Walsingham’s Servant: Steve Lately Woman with Baby: Kate Fleetwood Infanta Isabel of Spain: Aimee King Annette: Susan Lynch Mary Walsingham: Kristin Coulter Smith Queen Elizabeth’s Waiting Lady #1: Hayley Burroughs Queen Elizabeth’s Waiting Lady #2: Kirsty McKay Queen Elizabeth’s Waiting Lady #3: Lucia Ruck Keene Queen Elizabeth’s Waiting Lady #4: Lucienne Venisse-Back Laundry Woman: Elise McCave Margaret: Penelope McGhie First Court Lady: Coral Beed Second Court Lady: Rosalind Halstead Manteo: Steven Loton Wanchese: Martin Baron Walsingham’s Agent: David Armand Sir Francis Throckmorton: Steven Robertson Ramsey: Jeremy Barker Burton: George Innes Mary Walsingham: Kirstin Smith Old Throckmorton: Tim Preece Dance Master: Benjamin May Royal Servant: Glenn Doherty Dean of Peterborough: Chris Brailsford Executioner: Dave Legeno Spanish Archbishop: Antony Carrick Marriage Priest: John Atterbury First Spanish Officer: Alex Giannini Second Spanish Officer: Joe Ferrara Courtier: Alexander Barnes Courtier: Charles Bruce Courtier: Jeremy Cracknell Courtier: Benedict Green Courtier: Adam Smith Courtier: Simon Stratton Courtier: Crispin Swayne Mary Stuart’s Lady in Waiting: Kitty Fox Mary Stuart’s Lady in Waiting: Kate Lindesay Mary Stuart’s Lady in Waiting: Katherine Templar Courtier (uncredited): Morne Botes Young Boy (uncredited): Finn Morrell Tyger Salior (uncredited): Shane Nolan Film Crew: Screenplay: William Nicholson Director of Photography: Remi Adefarasin Editor: Jill Bilcock Original Music Composer: A.R. Rahman Original Music Composer: Craig Armstrong Set Decoration: Richard Roberts Stunts: Peter Pedrero Stunt Coordinator: Greg Powell Casting: Fiona Weir Stunts: Rob Inch Stunts: Andy Smart Additional Camera: David Worley Costume Design: Alexandra Byrne Supervising Sound Editor: Mark Auguste Production Design: Guy Hendrix Dyas Supervising Art Director: Frank Walsh Director: Shekhar Kapur Screenplay: Michael Hirst Editor: Andrew Haddock Art Direction: David Allday Set Costumer: Martin Chitty Sound Re-Recording Mixer: Steve Single Scenic Artist: Rohan Harris Stunts: Ray Nicholas Art Direction: Andy Thomson Art Direction: Jason Knox-Johnston Production Manager: Mark Mostyn Stunts: George Cottle Stunts: David Anders Stunts: Peter Miles Visual Effects Supervisor: John Lockwood Stunts: John Kearney Stunts: Paul Kennington Stunts: Nick Chopping Costume Supervisor: Suzi Turnbull Hairstylist: Morag Ross Art Direction: Phil Sims Music Editor: Tony Lewis ADR Recordist: Robert Edwards Stunt Double: Abbi Collins Script Supervisor: Angela Wharton ADR Editor: Tim Hands Art Direction: Christian Huband Visual Effects Supervisor: Richard Stammers Stunts: Rowley Irlam Assistant Art Director: Helen Xenopoulos Foley Artist: Mario Vaccaro Visual Effects Supervisor: Steve Street Property Master: David Balfour Greensman: Ian Whiteford Foley Editor: Andrew Neil Stunts: Gordon Seed Sound Re-Recording Mixer: Tim Cavagin Dialogue Editor: Sam Auguste Scenic Artist: James Gemmill Unit Publicist: Stacy Mann Camera Operator: Ben Wilson Visual Effects Editor: Aled Robinson Stunts: Paul Herbert Hairstylist: Do...

[ao3feed-brucewayne]

Mark of the Bat

by Hyper_Nexus There are two people that the Iron Blooded Valkyrie despises the most. One is the mysterious Batman who rides the Demon Dragon of Legend. The other is the laid-back nobleman who teaches at the Ansullivan Dragonar Academy. Little did she know that the two of them are the same. Words: 7912, Chapters: 1/?, Language: English Fandoms: Batman - All Media Types, 星刻の竜騎士 | Seikoku no Dragonar | Dragonar Academy (Anime) Rating: Explicit Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M Characters: Bruce Wayne, Navi (Seikoku no Dragonar), Angela Cornwell, Primrose Shelley, Oscar Brailsford, Ash Blake (Seikoku no Dragonar), Lucca Sarlinen, Anya|Shamara Kiltzkaya, Silvia Lautreamont, Rebecca Randall (Seikoku no Dragonar), Veronica Lautreamont Relationships: Veronica Lautreamont/Bruce Wayne, Navi (Seikoku no Dragonar)/Bruce Wayne, Angela Cornwell/Bruce Wayne, Primrose Shelly/Bruce Wayne, Silvia Lautreamont/Bruce Wayne, Rebecca Randall (Seikoku no Dragonar)/Bruce Wayne, Oscar Brailsford/Bruce Wayne Additional Tags: Harems, Ecchi, Tentacles, Age Difference, Alternate Universe via https://ift.tt/J9jUx1L

[stella-journal]

Mark Preston

Snow Shadows, Brailsford

[letterboxd-loggd]

P’tang, Yang, Kipperbang (1982) Michael Apted

August 20th 2022

[downthetubes]

Roy Smiles’ award winning Tony Hancock play, “The Lad Himself”, revived

Roy Smiles’ award winning Tony Hancock play, “The Lad Himself”, revived

Roy Smiles’ award winning Tony Hancock play, The Lad Himself, is back on stage in London from 20th April to 1st May 2022. Directed by, and starring Mark Brailsford, the play, from the team behind The Treason Show, will be performed Upstairs at the Gatehouse, in Highgate, N6 4BD. The play by Roy Smiles, author of Ying Tong, A Walk with The Goons, and Pythonesque. is described as a gleefully…

[flickfeast]

Steven Berkoff's Tell Tale Heart (2019) - Film Review

Steven Berkoff's Tell Tale Heart (2019) - Film Review - #StevenBerkoff gets to the heart of #Poe's classic chiller - thanks to @DavidBurnsPR for sharing .....

The secret to the classic tales of terror by Edgar Allan Poe, the American master of macabre short fiction, was just that – they were short. As a result their sharp and subtly shocking style suits them perfectly for snappy, succinct dramatic treatments, in say the form of an hour long TV slot. Which is what the new release, Steven Berkoff’s Tell Tale Heart(2019), should have been. And why the…

[daggerzine]

Tony Potts of The Monochrome Set gives us the details! (interview by Steve Michener)

I started writing a weekly post on Facebook about two years ago, wherein I would pick a song from the extensive catalog of The Monochrome Set and write a few words, trying to hep people to their fantastic music. It became a fun, online conversation with friends and fans and the band would sometimes join in, adding to the story or correcting my (frequent) historical errors.  I was presenting myself as a TMS scholar when I was really just a doofus with a love for the music. The FB feature eventually led to my volunteering to drive the band on the West Coast swing of their recent US tour, which was a total blast. 

 Recently, I came up with the idea of interviewing various members of the band and when I initially hit upon this plan, the first person I thought of was Tony Potts, their early ‘5th member.'  Tony added another dimension to the band’s early shows by projecting films onto screens (and sometimes the band), helping to differentiate the band in the crowded post-punk music scene of the late 70s/early 80s England. I never personally saw any early TMS shows so I missed out on his contributions until last year when  I attended the TMS 40th anniversary shows in London and got to experience his visuals along with the music (albeit from a laptop now instead of a Super 8 film). I’ve always been intrigued by his role with the group and he was nice enough to answer some of my email questions about the early days of the band, his art, and, of course, his favorite TMS song. Tony’s Facebook page is one of the most entertaining around; he doesn’t hold back much, whether it’s about his cancer diagnosis, politics, or the state of the Great Western Railroad. TMSF and now Dagger Zine present the Weird, Wild and Wonderful World of Tony Potts!

That’s Tony far right  

 Q: How did you come to be involved with the Monochrome Set? What drew you to them and them to you?

 Ah, now there are two answers to this question. The first is terse and accurate, although less interesting than the second. Well, I knew John, J.D. Haney. That's the terse answer. However, in the interests of interest, and name-dropping, we have to travel back to about 1974. The story illustrates I think, how our lives are built upon great swaths of happenstance.

While studying on my pre-degree arts foundation I became close friends with Edwin, later Savage Pencil, who later still formed The Art Attacks. After some itinerant drummers, including Ricky Slaughter of The Motors, and Robert Gotobed of Wire, JD became the Art Attacks drummer. Now, Edwin didn't know him, so I can only guess, at this great distance, that I put his name forward. But again, we must spool back in time. How did I know John? After Edwin left for London, and still at my provincial art school, I became good friends with two fellow student artists like myself, Andy Palmer and Joy Haney. They both became founder members of Crass, under the names N A Palmer and Joy De Vivre, and are now exceptionally good fine artists.

It was through my friendship with Joy that I meet her brother, the aforementioned JD, when he came down from university in the summer of '76. We hung out with his college chum, Jean-Marie Carroll, later to join The Members, and discussed narrow neckties and casual trousers. Then Joy, Andy, and I went off to the Greek islands for the summer, before returning to London to take up our degree course at Chelsea School of Art.

Thus it was, with us all now in London, that I believe I introduced JD to The Art Attacks, with whom I worked until their demise, at which point JD took up with TMS. Due to mutual creative interests in art, I was invited to display my films at their gigs. That was late '78, with my first gig with the band being at Acklam Hall, Notting Hill, on 22nd February 1979. Thereafter we fell together and I started to make films specifically for the live shows. It’s worth pointing out that the TMS was not formed in an art school, or by art students. It is lazy journalism that perpetuates the Art School band epithet. Both Bid, the main song writing power behind the longevity of the band, and the other key lyricist, JD Haney, have never been anywhere near an art school.

 Q: What were your films like? Who were your art-school influences at the time? What were you doing with the Art Attacks?

 I was studying fine art painting, and painting was my main interest. Although I loved films, I never expected to move in that direction. As a painter, I was a devotee of the Russian Constructivists like Tatlin, but mostly the geometric forms of El Lissitzky, and the Suprematist Kazimir Malevich - best known for Black Square and White On White. My paintings were an amalgam of geometric forms in the vein of Lissitzky on grounds inspired by Malevich's painterly surfaces. With the rise of the Punk movement in London, I somewhat changed direction, moving into filmmaking that had a quasi-narrative style, intended to be more emotional and poetic. Although driven by what was happening in music during ‘76/'77/'78, ironically, my films couldn't be any less punk if I tried. Well, not to punks anyway. These days I regret that I never resuscitated my painting practice.

At the time of the Acklam Hall gig, I had made one large scale Super8, and two 16mm works. I think it must have been 'Strange Meeting', which in part was about aliens and The Red Army Faction murders, which we showed at that gig, but as a support. I had previously made some other 8mm films, and I might have used them during the band, but I can't recall. However, I now have vague memories of projecting B & W film over the whole stage and band. With The Art Attacks, I didn't have a creative role, I just supported the band in rehearsal and at gigs with Paul Humphries their manager, and the initial manager of TMS. Paul, JD and I all shared the same squat in Brailsford Road, Brixton. So, with TMS I had something more creative to do.

 Q: For those of us who weren't able to see those shows, describe for us what you were doing with the films during the shows. How were the films received by the audience?

 As I said, initially I used the films that I had made in another context, and they were added to the performance to create an overall ambiance, a statement of presentation that was not about a band energetically leaping about on stage, as was the order of the day. Soon I started to make Super8 material specifically for TMS performances. This included the scratched and bleached footage for 'Lester Leaps In', or images filmed on the road, like the Berlin footage used for ‘Viva Death Row’, or staged material of the band getting up to also sorts of antics, like the beach ball larks and bits of animations I would make with no specific aim. In the early days, I made two roller blind screens in long boxes, [we took them on the first two US tours] with one on either side of the stage as space allowed, with film projected onto them so the band members were often in silhouette, although it bled onto them also. The stage was very dark, lit by blue footlights, which I made. I think Mark Perry of Sniffing Glue/Alternative TV said something like it was the most brilliantly depressing thing he had seen. That was always the irony at that time, the music was pert and poppy and uplifting, but the show wasn't. What a laugh, we all thought.

 The shows became increasingly more elaborate with more screens, more projectors and a theatrical lighting rig. At this time we were using Ground Control, Bowie's original PA, run by a lovely guy called Robin Mayhew. Using the theatre lights allowed me to focus and shape controlled beams of light exactly where I wanted them. For example, I could just illuminate Bid's face or other small areas with geometric shapes, while leaving the stage largely unlit. Then the film screens could glow and flicker in the dark. The lads tended not to move a great deal. A tradition assiduously upheld by Mr. Warren.

 As to reception, well some people liked it, and others couldn't see the point. I think it mostly worked as a spectacle, an integrated whole, a total experience, but for those just into the music, it was probably irrelevant. I mean, they are a great band, so nobody missed me when I didn't set up, like at the M80. That stage was toooo big, man.

Bid and Tony 

 Q; As the 'Fifth Member' whose focus seemed to have been on the live performances, how did you fit in with the band in the recording studio?

 Yes, my key role was the live performance; anything else was a bonus for me. I was at all recordings from the second Rough Trade single to the end of the second album, as an enthusiastic supporter and admirer. Of course, I chipped in with the odd suggestion or noise and was probably ignored where and when necessary. Being musically incompetent, my timing is off by a good margin so I'm not sure my handclaps ever made a final mix. You can hear me on TWWWWofTP. I've got quite a pleasant singing voice, also, just not in public. Bid once marked out the chord changes for Ici Les Enfants on a plastic organ I had, to fill out the live sound, but after the first chord change, I was lost and bewildered.

 Q: You've done promotional videos for the band. Can you talk about a few of those projects? Do you have a favorite video?

 The first promotional film I made was the one for Dindisc, and called Strange Boutique, not after the title of the first album as many think, but coincidentally, after the name of a pair of corduroy trousers! Actually, that may not be true. So, this was conceived as a short film, with two songs and a Rod Serling type piece to camera as a linking devise. Done on the very cheap. Unfortunately, there were syncing issues with some of the dialogue and the master got damaged, scratched, and I'm not sure if I still have the original film, or not. It's on our DVD as a complete piece as far as I remember, but it turns up on YouTube, usually cut down to either of the two songs LSD and Strange Boutique, without all the linking material.

We then waited a long time until I was commissioned by WEA to make the promo for 'Jacob's Ladder' with the release of 'The Lost Weekend' album. The deal was negotiated from a public phone box on Clapham Common tube station. It was somewhat compromised by cock-ups at WEA which meant I was forced to hand it over before it was fully edited to my satisfaction. I seem to have made a style out of technical imperfections; at least that's what I'm saying. At the time Top of the Pops had a video preview section, and a short clip of Jacob's Ladder was shown. That’s primetime TV, folks!

And then, of course, I was delighted when Bid asked me to make the official MaisieWorld video for ‘I Feel Fine’, which I was very pleased with. All these projects were very personal to me, not just the execution of a job, and the first two were part of my life at the time of making.

 Q. The only footage I've seen of you actually playing with the band is the Old Grey Whistle Test TV spot. Was it common for you to join the band onstage?

 Well, I was usually visible on stage, controlling the projectors, which needed constant manipulation, like a DJ scratching, changing speed and switching images, fading and mixing. Also, there might be some little set piece we had devised, which required me to do something. At one point, during the Ground Control days, I remember I had my own mic so I could interact with the stage, which didn't last that long. So, to some extent, I always had a relationship with the stage as both performer and technician. Once, when Lester Square had had enough, I did perform the encore, He's Frank, by incessantly plucking one string of his guitar. Pretty good, actually! Music and Maths very similar to my mind, no sooner do I believe that I have mastered the execution of some small calculation, but I soon discover that I haven't.

Don’t shake the ladder, Tony gettin’ down to work. 

Q: Tell us about your film education and your career in film and video outside the band.

 I made a living of sorts working commercially in film and video production, and teaching, but as I mentioned before, I actually trained in fine art. My art foundation took a very academic approach and involved copious hours of life drawing and other drawing classes, while being given time to develop one's own particular discipline and style.

I made one Super8 film based on geometric elements in my painting. I had made three other 8mm film before this. It wasn't until I was on my degree course that I started making more moving image work, but this stemmed from a fine art perspective, so I didn't ever have any film school type training. My own work I would categorise as poetic experimentalism, that is under the general umbrella of artist film and video. Just a reminder that you can catch up with lots more detail of everything I've said at my website, http://tonypottsloopform.altervista.org. Although it has all the history of the films and staging, as well as the making of Jacob's Ladder, it's rather old and not up-to-date. That site includes all the art projects I've worked on, the history of TMS film, and my own films. My creative life can be divided into three separate but overlapping strands. The first being, my personal practice as an artist/film maker, the second, my skills and knowledge deployed in the service of collective artworks and community arts projects, and those same skills employed commercially in film and video production and teaching.

 Q: It's obvious from FB that you are a big film fan. Who are some of your favorite directors/favorite movies?

 With a few exceptions, I'm not much interested in modern Hollywood, old Hollywood is better, and pre-Hays better still. My film tastes are somewhat esoteric for most folks. I prefer silent film, particularly that of the classic German period of the twenties, Lang, Murnau, Pabst, Dreyer. Then in the sixties, PP Pasolini, Robert Bresson, Akira Kurosawa, soviet era Tarkosky and Parajhanov, plus a host of even less well know eastern European directors like Miklos Jancso, Jan Nemec, or Frantisek Vlacil. Don't you wish you'd never asked?

 Q. You live in Wales, pretty far away from the London of your youth. How did you end up there and what appeals to you living there?

 Well, we split our time between London and Pembrokeshire at present, while my wife Rachael is still working. In a few years, we'll move out completely, I think. I can't relax in the city anymore. I need some more space to feel comfortable. I've had as much London as I can handle. Rachael is Welsh, although Pembrokeshire is known as little England beyond Wales, and we are fortunate to own her childhood home there.

 Q. You were recently diagnosed with cancer and posted your experience on Facebook. How did you discover that you had cancer and how are you doing now?

 Yes, that was unfortunate. The prostate gets larger as us men grow older and so puts a bit of pressure on the bladder, changing the way you take a pee, like urgency and frequency. So any chap of a certain age should cut along to a doctor if they have persistent symptoms of this type. Our neighbour in Wales insists on calling it prostrate cancer, but I refuse to take that lying down, and firmly pronounce it prostate, but to no avail. But seriously, although it's a slow-growing cancer, the sooner you act, the sooner you can get the appropriate treatment. I had to have surgery, but it's not necessary for everyone. As my cousin, who luck would have it is a cancer specialist said, do you want to be erect or dead? Haha, what a great choice!

 Q: Since this is a TMSF, after all, can you pick a favorite song and say a few words about it?

 My choice of song to end this pleasant excursion is 'The Devil Rides Out', from the 'Eligible Bachelors' album. By the time of recording this record JD had left the band and was living in NY, and I was also spending a great deal of time in that city also. I was still contributing to the occasional gig or short tour, but I certainly wasn't around when this album was recorded. Christ, what do you expect for a record made in Luton?

So it is the live performances of this song that I recall, since it was in the repertoire well ahead of it being recorded. Although I could say it of many other songs, the open chords of 'The Devil Rides Out' always gave me a buzz as I waited to play in whatever the film images were [I can't remember]. Even if the audience or critics found the films superfluous or unimportant, I usually enjoyed watching the way that a set of otherwise unrelated images somehow meshed and synchronised with the music and gave the illusion of a premeditated vision. Of course, it was premeditated in as much as I knew what pieces of film would be used for a particular song, but beyond that, there was a lot of slack in the system. With the various parameters of the live installation, having to follow the cue of the band and the hand manipulating the projectors [no computers], there were great possibilities that the extemporisation would result in entirely unique sets of images and sound on each occasion.

Well, I should say something about why I like the song. It's one of a number of Bid's more esoteric lyrical compositions. He had previously pushed the Latin boat out with Adeste Fideles [not everyone's favourite song title to pronounce], and my spell checker isn't too keen on the words, either. In this case, the bridging line is rendered in Latin, but with the exception of the 'Hails', this is written in the ancient language of Sanskrit. Or at least that is my understanding and belief. Whatever the lyrical origins are, this is a classic TMS arrangement, altogether thrilling, incomprehensible and mysterious, yet totally pop, totally accessible and it dumps from a very great height those chart-topping household names who have followed in their wake.

And of course, I can never resist a song that features a sleigh bell, The Devil Rides Out and The Stooges 'I Wanna Be Your Dog' being the two finest examples.

http://tonypottsloopform.altervista.org

www.themonochromeset.co.uk 

www.tapeterecords.de

www.facebook.com/themonochromeset

[pink-history]

On This Day in Pink History… 31st January 2014, The Truth About Love Tour ended in Las Vegas

The Truth About Love Tour Facts:

The Truth About Love Tour was Pink’s sixth concert tour

Started on 13th February 2013, ended on 31st January 2014

There were 4 legs of the tour. 46 in Australia, 30 in Europe and 66 in North America. A total of 142 shows.

Earned box office $184,061,847

Shows in Melbourne, Australia, were recorded for the tour DVD, The Truth About Love Tour: Live from Melbourne

The opening song was Raise Your Glass

Pink closed the show with So What at most shows (some shows were closed with Glitter in the Air performance of the Grammys). The stunts from the Carnival Tour were performed for So What.

Pink broke her own record at the Rod Laver Arena in Melbourne, Australia. On the Funhouse tour in 2009, Pink played a record 17 shows. On the Truth About Love Tour she played 18. Pink was rewarded a plaque backstage, a second pink pole, a star at the venue’s entrance and Door 18 was painted pink

To transport and set up the tour, there is a chartered 747 jumbo jet, 19 semi-trailers, and 80 crew members to set up her 400 tons of equipment.

Pink opened her first “pop up” store in Australia  which features things that are not normally available at her concerts. Merchandise includes autographed items, backstage passes, T-shirts, key rings, show tickets, etc.

Band/Backing singers/Dancers

Jason Chapman – Keyboards/Vocals

Justin Derrico – Lead guitar

Mark Schulman – Drums

Eva Gardner – Bass

Kat Lucas – Keyboards/Rhythm guitar/Vocals

Stacy Campbell – Backgound vocals

Jenny Douglas-McRae – Background vocals

Tracy Shibata – Dance Captain

Reina Hidalgo – Dancer

Colt Prattes – Dancer

Khasan Brailsford – Dancer

Janelle Ginestra – Dancer

Loriel Hennington – Dancer

Remi Bakkar – Dancer

Jimmy Slonina – Host/Rubix

WHAT’s UP?!?

The TRUTH ABOUT LOVE TOUR

Are we all really here together? AGAIN?!? Maybe for the first time? THIS. IS. SO. EXCITING!

It feels like just yesterday I was hanging by my ankles from a Frenchman. OHWAIT it WAS yesterday…

I am so grateful for this moment, for all of you… for every one I share the stage with, for all the “behind-the-scenes” peeps we have back here – all of us – including you are the family I thank my lucky stars for every night.

The heartbreak, the heartache, the JOURNEY whatever it is that brought us all here tonight LETS BLOW THIS PLACE APART…

I love you more

xoxo P!nk

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On This Day in Pink History… 31st January 2014, The Truth About Love Tour ended in Las Vegas On This Day in Pink History... 31st January 2014, The Truth About Love Tour ended in Las Vegas…

[australianotschools]

Bond physiotherapy and occupational therapy students will soon be learning in brand-new, cutting-edge facilities

Set to open in August 2023, the $45-million project at Robina will meet the booming demand for new physiotherapists, exercise and sports scientists, dietitians, and occupational therapists.

The five-level building at the university’s Institute of Health & Sport precinct will create an additional 11,500m2 of education spaces, offices, and associated car parking beside Cbus Super Stadium.Bond Univeristy Institute of Health & Sport building

It will connect to the university’s existing High Performance Training Centre and double the current space for allied health programs. A traditional Smoke and Welcome to Country Ceremony by Kombumerri Elder Uncle John Graham will mark the start of work by ADCO Constructions.

The project is self-funded by Bond University and will create around 200 jobs during construction and more than 50 new highly-skilled, ongoing positions.

Bond University has held the site at 18 Stadium Drive for several years with an eye to future expansion.

It was provided to the 2018 Commonwealth Games as a warm-up field for athletes and since then has been used by Bond Bull Sharks sports teams as an additional training area.

Key features of the new facility include

an exterior design that complements the adjacent stadium and will add to the overall presentation of the Robina precinct

a range of new clinical spaces, including simulated hospital wards and clinician consulting rooms to accommodate treatments in physiotherapy, nutrition, rehabilitation and occupational therapy

a world-class 60m gait laboratory that incorporates pressure sensors and high-speed cameras to analyze human movement, used to assist everything from recovery and rehabilitation for age-related conditions to elite sports training

simulated residential settings to support research and education in occupational therapy

commercial simulated kitchen facilities for nutrition and dietetic studies

a rehabilitation gym

a unique indoor amphitheatre in an 230-seat atrium designed to encourage innovation

The design by XL Architecture prioritizes natural light, airflow, and a range of environmentally sustainable initiatives including solar power.

Bond University Vice Chancellor and President Tim Brailsford said strong growth was forecast in allied health disciplines, driven by demand in the aged care and disability sectors.

“This new facility will provide a significant expansion for our programs in allied health,” Professor Brailsford said, further explaining that the new building will meet the growing need of the Gold Coast for patients seeking assistance in a range of allied health services, and will add to the Gold Coast’s increasing reputation as a centre for high performance sports facilities planned for Brisbane 2032.

Master of Occupational Therapy

The Master of Occupational Therapy at Bond University combines lectures, tutorials, workshops, case studies, fieldwork and simulation to embed the skills and knowledge needed to succeed as an occupational therapist. You will learn from highly qualified occupational therapy academics with clinical and research experience.

The program places a strong emphasis on practical experience with 1,000 hours of practice education across various clinical contexts.

You will engage in research training before specializing in one of two elective pathways:

Clinically Focused Research Pathway

Business-focused Research Pathway

Program: Master of Occupational Therapy Location: Gold Coast, Queensland Intakes: May and September Duration: 2 years

[ao3feed-brucewayne]

Mark of the Bat

read it on AO3 at https://ift.tt/J9jUx1L by Hyper_Nexus There are two people that the Iron Blooded Valkyrie despises the most. One is the mysterious Batman who rides the Demon Dragon of Legend. The other is the laid-back nobleman who teaches at the Ansullivan Dragonar Academy. Little did she know that the two of them are the same. Words: 7912, Chapters: 1/?, Language: English Fandoms: Batman - All Media Types, 星刻の竜騎士 | Seikoku no Dragonar | Dragonar Academy (Anime) Rating: Explicit Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M Characters: Bruce Wayne, Navi (Seikoku no Dragonar), Angela Cornwell, Primrose Shelley, Oscar Brailsford, Ash Blake (Seikoku no Dragonar), Lucca Sarlinen, Anya|Shamara Kiltzkaya, Silvia Lautreamont, Rebecca Randall (Seikoku no Dragonar), Veronica Lautreamont Relationships: Veronica Lautreamont/Bruce Wayne, Navi (Seikoku no Dragonar)/Bruce Wayne, Angela Cornwell/Bruce Wayne, Primrose Shelly/Bruce Wayne, Silvia Lautreamont/Bruce Wayne, Rebecca Randall (Seikoku no Dragonar)/Bruce Wayne, Oscar Brailsford/Bruce Wayne Additional Tags: Harems, Ecchi, Tentacles, Age Difference, Alternate Universe read it on AO3 at https://ift.tt/J9jUx1L

[physiotherapyschoolinaustralia]

Bond physiotherapy and occupational therapy students will soon be learning in brand-new, cutting-edge facilities

Set to open in August 2023, the $45-million project at Robina will meet the booming demand for new physiotherapists, exercise and sports scientists, dietitians, and occupational therapists.

The five-level building at the university’s Institute of Health & Sport precinct will create an additional 11,500m2 of education spaces, offices, and associated car parking beside Cbus Super Stadium.Bond Univeristy Institute of Health & Sport building

It will connect to the university’s existing High Performance Training Centre and double the current space for allied health programs. A traditional Smoke and Welcome to Country Ceremony by Kombumerri Elder Uncle John Graham will mark the start of work by ADCO Constructions.

The project is self-funded by Bond University and will create around 200 jobs during construction and more than 50 new highly-skilled, ongoing positions.

Bond University has held the site at 18 Stadium Drive for several years with an eye to future expansion.

It was provided to the 2018 Commonwealth Games as a warm-up field for athletes and since then has been used by Bond Bull Sharks sports teams as an additional training area.

Key features of the new facility include

an exterior design that complements the adjacent stadium and will add to the overall presentation of the Robina precinct

a range of new clinical spaces, including simulated hospital wards and clinician consulting rooms to accommodate treatments in physiotherapy, nutrition, rehabilitation and occupational therapy

a world-class 60m gait laboratory that incorporates pressure sensors and high-speed cameras to analyze human movement, used to assist everything from recovery and rehabilitation for age-related conditions to elite sports training

simulated residential settings to support research and education in occupational therapy

commercial simulated kitchen facilities for nutrition and dietetic studies

a rehabilitation gym

a unique indoor amphitheatre in an 230-seat atrium designed to encourage innovation

The design by XL Architecture prioritizes natural light, airflow, and a range of environmentally sustainable initiatives including solar power.

Bond University Vice Chancellor and President Tim Brailsford said strong growth was forecast in allied health disciplines, driven by demand in the aged care and disability sectors.

“This new facility will provide a significant expansion for our programs in allied health,” Professor Brailsford said, further explaining that the new building will meet the growing need of the Gold Coast for patients seeking assistance in a range of allied health services, and will add to the Gold Coast’s increasing reputation as a centre for high performance sports facilities planned for Brisbane 2032.

Doctor of Physiotherapy

Bond University’s Doctor of Physiotherapy program is renowned for its unique blend of problem-based scientific learning, practical application, and more than 1,200 hours of clinical placements.

There is a strong emphasis on clinical experiential learning with six units of placements in clinical settings included in the core subject listing and a further internship offered as an elective. Placements are sought in a variety of settings that cover the lifespan of client services (paediatric, adult, ageing) and across the full spectrum of clinical areas.

Program: Doctor of Physiotherapy Location: Gold Coast, Queensland Intake: May Duration: 2 years

[kropotkindersurprise]

December 7 2016 - Mesa police officer Philip Brailsford was found not guilty of the second-degree murder and reckless manslaughter of Daniel Shaver. 

Daniel Shaver, a pest-control worker, was murdered by Brailsford in 2016 while unarmed and crawling on his hands and knees as he was ordered, begging to not be killed. The police were called when a guest mistook Shaver's exterminating pellet gun for an actual weapon.

“That’s an execution pure and simple. The Justice system miserably failed Daniel and his family,” Sweet’s attorney, Mark Geragos, said about the video and the not guilty verdict. [video]

[popentertainmentmusic]

P!NK: ALL I KNOW SO FAR (2021)

Featuring P!nk, Carey Hart, Willow Sage Hart, Jameson Moon Hart, Baz Halpin, Roger Davies, Jason Chapman, Justin Derrico, Mark Schulman, Eva Gardner, Adriana Balic, Jessy Greene, Jenny Douglas-Foote, Stacy Campbell, Loriel Hennington, Tracy Shibata, Remi Bakkar, Khasan Brailsford, Reina Hidalgo, Shannon Holtzapftel, Jeremy Hudson, Justine Lutz, Madelyne Spang and Anthony Westlake.

Written by P!nk, Michael Gracey, Cindy Mollo and Jory Anast.

Directed by Michael Gracey.

Concert footage directed by Larn Poland.

Distributed by Amazon Prime Video. 99 minutes. Not Rated.

We have all watched P!nk grow up in the 20 years that she has been on the top of the charts. She has gone from wild party girl to a surprisingly grounded, unaffected and complicated adult. Her marriage with motocross racer Carey Hart has gone from tabloid fodder to settled and comfortable. Her songs have gone from “So what, I’m a rock star…” to “All I know so far…” She is a wife, and a mother, and a boss, and a part of an artistic collective, and an entertainer, and an industry.

That’s a lot of balls to keep in the air at once.

All I Know So Far scrutinizes a couple of weeks of the European leg of her 2019 Beautiful Trauma tour. It shows her juggling those balls – singer, dancer, entertainer, acrobat, artist, friend, regular woman, wife, mother….

In something of a surprise, the movie tends to put that last part of P!nk first.

And look, their kids are adorable, and P!nk and Carey are obviously loving, doting parents. I know she’s trying to show what it is like to be a rock star mama on the road. But, really, there’s way too much of the kids here. We’re here looking to hear music, not to watch a couple of cute tykes frolicking around European streets, hotels and back stages. Save that stuff for your home movies.

I get the fact that Willow and Jameson are the most important thing in her life – but they aren’t the most important thing in her life for us.

Although, I suppose it shows what a selfless artist P!nk is that she tries to cede the attention – even in a film about herself – to others. Her touring group, her management, her fans, her husband, her kids (especially her kids!), strangers she meets on European streets – P!nk is more than happy to share the spotlight with them. She does have a refreshing lack of self-absorption for a singer who has been a star most of her adult life.

As she points out here about the huge entourage of musicians and dancers that tour with her, she is not intimidated about being overshadowed by their talent. Their doing the best possible only makes her look better. She wants to surround herself with the finest, most passionate people she can find.

It is scenes like that which help to show how P!nk has become the star she has. She was always an adventurous talent, as pointed out by an early clip shown in the film of P!nk doing Madonna’s “Oh Father” at a talent show – an adventurous choice of Madonna song for such a young singer to cover. There would be so many more songs in Madonna’s songbook which would be much more obvious.

All I Know So Far also does periodically flash back to her youth in the Philadelphia area and her early days in the music business. But mostly, it is P!nk on the streets and stages (and hotels and dressing rooms) of Europe.

The last half hour or so is almost straight concert footage from her Wembley Stadium show (except for one extended backstage segment which returns us to the P!nk wife and mom narrative), and that is where All I Know So Far really takes off.

Jay S. Jacobs

Copyright ©2021 PopEntertainment.com. All rights reserved. Posted: May 21, 2021.

[lausyreads]

Atomic Habits // James Clear

We all face challenges in life. This injury was one of mine, and the experience taught me a critical lesson: changes that seem small and unimportant at first will compounds into remarkable results if you’re willing to stick with them for years. We all deal with setbacks but in the long run, the quality of our lives often depends on the quality of our habits. With the same habits, you’ll end up with the same results. But with better habits, anything is possible. 

//

Behavioural scientists like Skinner realised that if you offered the right reward or punishment, you could get people to act in a certain way. But while Skinner’s model did an excellent job of explaining how external stimuli influenced our habits, it lacked a good explanation for how our thoughts, feelings, and beliefs impact our behavior. Internal states - our moods and emotions - matter, too. In recent decades, scientists have begun to determine connection between our thoughts, feelings, and behavior. 

//

What made him different from previous coaches was his relentless commitment to a strategy that he referred to as “the aggregation of marginal gains,” which was the philosophy of searching for a tiny margin of improvement in everything you do. Brailsford said, “The whole principle came from the idea that if you broke down everything you could think of that goes into riding a bike, and then improve it by 1 percent, you will get a significant increase when you put them together.”

//

It is so easy to overestimate the importance of one defining moment and underestimate the value of making small improvements on a daily basis. Too often, we convince ourselves that massive success requires massive action.

//

Habits are the compound interest of self-improvement. The same way that money multiplies through compound interest, the effects of your habits multiply as you repeat them. They seem to make little difference on any given day and yet the impact they deliver over the months and years can be enormous. It is only when looking back two, five, or perhaps ten years later that the value of good habits and the cost of bad ones becomes strikingly apparent.

//

All big things come from small beginnings. 

//

The more pride you have in a particular aspect of your identify, the more motivated you will be to maintain the habits associated with it.

//

Many people think they lack motivation when what they really pick is clarity. It is not always obvious when and where to take action. Some people spend their entire lives waiting for the time to be right to make an improvement.

//

Look around. Society is filled with highly engineered versions of reality that are more attractive than the world our ancestors evolved in.

We have the brains of our ancestors but temptations they never had to face.

//

Neurologists have discovered that when emotions and feelings are impaired, we actually lose the ability to make decisions. We have no signal of what to pursue and what to avoid. As the neuroscientist Antonio Damasio explains, “It is emotion that allows you to mark things as good, bad, or indifferent.”

//

Sometimes success is less about making good habit easy and more about making bad habits hard.”

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The problem is not slipping up; the problem is thinking that if you can’t do something perfectly, then you shouldn’t do it at all.

//

In our data-driven world, we tend to overvalue numbers and undervalue anything ephemeral, soft, and difficult to quantify. We mistakenly think the factors we can measure are the only factors that exist. But just because you can measure something doesn’t mean it’s the most important thing. And just because you can’t measure something doesn’t mean it’s not important at all.

//

Success is not a goal to reach or a finish line to cross. It is a system to improve, an endless process to refine. In Chapter 1, I said, “If you’re having trouble changing your habits, the problem isn’t you. The problem is your system. Bad habits repeat themselves again and again not because you don’t want to change, but because you have the wrong system for change.”