#Sarah Froelich

[omegaremix]

Consumer Electronics / Alberich / Yellow Tears / Copley Metal @ Saint Vitus, N.Y.C.; December 7, 2015.

“Consumer Electronics will be the next act I will buy tickets for should they come to New York City” I exclaimed in September. It was checked off by Philip Best, and five weeks later there it was. Consumer Electronics declared a show in New York City. There it was. I called it. I got what I asked for, so now go get it or else.

I took the train to Woodside, then its’ “7″ subway to the “G” to Greenpoint and Manhattan Avenues, walked a few blocks to arrive at Saint Vitus which has to be the most raw, tasteful, and bad-ass venue dressed in black. As soon as I verified my ticket, I wasted no time to walk through the bar to the floor where Copley Metal, dressed very nice and neat, was performing right in front of the audience at their level.Ten minutes later Copley Metal ended to pack up to give way to Hospital Production’s Alberich, who offered us a thirty-minute slow-burn of maelstrom noise set. Alberich sat very calm and collective in much control, later on shaking a microphone for more effects and adding in voice samples. He stood up adding more force to his combat noise, shaking the microphone more vigorously before giving it lyrics when some Gaye Advert look-a-like in a leather jacket bowling-pinned her way to the front of the crowd, giving free unsolicited hugs to a select few other bystanders. Alberich shuts it off for good before getting a very respectable round of applause from the crowd.

Yellow Tears then arrived. Their set-up consisted of Korgs, Yamahas, two guitars, knobs, a toilet seat placed on a custodial bucket, and two “splash zone” banners draped from their tables. If there was a joker card thrown into the set, then they would be it. Their performance went in a different direction from what other people would assume in any given noise show. Ridiculous. No one knew who they were before this, so any expectations of seriousness and maturity flew right out the window. Yellow Tears played the audience as equal as they were playful themselves as they pulled every card from their very versatile deck.

What other act would repeatedly scream “What Is Frank?” as a still of vocalist Frank Ludovico constantly zooms in and out? Psychedelic backing films on screen that could make Tim And Eric blush and reconsider themselves, plus a film loop of Disney’s Cinderella shower scene as Ludovico literally lightly sweeps the stage and then proceeds to sit down on the makeshift toilet seat bucket, exasperating light sighs of relief while the whole audience continued their what-the-fuck moment with Yellow Tears. During their entire set, they went from many different styles of music while seeming to perform as if they were a skit comedy show in succession. At first, I thought they were playing with a random bag of tricks to the tune or game of “do you get it?”, but since the audience had been there and seen various cartoon, kid show, or skit culture references before, they did get it. And they weren’t finished: Yellow Tears’ set turned a participation act into a sales pitch. Only Ludovico has the steel to take two audience members up on stage to sell them ten-dollar coffee mugs with free cups of coffee during their set, and they fucking bought it.

Finally the moment all of us have been waiting for: Philip Best and wife Sara Ruth Best shortly took the stage to set up shop, fine-tuning everything before starting. Consumer Electronics still continues where Whitehouse left off with all the controversy, uneasy subject matter, deprivation, and grit that the former was all about, while Whitehouse became William Bennett’s Cut Hands, a tribal-electronic project of his. Whitehouse truly made me think of how they got away with everything they done, how their lyrics were pieced, how the noise not like the others came to be, and what to make of their output. Over the last few years, I was so interested in Whitehouse that I followed their respective future projects and took what they offered in terms of thoughts, commentary, or even recommendations. With the Best’s Consumer Electronics project, the philosophy still continues.

Best greeted us “cunts”, as he always does. We cheered because we know it comes from Mr. Best. Best charged his accusation finger calling for all of us to “Come Clean”. Throughout the show, he shared with us all of his raw material: cut up, photocopied, stitched, glued, and wrinkled for all of us to see. He even walked over to show us lyrics to “Elite Gymnastics”. The references: various questionable obscenity, controversy, Anne Frank’s smiling portrait, Alice Elizabeth, Baby’s Gang, present for all to witness. Best licked the pages and rub it against his crotch. Later on he threw those same pages on the floor, once knocking over a drink from the stage to the floor. He licked his fingers in such an uneasy, disgusting gesture. His fists shaking, screaming in his usual rage, sometimes inciting the crowd. With Best walking and his usual blood going, he walked back and forth to two microphone stands, trading tirades from one to another. All the while, the tall, slender, and beautiful Sarah Best did controller duties and even took to screaming for a few songs including “Murder Your Masters” and “Co-Opted By Cunts”, made with repetitive, sweeping, crunchy beats courtesy of sometimes-member Russell Haswell, who unfortunately was not part of the show’s festivities. But we were treated to “Affirmation”, “Colour Climax”, “Estuary English”, “Knives Cut”, and more from the last four Consumer Electronic’s records (2007-2015). They ended their show with the horrific and terrifyingly real “Black Cotton Wool”, a abrasive shred of bone-shivering abusive screaming and grinding noise before Best motioned to have Sarah shut it down, declaring to visit us again very soon.

Two beer cans (Pabst Blue Ribbon, the prized beer of hipsters) were thrown in their direction. A cute shaven skinhead girl was dancing happily. One heckler was screaming at the couple to “get back to work” with other pointless one-liners as well. One fan who was leaning on the speakers took a very heavy whiff of an ether his lady friend offered him and twitched uncontrollably for about five minutes. When he finally came down to Earth, he screamed at Best to “fuck me, Daddy”. Best replies: “You wish.” We all burst in laughter. During some songs, the meat of the crowd suddenly whipped itself in a frenzy. As those songs came into play, the crowd got very into it and bobbed to the pulsations of the Bests’ driven beats. One person stage-dived into the crowd while others participated into a vicious mosh on the floor. And that’s why it’s called power (violence) electronics, as times haven’t changed. The Best’s made it all happen. It was everything I expected to be and I’m very happy to have seen The Bests / Consumer Electronics in action as I wanted to.

Which now leaves me to one more act on my current bucket list which is the other half of what was Whitehouse: William Bennett’s Cut Hands. I had the chance to see him along with Pharmakon and Godflesh but passed it up, and another on very short notice this year with only a week to have a ticket but scheduling disallowed it. Just like seeing Consumer Electronics and the other noise show earlier this year in New York City, I need to see Cut Hands for an excuse to go to the city again to keep my music quotient and style points up.

[moviesandmania]

LAST RADIO CALL Found-footage horror - reviews and free on Roku, Tubi, Vudu and YouTube

‘Some mysteries should stay unsolved’ Last Radio Call is a 2022 found footage horror film about the wife of a missing cop trying to discover what happened to him. Written, directed and edited by Isaac Rodriguez (Mister Creep; Tales from Los Muertos; A Town Full of Ghosts; Deadware; Jurassic Tale), based on his own short film The Cop Cam. Produced by Cynthia Bergen and Isaac Rodriguez. The No…

[drfreex]

L: Last Radio Call (2022)

Sarah Serling (Sarah Froelich) is on a mission: in 2018, her husband, police officer David Serling answered a call to an abandoend hospital, and disappeared. Only his damaged body camera was recovered, and ever since, no one has been able to help her, especially the police. Sarah’s hired a filmmaker to document her search, so there’s your found footage explanation right there. After she has…

[xenopoem]

The reptilian entities writhe and contort, their scaly forms merging with glitched realities. They slither through the distorted corridors of existence, their presence a grotesque reflection of the underlying chaos that permeates the universe. The reptilian becomes a symbol of primordial disruption, a reminder of the ancient forces that linger beneath the surface of our perceived reality. Their presence defies conventional understanding, defragments the boundaries of perception, and evokes a disconcerting blend of fascination and repulsion. The reptilian's form shapeshifts and distorts, a manifestation of glitched evolution and primal instinct. Its eyes, akin to glitched portals, gaze into the depths of the human psyche, exposing the primal fears and desires that lie dormant within. With each slithering movement, it leaves behind a trail of dissonant vibrations, unsettling the very fabric of our collective consciousness. The reptilian becomes a metaphor for the hidden truths that elude our grasp, the shadowy forces that influence our thoughts and actions. It is an invitation to confront the discomforting aspects of our existence, to embrace the disarrayed nature of our reality, and to question the narratives that bind us. The language of neoscatology morphs and mutates, mirroring the reptilian's elusive nature. Words blend and distort, creating a dissonant symphony of fragmented thoughts and shattered syntax. It is through this linguistic disarray that the essence of the reptilian is captured, its elusive presence defying traditional categorization and provoking a visceral response. The reptilian serves as a conduit for disarrayed introspection, a catalyst for exploring the depths of our fears and desires.

=

HUMAN RIGHTS edited by Philip Best illustrated throughout by Steven Purtill

614 pages Perfect bound 8.5 x 6.5″

Over 600 pages of original SF novellas and stories by Thomas Moore, Audrey Szasz, Christopher Zeischegg, Simon Morris (his final completed novella), Blake Butler, Kenji Siratori, SJXSJC, Alexandrine Ogundimu, David Cotner, Ian Haig and Philip Best, plus Adam Lehrer on Crypto-Transgression in Art and Jarett Kobek interviewed by Grant Maierhofer. With a selected bibliography, 1967-1978.

Cover design by Sarah Froelich Editorial Assistance by Audrey Szasz

[docrotten]

RETURN TO HORROR HIGH (1987) – Episode 247 – Decades Of Horror 1980s

“Well, would you care to walk around in the scene with your schlong hanging out? Only in your case, darling, it would be a ‘schlort.’” Who says this movie isn’t funny? Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they try to decipher the movie within the movie depicted in Return to Horror High (1987).

Decades of Horror 1980s Episode 247 – Return to Horror High (1987)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1980s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

In the early 1980s, a series of gruesome murders occurred at Crippen High School. A few years later, a film crew uses the now-abandoned Crippen High as the set for a film, but an uninvited guest makes an appearance on the set.

  Director: Bill Froehlich

Writers: Bill Froehlich (as Bill Froelich), Mark Lisson, Dana Escalante, Greg H. Sims

Selected Cast:

Lori Lethin as Callie Cassidy / Sarah Walker / Susan

Brendan Hughes as Steven Blake

Alex Rocco as Harry Sleerik

Scott Jacoby as Josh Forbes

Andy Romano as Principal Kastleman

Richard Brestoff as Arthur Lyman Kastleman

Al Fann as Amos

Pepper Martin as Chief Deyner

Maureen McCormick as Officer Tyler

Vince Edwards as Richard Birnbaum

Philip McKeon as Richard Farley

Panchito Gómez as Choo Choo

Michael Eric Kramer as Donny Porter

Marvin J. McIntyre as Robbie Rice (as Marvin McIntyre)

George Clooney as Oliver

Remy O’Neill as Esther Molvania

Darcy DeMoss as Sheri Haines

Cliff Emmich as Dillon

Willie Etra as Mangled Face / Hatchet Face (as Will Etra)

George Fisher as Masked Figure

Dexter Hamlett as Freddie

Joy Heston as Becky

Frank Kniest as Camera Assistant

John Mueller as Jimmy

Alison Noble as Jeanine

Kristi Somers as Ginny McCall

Larry Spinak as Peter

It’s time to head back to horror school with Return to Horror High (1987), a spooky spoof on slasher films. What is this film about? Well, that’d be telling, wouldn’t it? The bizarre narrative and goofy hijinks have the Grue-Crew scratching their heads with its ‘mayta’ and ‘paradig’em’ references. (Go, Bill!) Regardless of all the shenanigans, the results are fun if often confusing.

At the time of this writing, Return to Horror High is available for streaming from Hoopla and Tubi, and as PPV from multiple sources. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Puppet Master (1989), the first of Charles Band’s still-growing franchise.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[education30and40blog]

EMPOWERING EDUCATORS TO MAKE GLOBAL CONNECTIONS

ITS ALL ABOUT AUTHENTIC SHARING . MEET EDUMATCH.ORG 'S FOUNDER DR SARAH THOMAS  AND THEIR COO MANDY FROELICH  ABOUT  HOW  EDUMATCH INSPIRES INTERNATIONAL COLLABORATION  WITH FELLOW EDUCATORS FOR

[cultfaction]

A Town Full of Ghosts trailer released

A Town Full of Ghosts trailer released

From filmmaker Isaac Rodriguez, A Town Full of Ghosts premieres on digital platforms June 17th 2022. Mark and his wife Jenna sell everything they have to purchase a western ghost town called Blackwood Falls in the middle of nowhere. They plan to turn the ghost town into a tourist attraction with hotels, restaurants, and attractions. They hire a small film crew to document their journey and upload…

[junkyard-gifs]

Audio and photo of Corey John Snide (Coricopat and dance captain) covering Jennyanydots, when many of the cast members were down with the flu: Broadway, December 12 2016.

The original post of this only exists in reblogs, since OP has deleted their blog. Here is the text of it:

I kinda wish I was joking, but I’m not. If you haven’t read, the flu is sweeping through Cats and they’re missing an abundance of cast members AND swings. With no one to cover Jennyanydots, they were left with one option: send on the dance captain to do the tap number. And who is the dance captain?

…Corey John Snide, or Coricopat.

So he did the dance, wore the gumbie suit over his coricopat costume, and sang the lines.

Harris Milgrim is Munk, Megan Ort is Jellylorum, Christine Cornish Smith is Bombalurina, and Kim Fauré is Demeter. Enjoy.

They also wrote a longer account of the performance, which exists only on the wayback machine, so I’ve made a copy of that here too, so as to have all the Coreyanydots in one place. Note also their comments on other split tracks, like Jelly/Jemima: Jellylorum singing Jemima’s solos is an interesting change! I’ve included a photo from Megan’s instagram to give an impression of the craziness for the swings...

Report on the Cats Broadway December 12th performance, featuring Corey John Snide as Jennyanydots, and Kim Fauré’s first performance back as Demeter!

I almost didn’t go to the show yesterday, but when my friend texted me a picture of the board, I knew I had to. Here was the situation with missing cast members:

Injuries: Arianna Rosario (Sillabub), Madison Mitchell (swing)

Flu: Lili Froelich (Electra), Andy Huntington Jones (Munkustrap), Eloise Kropp (Jennyanydots), Emily Pynenburg (Cassandra)

Vacation/swing outs: Sarah Jane Shanks (Jellylorum), Shonica Gooden (Rumpleteazer), Kolton Krouse (Tumblebrutus)

And the breakdown tonight: Electra- Maria Briggs Jellylorum/Sillabub- Megan Ort Rumpleteazer- Francesca Granell Cassandra- Claire Camp Munkustrap- Harris Milgrim Tumblebrutus- Callan Bergmann Jennyanydots- Corey John Snide

Here’s the problem. Francesca Granell is the only Jenny cover as far as we know. She’s the only one who has gone on so far at least. But she was already scheduled for Rumpleteazer all week. Megan may cover Jenny, but she was already scheduled as Jelly. My guess is that if she knew it, she would’ve been Jenny. But she didn’t. That leaves no one available for the role, so drastic measures had to be taken.

Jennyanydots only existed for her number. The decision was made for Corey to do it because as the dance captain he already knew the dance, he’s taught it many times. It just made sense. He wore the fringe outfit and the coat and the hat over his Coricopat unitard and makeup and wig. No sparkly heels were worn, just his regular black shoes with taps on them. But he sang the Jenny lines and did the tap solo, and then ran offstage at the end to become Coricopat again. People I talked to said they didn’t even realize it was a guy doing it. They never acknowledged the fact that Jenny was being played by a man. Everything was exactly the same except the person doing the number. And Corey… did a surprisingly good job. He kinda made his voice higher to sing it, and tried to just embody the role. It was pretty wild but I think he did it justice. Something tells me he’ll be doing it for a few days more. Sounded like he had a good time though. Tyler said one of the swings filmed it backstage, so who knows…. that may turn up eventually.

Anyway- all the girls are sick or injured so they’re basically out of female swings. It’s a bit of an issue to say the least. Jenny didn’t exist in the rest of the show- her lines in Bustopher were covered by Jellylorum, but other than that she was just gone. Poor Skimble during the ball….!

But the really interesting part of the night after Jenny happened was the split track of Jellylorum/Sillabub. In the last few days, the only character in a split track listed on the understudy board is the one that the swing is wearing the costume for. So when Megan was listed as Jellylorum/Sillabub, I wondered if she would be changing costumes at all. But no- she just sang all of Sillabub’s lines including the mini Memory’s, and covered important blocking/choreo that Sillabub has (again, during Moments of Happiness and Memory).

And it was Kim Fauré’s first show back! You may recall she’s been out with a broken nose, but she has  returned and was a wonderful as she used to be! Robin Masella, the t/r Demeter, is sticking around as a booth singer/eventual swing at least for a while.

Harris is an amazing Munkustrap- this was my third time seeing him and I LOVE his take on the character. He does a truly lovely job. Fran is an adorable Rumpleteazer- she’s always struggled with it a bit choreography wise (the double cartwheel lost momentum and ended early tonight) but vocally she’s a powerhouse. I first saw her RT in September and she’s gone on a few times since then and has improved quite a bit. Megan is a an awesome Jellylorum and I loved her vocally as Sillabub a LOT!!

In the past few days, Cassandra/Tantomile has been a split track (Emily P sick, Georgina Pazcoguin out performing in The Nutcracker, so Emily T went on as Victoria). But now that Gina and Emily T are back in their usual roles, that freed up Claire to JUST do Cassandra. Which was necessary because I saw the split track yesterday and a lot had to be changed and cut including Cassandra’s light up unitard during Mistoffelees (Claire was officially Tantomile, and only did some of the important Cassandra choreo). All that was restored tonight with the track not being split.

So why not cut Electra? Maria doesn’t know Jenny. Or Rumpleteazer, so no one could’ve gone on for Jenny anyway. Until Shonica is back (freeing up Fran) or Eloise gets better, we’re most likely stuck with Corey as Jenny. Which is… an interesting thing. I enjoyed it a lot.

And through all this, Tyler Hanes remains untouchable. He is now the only cast member to never miss a single show. Rumor has it Ahmad Simmons is going on for Tugger sometime in January though and I CANNOT wait to see that…

Questions welcome!

[fearsmagazine]

Terror Films launches AVOD Channel in January with LAST RADIO CALL and EVIL AT THE DOOR

Genre distributor TERROR FILMS, will officially launch their YouTube AVOD channel in 2022 with 2 new releases.

The first film out of the gate will be Isaac Rodriguez’s found footage horror film, “LAST RADIO CALL” on January 14th, followed by Kipp Tribble’s home invasion horror film, “EVIL AT THE DOOR” on January 21st. The films will premiere exclusively on the Terror Films channel featuring a live chat event with the filmmakers, cast and fans during the premiere. The films will be released wide, across Digital and VOD platforms one week later after their premieres.

In addition to new releases, the channel will also feature the distributor’s entire library of diverse, indie horror films, which will eventually expand to an international audience.

“This is such an exciting time for us as a company”, stated Terror Films’ President, Joe Dain. “This was a necessary, next step in our ongoing efforts to grow our brand while increasing the reach and revenue streams of our amazing library of horror films”.

Written and Directed Rodriguez, who also produced alongside Cynthia Bergen, LAST RADIO CALL centers around Officer David Serling, who went missing inside the abandoned Yorktown Memorial Hospital. One year later, his wife has hired a film crew to help bring light on what really happened that night. Using recovered body cam footage, she discovers a dark secret that sends her spiraling down a horrific path of ancient evil. She must now face an unknown terror to find the answers she desperately seeks. Starring Sarah Froelich, Jason Scarbough, June Griffin Garcia, Ali Alkhafaji, KeeKee Takatsuki, Bert Lopez, and Makayla Rodriguez, the film will be available across digital and VOD platforms January 21st, one week after it debuts on the Terror Films Channel.

The Last Radio Call - Official Trailer https://youtu.be/fVTU17t_W8Q

Written and Directed by Tribble, who also produced alongside Patrick Rivera, Kenny Yates and Executive Producer Richard Siegelman , EVIL AT THE DOOR centers around a secret guild that has operated for nearly a century, known as The Locusts. Once a year this guild treats its members to a night of curated home invasions (aka, "runs"), known underground as "The Night of The Locusts". With 180 minutes to do as they please with the occupants of the selected home, four masked men enter the home of Daniel and Jessica and begin to engage in sick, twisted games with them. Unbeknownst to the intruders, Liz, Jessica’s younger sister, is hiding under the bed. While the run time winds down, Liz plots her escape as The Locusts realize there is a traitor in their group. But will the division amongst the intruders be enough distraction for Liz to survive before The Locusts' clock runs out? Starring Bruce Davison, Andrea Sweeney Blanco, Robert Allen Mukes, Kipp Tribble, Kenny Yates, Sunny Doench and Richard Siegelman, the film will be available across digital and VOD platforms January 28th, one week after it debuts on the Terror Films Channel.

Evil At The Door - Official Trailer https://youtu.be/v-iD80efLpc

[nicolekidman-lies]

“The controversial religion, after all, once went after his eldest son Lachlan—using Tom Cruise and Lachlan’s close pal James Packer to try and recruit the Murdoch scion to its cause.

In 1999 Lachlan and Packer–then partners in the doomed telecommunications company, One.Tel–became close with Cruise through Cruise’s then wife, Nicole Kidman. Cruise and Kidman spent that year in Australia to be close to her family and often hung out with the “Princes of Oz” (Lachlan and Packer) and their wives, Sarah O’Hare and Jodie Meares, as well as Baz Luhrmann and his wife, Catherine Martin, and actors John Polson and David Wenham.”

“Rumours were gathering pace in the south of France and on Hollywood gossip websites that fellow Scientologist and movie star Cruise would act as celebrant at the wedding.”

“Media mogul Rupert Murdoch yesterday enjoyed time on his yacht, the Rose Hearty, with his wife, Wendi Deng, and their two daughters, Grace and Chloe.

Murdoch's son Lachlan swam to his father's craft from his own yacht moored nearby, the Graziella, spurning an offer of a lift with his wife, Mr Packer and Miss Baxter as they sped past in a zodiac.”

“The billionaire, son of the late Aussie media mogul Kerry Packer, said he had become a recluse in Sydney, in the year after he lost AUS $380 million ($365 million) of the family’s money in telco One.Tel, an ill-fated investment in which he partnered with Lachlan Murdoch, son of News Corp. chair Rupert Murdoch.”

“He retains a small interest in Australia’s free to air Network Ten in partnership with Lachlan Murdoch.”

“Russell has previously opened up about his friendship with them both, and how he had originally met Tom through Nicole. "We've known each other since 1992," he told Fairfax Media. "We met - there will be a few names hitting the floor here - we were at a barbecue at Naomi Watts' house and Nicole Kidman, who was Tom's wife at the time, introduced me. She brought him over to where I was sitting. The most amazing thing was that I was talking to, at the time, the biggest movie star in the world, and he had been introduced to my films by his wife, so he was asking me questions, not the other way around. It was a pretty amazing experience and we have been friends ever since." ”

[amp-wrks]

Wilson | Streibig from Daniel Wilson on Vimeo.

Darren Streibig and I met over drinks 5 months ago at a local bar. Since then we've decided that by us collaborating it fits the needs of what we want to do with our careers. I can't wait to see what we accomplish in the future.

Special thanks to Demond Meek for directing and producing a few of these scenes.

Also thank you to Taylor Jones for executing our desert drone shots.

Thanks to everyone else who has contributed to this piece. Adrian Walker / Alex Johnson / Alex Kendall / Anna Marshall / Ben Muehleisen / Brian Cook / Caleigh Hampton / Caskey / Dane Iwata / Daniel Chancellor / Darren Streibig / David Chancellor / Debby Siegel / Dee Stone / Donald Wilson / Ethan Talley / Evan Endicott / Fathom Studios / Ivan Garcia / Izaiah Johnson / Jackie Grucela / Jamie Eschar / Jason Kehl / Jermain Todd / Josh Tk / Kati Hetrick / Katie Schmid / Kevin Brennan / Kim Froelich / Lance Douglas / Latoya Thompson / Linda Henning / Luca Torretta / Maggie Hennessey / Megan Mafucci / Michelle Thomas / Mike Henneberry / Miranda Soule / Perry Merlotti / Sarah Landa / Scott Carey / Sean Trani / Sharon Tucci / Studio 2111 / Todd Larson / Travis Carroll / Trudy Fogarty-Hayden / Whitney Reynolds / William Archetype / Zach Xanders

[moviesandmania]

LAST RADIO CALL (2021) Preview and release news

LAST RADIO CALL (2021) Preview and release news

‘Some mysteries should stay unsolved’ Last Radio Call is a 2021 found-footage horror film about the wife of a missing cop trying to discover what happened to him. Written, directed and edited by Isaac Rodriguez. Produced by Cynthia Bergen and Isaac Rodriguez. The No Sleep Films production stars Sarah Froelich, Jason Scarbrough, June Griffin Garcia, Ali Alkhafaji and Keekee Suki. Plot: On July…

[fmservers]

Twitter and NBA game streaming deal is about connecting with cord-cutters and younger fans

Twitter is already working with the NBA to stream video of pregame warm-ups, in-game and post-game highlights, and post-game behind-the-scenes content. Now, the company will for the first time ever stream live NBA action — with a twist. In partnership with the NBA, Twitter will introduce an alternate camera angle view during the second half of the live game, one that’s focused on a single player.

That’s right: NBA fans on Twitter won’t get to hear commentary, or watch the full game – the stream will only go live in the second half.

And they’re not watching the full game action – the stream will be focused on a single player in an isolated camera view.

That may sound like those watching Twitter are getting short-changed, but that is not the full story, according to Adam Silver, the commissioner of the NBA who spoke about the deal today on stage at CES in Las Vegas alongside Twitter CEO Jack Dorsey.

A key the goal with this deal is to make the experience less like tuning into a live sporting event, and more like a social activity, tapping into more platforms where younger users are spending time in a moment where, by many accounts, traditional TV is dying.

“There are a lot of people out there who may not be accessing our games,” said Adam Silver.

“Many of them don’t subscribe to cable TV and that is the transition,” he added, speaking on stage today at CES. The deal, he said, aims at “cord cutters who aren’t subscribing to pay TV… but still consume massive amounts of NBA content. This gives them the opportunity to see live video” in another place, in complement to the other places such as live streams online. “The best position we can be in is to say here is our content, go at it.”

Dorsey highlighted how basketball was a fitting first-go for this kind of sports content on Twitter, given some of Twitter’s own DNA.

`The NBA fits so well because of the quick pace and how fast things can change,” he said. “The real-time aspect has been a core to almost everything we do.”

There will also be, of course, a social element to how the content is utilised.

The NBA will hold a vote on Twitter to ask fans which player the camera will focus on during the second half.

The way this will work is that fans will be given choices of players for the camera to follow in the second half. They’ll have through halftime to place their votes.

And then, while the camera follows the player during the second half, there will be additional NBA commentary from talent who will provide Twitter commentary.

“Twitter conversation has always been a compliment to live action on TV. This groundbreaking partnership makes that complimentary experience even richer, bringing additional views fans want to see, and the conversation around the game all together in one place,” said Laura Froelich, Senior Director, Head of U.S. Content Partnerships at Twitter, speaking at CES.

It sounds like this could be laying the groundwork for how Twitter might potentially offer a credible alternative to broadcasting a full game of basketball, or other sports for that matter. At a time when getting full-game streaming (not broadcast) rights comes with a multi-billion dollar pricetag, any way that Twitter can find to bypass that but still capture some of that audience, while helping sports organizations figure out how to grow their own audiences, is worth exploring.

Twitter will license the streams from the NBA and Turner, which holds the rights to the full, live games. It’s not disclosing the price it’s paying to do this, but it will try to recoup and profit on whatever the value is: Twitter will also attempt to sell advertising around them, on a revenue-share basis with the organizations.

The deal makes Twitter the first social platform to live stream games in the U.S. – even if it’s only the second half.

“For us, [Twitter has been] an amazing innovation partner. And I also think, just given the fact that it’s such a real time platform, it’s where the crux of all our conversations happening. It just makes too much sense,” said Sam Farber, VP, Digital Media at the NBA.

  Via Sarah Perez https://techcrunch.com

[joaquimblog]

Angela Meade (Semiramide) MET ‘- Fotografia Ken Howard

Javier Camarena (Idreno) a Semiramide MET ‘- Fotografia Ken Howard

Elizabeth DeShong (Arsace)Semiramide) MET ‘- Fotografia Ken Howard

Ildar Abdrazakov (Assur) Semiramide al MET 2018

Semiramide(Rossini) Producció de John Copley MET 2018 Fotografia Ken Howard

Dissabte passat vam tenir lloc una nova representació de la temporada del MET al cinema, amb un títol cabdal del opus rossinià i un cim del romanticisme operístic, Semiramide la darrera òpera de Rossini estranada a Itàlia, que recupera una producció de John Copley estrenada al 1990 com una mena de revival de les produccions del segle XIX, amb una escenografia gegantina i un vestuari impossible de Michael Stennett que no afavoreix a cap dels personatges, que ja és mèrit, eh? Tots els dissenys ridiculitzen de manera sagnant als cantants, especialment a Meade que té un físic molt potent i que els dissenys encara el potencien més. .

Semiramide és una òpera llarguíssima, el testament italià de Rossini, ja que a partir d’aleshores tot el que va escriure ja va ser per a París. Una òpera encara per a Isabella Colbran tot i que l’esposa de Rossini ja havia passat els millors anys de la seva enlluernadora carrera i per tant el compositor va tenir molta cura en no forçar el registre agut de la part, quelcom que després la majoria de sopranos que l’han interpretat, segurament enduts per les “variacions” que les sopranos lleugeres van imposar a mesura que la història va anar adulterant les partitures a plaer de les dives de torn.

A banda que la primera vegada que es va representar al MET, l’any 1892 la protagonista va ser la Patti en una única representació el 22 de març, en la segona representació  quasi dos anys més tard va ser Nelly Melba qui va protagonitzar la reina de Babilònia en la temporada 1894/1895. L’òpera no es tornaria a representar fins l’estrena de la producció de Copley l’any 1990 que ara s’ha reposat i van ser les sopranos Lella Cuberli, June Anderson i Christine Weidinger qui van defensar aquest exigent rol en les següents temporades 1992, 1993.

Dividida en dos actes, originalment el primer tenia una durada de dues hores i mitja, mentre que en el segon la durada era de dues hores, suposo que aquestes durades reflectides en la biografia de Rossini incloïen les mutacions escèniques dels diferents quadres. Sigui com sigui en la reedició de la producció del MET, enguany dirigida per un solvent Maurizio Benini l’òpera s’ha retallat en els recitatius i a banda d’un ritme viu que ha caracteritzat la seva direcció, l’òpera s’ha vist reduïda en un primer acte de 110 minuts i un segon de 100 i malgrat aquesta reducció segurament no acceptable, la versió se’m va fer llarga, tot i ser una òpera que adoro.

Què va passar? Doncs senzillament el cast no va assolir les expectatives que jo hi havia posat i això en una òpera amb una posada en escena estàtica i sense cap treball dramàtic acaba sent letal. La producció hauria d’ajudar i en canvi per anacrònica, plana i immobilista acaba sent un llast que fa impossible que s’enlairés. Quedava doncs l’aposta musical i vocal per fer que possible el miracle. Benini no és Chailly, ni el genial Zedda que va deixar una lliçó de com cal dirigir aquest monument al Teatro Real l’any 2004 en una producció provinent de Pesaro que també varem veure al Liceu. I per suposat que en el cast tampoc es trobava el bo i millor, malgrat que serà difícil trobar en el passat, en el present i segurament en el futur un Idreno amb la qualitat de Javier Camarena.

Tot això em passa perquè he escoltat l’Arsace de la Horne o l’Assur de Samuel Ramey? Doncs perquè enganyar-nos, segurament si. Els tinc massa presents com per deixar-nos endur per la correcció d’Elizabeth DeShong i Ildar Abdrazakov, ambdós cantants de bona línia i estil però lluny del virtuosisme que Camarena si que desborda en una actuació memorable, ells estan bé però no impacten, noi emocionen, no trasbalsan coim els seus il·lustres predecessors en l’estrena d’aquesta producció..

Angela Meade és una soprano quasi dramàtica d’agilitat que ben bé podria tenir la tessitura original del rol, però ella crec que va confondre Rossini amb Verdi i malgrat fer coses molt subtils i boniques, en altres deixava anar un temperament més proper al verisme que no pas al romanticisme tardà del Rossini més belcantista. En el seu cant hi manca subtilesa i refinament, elegància en el fraseig i grandesa. La veu és molt interessant i rica de colors, matisos i un amplissim registre que li permet fer un parell o tres de sobreaguts que la Colbran a l’estrena no podia fer ni pintats a l’oli, ja que en aquell moment no sobrepassava el Si. En aquest sentit i malgrat que no sembla a priori  la veu més idònia, la recent Semiramide de Joyce DiDonato a Munich i Londres  si que té tot això que Meade amb una veu més brillant i generosa, no aporta al rol. No hi ha el refinament, el lirisme i el “fascino” estilístic i vocal que aporta DiDonato, per no parlar del miracle Caballé a Aix-en-Provence.

DeShong no és Horne, obvi, però tampoc és Barcellona. El seu Arsace és correcta, sense màcula però massa anònim, sense la contundència de registre que els grans rols de transvestits escrits per a Rossini demanen.La jove cantant nord-americana té l’estil però no la contundència vocal i el sentit èpic del cant heroic de les contralts dramàtiques, una vocalitat que com els dinosaures es va extingir amb l’aparició de les mezzosopranos.

Aquest és el quart Assur que l’he vist a Ildar Abdrazakov després del ROF del 2003, Teatro Real i Gran Teatre del Liceu i segur que aquest quart és el que menys m’ha interessat. La veu sembla que hagi perdut consistència en la zona més greu, però el cantant se’n surt prou bé, hi ha agilitat i sentit dramàtic en el fraseig, però és clar, no estem parlant de Samuel Ramey,. un baix que fins que no va aparèixer el món no va conèixer en època moderna les possibilitats vocals dels baixos rossinians

Si en canvi que podem dir que el Idreno de Camarena és el millor que he sentit, incloent Juan Diego Flórez. La imponent demostració tècnica i l’explosió de recursos el fa admirable. La veu és plena, clara i solar, el registre molt homogeni, els aguts ferms, l’agilitat enlluernadora, el cant legato és esclatant i el domini vocal en la sempre complicada zona del passaggio és tan admirable com definitiu. Quan escoltes Camarena no pateixes i so saps si admirar més la bellesa de la línia de cant o el domini natural d’un estil endimoniat.

La resta de rols no tenen gaire importància,

El baix baríton Ryan Speedo Green fa un Oroe contundent, mentre que la tan anomenada Azema i a qui Rossini no va donar ni una ària de sorbetto, va estar molt ben defensada per Sarah Shafer.

Poc imponent Jeremy Galyon com a espectre de Nino i correcte Kang Wang en el petit rol de Mitrane.

Possiblement es podia fer una millor Semiramide, sent com és una òpera tan grandiosa, però també haurem d’acceptar que serà molt complicat tornar a escoltar un “Bella immago degli dei” ciom el que cantaven Horne i Ramey.

Gioachino Rossini SEMIRAMIDE òpera en 2 actes llibret de Gaetano Rossi

Semiramide…………..Angela Meade Arsace………………Elizabeth DeShong Assur……………….Ildar Abdrazakov Azema……………….Sarah Shafer Idreno………………Javier Camarena Oroe………………..Ryan Speedo Green Nino’s Ghost…………Jeremy Galyon Mitrane……………..Kang Wang

Chorus and Orchester Metropolitan Opera House Direcció musical…………..Maurizio Benini

Direcció d’escena…………..John Copley Escenografia…………John Conklin Disseny de vestuari……..Michael Stennett Disseny de llums……..John Froelich

Metropolitan Opera House, New York 10 de març de 2018

MET 2018/2019: SEMIRAMIDE (MEADE-DESHONG-ABDRAZAKOV-CAMARENA;COPLEY-BENINI) Dissabte passat vam tenir lloc una nova representació de la temporada del MET al cinema, amb un títol cabdal del opus rossinià i un cim del romanticisme operístic, 

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The way we tell the story of Hollywood sexual assault and harassment matters

http://bit.ly/2A4DyO1

Hollywood women who have spoken out against sexual harassment

Reporter Paula Froelich claims she once observed Harvey Weinstein assault a woman at a book party. Her editor responded with, “Maybe it’s not really a story.”

As it turns out, Weinstein and others are becoming a never-ending story, as more women reveal experiences with powerful men – not just in Hollywood, but across multiple industries. This story typically has two acts. First come the women’s reports – followed by the inevitable dismissal and undermining of them.

As a scholar who has studied violence against women for more than 20 years and watched public outrage over harassment and assault wax and wane, my question is: Could this time be different?

Of course, the volume of reports is new. Never before have we witnessed such an outpouring. It’s also new to see organizations such as the newsroom at NPR or the Academy of Motion Picture Artists hold leadership accountable for failing to act.

But other aspects of this cultural moment are all too familiar. Already, the act of making a report of harassment or assault has been termed “Weinsteining,” and the collective action of women who have done the reporting has been termed the “Weinstein effect.” The use of these terms removes the women from the stories, and maintains a narrow focus on a singular perpetrator.

These cutesy terms also diminish the agony women face when deciding whether to make a formal complaint to an authority. Those who have been victimized report fear of reprisal or of being disbelieved, and feel shame, guilt and embarrassment. These fears and reactions are evident across women’s recent accounts. Many spoke of years of torment, fear, shame and guilt, including physical reactions like nausea when recalling the event.

Let me be clear. Such fears are rational. Though some actors allegedly victimized by Weinstein or James Toback continued in the industry and found success, many others were excluded from major films, and a good number left the industry entirely. Other women were encouraged to sign agreements that effectively stopped them from telling their own stories.

Another way of undermining women’s reports is to downgrade the women’s experiences from the categories of harassment, sexual assault and rape and instead label them abuse, minor bad behavior or innocent miscommunication. For example, the claim that Toback engaged in “low-level lechery” and not sexual assault is absurd. What Toback has been accused of – obtaining sexual stimulation or orgasm by rubbing against a person without the person’s consent – is a crime called frotteurism.

No woman is immune

The victimization of powerful celebrities shows that no woman is immune.

Years of social science data underscore the pervasiveness of sexual violation in women’s lives. The sad truth is that the number of women who have been raped or assaulted in their lifetime has not decreased during the past 30 years, or longer.

An analysis of different studies of women in academia, government, the private sector and the military – representing 86,000 women in all – documented that 58 percent said they had experienced at least one instance of sexually harassing behavior. Recently, researchers at the University of Oregon were surprised to find that nearly 60 percent of women graduate students reported experiences of sexual harassment. In 2010 the Centers for Disease Control and Prevention estimated that 20 percent of American women overall have experienced rape. Estimates of rape and attempted rape in higher education students has remained at a steady 20 percent since psychologist Mary Koss’s 1987 groundbreaking study.

If we look at Hollywood as a microcosm of society, men like Weinstein and Toback effectively exerted a pattern of intimidation, fear and social control through sexual predation. As author Susan Brownmiller wrote in her classic 1975 book, “Against Our Will,” the behavior of these men isn’t about sex – it’s about intimidation, fear and social control.

Diminishing and undermining the process of women bravely reporting experiences of sexual harassment, rape and other forms of sexual assault by calling it “Weinsteining” allows predators to hold onto power. Describing women’s real experiences with words that match the horror they faced is a first step toward dismantling that power and the structures that support it. If more women come forward and name their experiences and others remember that bad manners, assault and harassment are not synonymous, this time may be different. I’m hopeful; but only time will tell.

Sarah L. Cook received funding from the National Institute for Health, the National Center for Injury Control and Prevention, and the National Institute of Justice.

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