#Shan Vincent de Paul

[sporadiceagleheart]

Heaven tribute edit for all old angels Mei Shan “Linda” Leung, Barbara Yung Mei-ling, Dayle Yoshie Okazaki, Elyas Yakub Abowath, William Makoto “Bill” Doi, Yuriko Lillie Kita Doi, Patty Elaine Higgins, Thomas E. Higgins, Lela Ellen Reed Kneiding, Bert Clyde Reed, Abana Bethalda Booth Reed, Maxson Carl “Max” Kneiding, Joyce Lucille Brown Nelson, Eris I Brown, Alma Winfred Coombe Owsley, Eugene Theodore Nelson, Margaret Ada Brown Yarnell, Tsai Lian “Veronica” Yu, Maxine Levenia Tedder Zazzara, Vincent Charles Zazzara, Betty Grace Peterson Zazzara, Edward Peterson, Violet Louise Dunlop Peterson, Katie Lee Smith Maggiore, Brian Keith Maggiore, Manuela Eleanore Rohrbeck Witthuhn, Dr Debra Alexandria Manning, Cheryl Grace “Cheri” Smith Domingo, Wayland Clifton Smith Jr., Janelle Lisa Cruz, Lyman Robert Smith, Charlene Herzenberg Smith, April 21, 1951: Lois Janes, 7, disappears from Harrisburg, Little Miss Nobody/Sharon Lee Gallegos, Louis XVII, Mary Crocker, Mary Kornman, Judy Garland, Rosina Lawrence, Joan of Arc, Jean d'Arc, Ilse Weber, Eazy-E, Ella Harper, Annie Oakley, Anne Frank, Margot Frank, Hana Brady, Pauline Adelaar, Annie Kerr Aiken, Gracie Perry Watson, Inez Clarke Briggs, Saint Paul the Apostle, Saint Valentine, Saint Patrick, Mona Lisa, Saint Mark, Saint Peter, Saint Rosalia, Saint Catherine of Siena, Saint Constantina of Rome, Saint Helena of Constantinople, Saint John the Baptist, King David, Matilda of Denmark, Anna D Crnkovic, Irmgard Christine Winter, Saint Clare of Assisi, Saint Ita of Killeedy, Saint Agnes of Rome, Saint Catherine of Siena, Saint Rita of Cascia, Saint Elizabeth Ann Bayley Seton, Sainte Bernadette Soubirous, Saint Kateri Tekakwitha, Teresa de Jesus, Saint James the Less, Catherine of Aragon, Olivia Twenty Dahl, Anne de Beauchamp, Isabel Despenser, Countess of Warwick, Isabella I, Isabella of Portugal, Isabel of Barcelos, Beatriz Pereira de Alvim, Mary I, Lucy M Haynes, Isabelle Romée, Anne Boleyn, Cleopatra, Eleanor of Aquitaine, Jacques d'Arc, Mary, Queen of Scots, Marie Curie, Pierre Cauchon, Catherine II of Russia, Anna Petrovna, Grand Duchess Anastasia Nikolaevna of Russia,

[lesterplatt]

Agoria - CALL OF THE WILD from Loic Andrieu on Vimeo.

Directed by Loïc Andrieu

Produced by SOLDATS FILMS

Music by AGORIA (ft. STS) performing "CALL OF THE WILD"

© Soldats Films © 2019 Sapiens Recordings

Producer: Pierre Cazenave-Kaufman (Soldats Films) Director of photography: Simon Chaudoir Editor: Naza Giral (Soldats Films) Art director: Freyja Bardel Artistic Director: Loïc Andrieu Colorist: Mathieu Caplanne Los Angeles Producer Gaetan Rousseau (Paradoxal inc) Wardrobe Stylist Los Angeles: Yasmine Abraham Re-Recording Mixer: Christophe Leroy

VFX House: REEPOST

Starring Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Guilbert, Christianno Chavez, Sam Ingraffia

Based on feature film script "LIFE LINE" written by Hedi Chellouf & Loïc Andrieu

Label: Sapiens Video commissioner: Christian De Rosnay

Development manager: Juliette Labrousse

Production Service Los Angeles: PARADOXAL INC

Sound facilities: YELLOW CAB STUDIOS

ADR & Foley Mixer: Christophe Leroy Sound designers: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot

Special thanks: Victoria Videnina

----------

Los Angeles crew

Executive Producers: Pierre Cazenave-Kaufman (Soldats Films) Associate Producer: Gaetan Rousseau (Paradoxal Inc) Production Service Los Angeles: Paradoxal Inc Line Producer: Hugo Marcel Production Manager: Thomas Duchêne 1st AD: Manuel Roman 2nd AD: Nick Brokaw Production assistants: Eric Hellberg & Yohan Lefevre & Martin de Bokay & Nicolas Thau & Timothy Watson Vocal Coach: Laura Rizzotto Location Scout: Kaelyn Phillips Art director: Freyja Bardell Set decorator: Crystal Criego Prop master: Dominic Wymark Leadman: Eligh Macias Set Dresser: Daniel R. Oregel & Kevin Lopez, Pedro Ramirez, Taylor Williams

Wardrobe Stylist: Yasmine Abraham

Wardrobe Assistant: Coleen Chan HMU: Jessica Sainclair

Casting director: Sarah-May Levy Cast: Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Gilbert, Christianno Chavez, Sam Ingraffia, Spencer Frankeberger, Deron Cash, Rusty Rooftop, Gabriella S.Robinson, Shan Moreno, Sadyr Diouf, Natasha Churchil, Bodhi Dell, Johan Domhoff, Ryan Gatewood, Abraham Sesay Newscaster Voice Over: Douglas Rand 1st AC: Vincent Toubel 2nd AC: Dusty Saunders & Rogelio Mosqueda Steadicam Operator: Olivier Merckx Sound operator: JP Delacruz Sound design: Alexis Jung & Olivier Ranquet Mix: Christophe Leroy Gaffer: Joel Gill Best boy electric: Gerardo Ruiz Electrics: Laura Sfeir, Eddie Teram, Davis Villa, James Wray Key Grip: Dennis Pires Best Boy Grip: Ivan Garcia Grips: Robert Dulany, Ardy Fatehi, Michael Parlinic Motocrane: DRIVER’S EYE TEAM LAPD SERVICE: Paul Hinton, Darryl Martin

Catering: Mia’ Cuisine Los Angeles Studios: BEEPS DINNER, SILVER DREAM FACTORY, ESCOBAR FAMILY Los Angeles Costumes rental house: UNIVERSAL COSTUME, WESTERN COSTUME

Los Angeles Police Car rental house: CINEMA VEHICLES Los Angeles props rental house: ISS, SET STUFF OMEGA Los Angeles Camera rental house: PANAVISION HOLLYWOOD, CHAPMAN : LEONARD, JQ DA SILVA

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Paris crew

Production Company: Soldats Films Producer: Pierre Cazenave (Soldats Films) Line Producer Paris: Quentin Henneguelle (Soldats Films) Production Manager: Charlotte Giral (Soldats Films) 1st AC: Maud Cyrano Gaffer: Michael Monod Electrics: Jerôme Baudouin, Cedric Guerby Key Grip: Benjamin Rame Prop Master: Ludovic Jardiné HMU: Elisabeth Pilarsky On Set VFX Supervisor: Clement Germain

YELLOW CAB STUDIOS Sound designer: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot ADR & Foley Mixer: Christophe Leroy

SOLDATS CREW Post Producer: Naza Giral (Soldats Films) After Effects by: Naza Giral (Soldats Films) - Rémi Muzzupapa (Soldats Films) – Paul Laurent (Soldats Films) - Victor Sellier (Soldats Films)

REEPOST CREW

REEPOST VFX Supervisor: Adrien LEPINEAU

REEPOST VFX Post-producer: Loundja OUSSANA

Assistant post-production: Tilou MARTIN 3D Supervisor: Stephen PLONGEON

3D Artists: Xavier VERDIER Marion GUICHENUY Geoffrey PONS Olivier MASSON

Compositing: Matthieu DESTRADE Marc LATIL Benoit MESSAGER Johan ROCHE Gaetan BAILLEUL Thierry BONNEAU Mathieu PLESSIS Alexis BAILLA

Tracking: Toufik MEKBEL Walid BEN HEND (VISION AGE VFX)

Studio La Villette: Navarro ------------------

Special thanks to Agoria « You made it happen ! »

Christophe Leroy for Yellow Cabs Studio « Sound Wizard ! »

[therukurals]

Mrithangam Raps - Yanchan x Shan Vincent De Paul

[musictoliveby]

EX XO by Shan Vincent de Paul https://ift.tt/2xnhIoi

[axomlyrics]

Neeye Oli Lyrics - Sarpatta Parambarai

Neeye Oli Lyrics – Sarpatta Parambarai

Neeye Oli Lyrics: The Tamil song from “Sarpatta Parambarai”, sung by Navz-47, Shan Vincent de Paul. Music is given by Santhosh Narayanan. The Super Hit song lyrics were written by Svdp (english), Arivu (tamil). The music video was directed by Svdp, Kalainithan Kalaichelvan. Featuring Arya. Neeye Oli Lyrics Uh-huh yeyou can’t bury alive anythingthat was ready to dieyou can’t clip wings made of…

[remediosthebeauty-blog]

WOW! just when we thought we couldn’t be more addicted to this song, Toronto’s Shan Vincent de Paul drops a slick self-directed video for “Bitch Go”.  Flexing his fashion sensibilities along with a infectious flow, this one will be on repeat for a while.  Shan’s sophomore album “Trigger Happy Heartbreak” drops December 1st.  

[thewordisbond]

Top 10 submissions EP 3 May 2019

Posted on https://www.thewordisbond.com/top-10-submissions-ep-3-may-2019/

Top 10 submissions EP 3 May 2019

We are still dedicated to showcasing the best tracks/videos from the underground by searching far and wide in order to bring you our weekly list. It's a tough job as we sift through a ton of high-quality tracks just to settle for just 5 so we switched it up so now we curating the Top 10

[classicsagency]

EARMILK x Shan Vincent de Paul “Zen”

Produced by Amy Axegale, "Zen" is the latest single from the multi-creative rapper Shan Vincent de Paul. Directed by Shan (pronounced like Shawn/Shaun/Sean), the video is a story between an astronaut (played by Shan) and an angel (played by up and coming Tamil actress Anne Saverimuthu) who leaves Heaven to meet him on earth, while simultaneously, he yearns to leave earth to find Heaven through her. The narrative reflects the modern day trials and tribulations of under-represented communities (such as Tamil/Sri Lankan/South Asian people) chasing their dreams. Check out "Zen" on EARMILK, Word Is Bond, NewSickMusic, Hip Hop Headquarters, Iggy Magazine, Sora Music and more. 

“Unorthodox style and colorful aesthetics…soulful backdrop and alluring melodies.” - EARMILK

[hystericalfeminist]

BUILD ME A CANON

Earlier this week, Delhi University's Oversight Committee removed works by writers Bama, Mahasweta Devi and Sukirtharani from the university's syllabus for undergraduate students of English. Bama and Sukirtharani are Tamil Dalit writers whose work looks at the experiences of the marginalised. Mahasweta Devi, a Bengali writer, was well-known for her Left-leaning politics and for being an advocate for tribal communities and their rights. She passed away in 2016.

I'd suggest one moment's silence for the Oversight Committee committing an oversight, except this is not an oversight. An oversight is an unintentional mistake, but this seems very intentional. As the DU clarified in a statement later, "the syllabus of the course has been passed through a democratic process with the involvement of all the relevant stakeholders and necessary deliberations at appropriate forums” (emphases mine). The university claims the English syllabus is suitably diverse and inclusive (suitably being the key word here) and it's interesting that as part of its defence of the Oversight Committee's decision, DU has pointed out the process of coming to that decision was "democratic". What it doesn't acknowledge is that if the committee is full of people who belong to dominant groups and doesn't have members who represent the minorities and the marginalised, then the committee's "democratic process" is critically flawed.

The DU statement came after the Academic Council submitted a dissent note, protesting the Oversight Committee's decision. The Academic Council described the Oversight Committee's functioning as vandalism and alleged it has been harassing liberal arts departments. "It is important to note that the Oversight Committee does not have any member from the Dalit or the Tribal community who can possibly bring in some sensitivity to the issue," said the Academic Council in its note.

There was some noise on social media about the decision to drop works by these three writers. Most of the discussion that I saw was about Mahasweta Devi's dropped short story, Draupadi. (Apparently the Oversight Committee chair complained the short story doesn't show the military in a good light. From what I remember, it's the police. They carry out wrongful arrests and brutally gangrape a tribal woman.) There's been far less discussion of Bama and Sukirtharani's works on English Twitter, who have mostly been referred to as the "two Dalit writers", like an addendum to Mahasweta, which is infuriating in itself. I know that this is probably because not enough people read translations. Particularly translations of literature from Indian languages.

There is also little talk about what has replaced the dropped works. One of the authors who has been included is apparently Pandita Ramabai, identified as an upper caste writer (Brahmin, if I'm not mistaken). I've no idea if her writing continues to feel relevant and/ or engaging, but it is all sorts of bizarre to "replace" a 20th century author with someone who died in 1922. Also, if she was included because she was Brahmin, I hope they have fun reading her book The High Caste Hindu Woman which is, I'm told, deeply critical of how sexist Hinduism. Whether or not Pandita Ramabai voiced any opinions of casteism in Hinduism, I don't know.

Even though translations don't get read as much, the fact is, the writings of Bama, Mahasweta Devi and Sukirtharani have been translated to English and other languages. They're part of different university's syllabi and for better or for worse, DU is not such an influential player in academia. If DU's decision to drop these writers convinces some Indian universities to do the same, we can only hope that other universities (in India and abroad) will start thinking about including them in their syllabi (if the writers aren't in them already). In a not-so-distant future, it's very likely that there will be universities abroad that will have a more diverse, inclusive and representative portrait of Indian culture in their syllabi while institutions like DU remain mired in a casteist, Hindutva bog. At that point, who should decide what will make the canon for Indian literature? The Indians or the foreigners?

It's the second time this week that we've heard conversations about erasure in the Indian cultural scene. Earlier this week, social media was on fire after the Indian edition of the Rolling Stone carried a cover story about the record label and music platform Majja, featuring two artists best known for their collaborations with Dalit rapper and lyricist Arivu. Rumour has it that the Rolling Stone cover was bought by Majja, presumably to promote upcoming albums by those two artists. However, since Dhee and Shan Vincent de Paul are currently riding a popularity wave because of their work with Arivu, many readers — beginning with director Pa Ranjith — expected the cover story would be as much about Arivu as Dhee and Shan Vincent de Paul. People also pointed out that Arivu had effectively been removed from a (disastrous) remix of "Enjoy Enjaami" (the original song is amazing).

Shan Vincent de Paul, one of the artists featured on the Rolling Stone cover, issued a statement on social media saying he had the utmost respect for Arivu and had no intention of erasing him. He clarified that the story was part of his efforts to promote his new album Made in Jaffna, which he's releasing with Majja. "I have no control over how the Press chooses their messaging or what narratives they push," de Paul wrote, which would be an excellent point if the cover wasn't bought. He may not have control over the narrative, but he's hardly an irrelevant cog in the wheel. Instead of attempting to exonerate himself, de Paul could have acknowledged that the story doesn't give as much space to Arivu as it should. I am, of course, presuming he's read the story.

If the rumour about the cover being bought is true then Rolling Stone and Majja are complicit in deciding a narrative that sidelines Arivu, either intentionally or carelessly. More than half of Rolling Stone's cover story is about "Enjoy Enjaami" and there is just one quote from Arivu. This sidelining may not be deliberate — the way DU's Oversight Committee's decision was — and it could be an example of the kind of unthinking oversight that the privileged commit all the time when it comes to acknowledging the contribution of the marginalised. Either way, the impression conveyed by the two organisations is that Arivu is not the person they want to promote. Countering the decision of the establishment — it doesn't get more establishment than Rolling Stone and Majja. One of Majja's founders is legendary music director AR Rahman — is the reaction on social media. The songs being freely available on multiple platforms and the (relatively) free access to the artwork and arguments by Dalit creators and critics on social media makes it difficult to invisibilise Arivu.

A translation of Mahasweta Devi's Draupadi is available online as are some of Sukirtharani's poems. DU has dropped Bama's novel Sangati. I'm not sure if there's an extract that's available online. It is not lost on me that it's easier to listen to a song than it is to read a novel, or a short story, or a poem. It is also not lost on me that the fact you can bob to an infectious beat makes it easier to not register the deep-rooted casteism referenced in the lyric, "Enna kora, enna kora, yein chella peraandikku enna kora? (In what way is my darling grandson any less?)" There are no such distractions when you read, for example, Sukirtharani's My Room Needs No Calendar: "As they write on me/ with their penises,/ I will my body to stop/ slithering away."

Sukirtharani and Bama minced no words when they were asked to respond to their works being dropped from the DU syllabus. "I was not surprised at all. Dalit voices such as myself and Bama’s are speaking for all oppressed women, not just Dalit women," said Sukirtharani. "I don’t see this necessary as an exclusion of just Dalit writers as we have seen how progressive writers whose works speak against caste, Hindutva, fundamentalism have also been removed in the recent past. These things will happen in our society, but we cannot be ignored." She said she wasn't going to ask for an explanation, but believed DU owed her an explanation. At the very least, they should have intimated her about the works being dropped. "When they want to project an image of India wherein there are no caste and religious inequalities, our works point out that caste and religious inequalities exist in our society. So, it is obvious that they want such works removed from the syllabus," she said.

Bama said, "For more than 2,000 years, we have been segregated, our histories have not been written. This government is trying to strangulate our voices, but we will shout. The youth of this nation have understood [what is happening]. Rather than being upset, we are angry. The anger will reflect in our works in future.”

I find myself wondering if the business of building a canon was always so complicated and rife with uncertainties. Will the books, music and art propped up by commerce and politics be the ones that make up our mainstream cultural identity? Could we build a better literary canon for Indian literature if more excerpts and poems were available online for free, if more works were translated? Would we care more if the literature was easier to access or would we still dismiss it because they're translations, because the works are by Dalit women? Can the conversations that we hold in the informal spaces of the internet be loud enough to make the canon more inclusive, to make the mainstream expand its narrow definitions? What is more likely to make it into an archive and survive into posterity — the Rolling Stone Cover image or the many "fixed it" versions that people created online? Is it possible that both can and will be preserved? Does dropping the works of writers like Bama and Sukirtharani and Mahasweta Devi make them invisible? Will the dissent make a few more people buy Bama's novel? Will it make some curious enough to look up Sukirtharani's poems?

The words, the tech, the platforms, the imagery — are all these still the master's tools? How long must one wield them before they can claim the tools to be theirs? Will they always be the master's tools and not "our" tools? Is the master the one who cares for the tools and uses them better? Is the master the one with the loudest voice and the deepest pockets, the one who can bribe the boys and hire the deadliest mercenaries? Who decides when the tools have been reclaimed?

[holyflyingcow]

I recently watched Shan Vincent de Paul's savage music video with Usha Jey (https://www.youtube.com/watch?v=KfEtoLSDh9A ) and was inspired to draw. (｡･∀･)ﾉﾞ

[benxsamuel]

Mix: September 21

1. King Princess: Useless Phrases 2. King Princess: Hit the Back 3. King Princess: Prophet 4. Halsey: Lilith 5. Halsey: Easier than Lying 6. Halsey: You Asked for This 7. Pinegrove: Orange 8. Shan Vincent De Paul & Yanchan: Unai Paathu

[musictoliveby]

Walk On Water feat. Coleman Hell by Shan Vincent de Paul http://ift.tt/2B3jazC

[lyricsgoal]

Savage Lyrics - Shan Vincent De Paul

#Savage #ShanVincentDePaul