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pubtheatres1 · 5 years ago

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THE HOUSE OF YES by Wendy MacLeod Directed by Matthew Parker The Hope Theatre 8 – 26 October 2019 Interview with Matthew Parker by Heather Jeffery Matthew Parker has had 5 Best Director Offie nominations covering productions from 2015 to 2018. He’s constantly challenging himself and coming out on top. “I don’t take anything for granted. All I do is work as hard as I can and some of them fly and some of them don’t. I never go into room thinking I’m going to smash this; I go into a room terrified.” Becoming Artistic Director of The Hope Theatre in 2015 is what got him noticed. He’d been at The Hope for less than 6 months, when LOVESONG OF THE ELECTRIC BEAR, a play about Alan Turing, won three Off West End Award nominations as well as best director. He is leaving The Hope at the end of this year which will allow him the possibility of working on larger stages. It will be a fresh challenge for him after getting so comfortable with the space at The Hope. At this point in time, Parker has just started rehearsals for THE HOUSE OF YES, but he already has ideas about staging and how to best use his beloved space at The Hope Theatre. THE HOUSE OF YES is about a family living in the shadow of the Kennedy clan but none of the Kennedy’s actually make an appearance in the play. It’s set in 1983, 20 years after the assignation of JFK. The character Jackie O in the play has an obsession with the Kennedy’s along with her whole family. Parker puts it in a nutshell. “They live opposite the Kennedy’s and they are absolutely loaded. It’s a big white house, golden toilets ridiculously rich. They’ve only ever had or will only have people say yes to them. No one has ever said no to anything.” Parker’s been looking at the politics of the time. “There’s a surge of capitalism and loss of society. The rich looking after the rich … Wall Street” he says with relish. “The world changed in the 80s … coming out of 60s 70s people could make themselves. Those 80s films like Trading places, Working Girl, getting rich quickly - that business and money happened in this country too, with Maggie Thatcher and the yuppies.” Matthew runs a course at DRAMA STUDIO LONDON on Stagecraft which explores the idea of ‘significant events’ in Western history and how they change things. So, he’s concentrated on finding the milieu of the family, a mother and her three children, two of whom are twins (male and female). The twins were children when JFK was assassinated. “It’s an obsession with lots of Americans” Matthew explains. “Everything across the world that happens in America changes things. The text gets changed; people talk about 9/11 – normally we’d say 11.9. Something like JFK creates art, creates films. It changes the world and rocks the world making people feel unsafe.” “We had two Princess Diana’s – Before she died, she was a woman vilified in the press but when she died, she became the people’s princess” says Matthew. “The newspapers completely changed text on her” says Parker “and I find that fascinating. There’s a connection between JFK’s assignation and this family in THE HOUSE OF YES because they live opposite, they feel personally affected. Americans feel it, the whole world feels it.” For Parker it’s all part of his stage craft, not just digging into the text but looking at the other things surrounding it, it isn’t just about character, it’s the world of the play. And what a world it is! It’s comedy but it’s also described as a ‘twisted play’ and it isn’t the first of such plays that Parker has chosen to direct. So, what’s in it for him? “I like things that look at the dark underbelly of society” he says, “that look at the dark side of our psyche.” He doesn’t have any personal reasons for feeling that way, but he really likes to get an audible reaction from his audiences. “I really like it, when one member of the audience finds something that’s really funny and another finds it really horrendous. I like to affect the audience’s breath, and I love to get a vocal reaction, a gasp or a laugh.” “Look at the programme THE THICK OF IT or VEEP; these are people in power who are horrendously awful to each other, but we find it tremendously funny. This is black humour, dark comedy.” For Parker there’s also the element of a challenge. In the past he’s directed musicals, farce and an absurdist play. THE HOUSE OF YES is also tricky to pull off as Parker explains. “Tonally it’s the same challenge I faced with THRILL ME; to get the tone right because some of the behaviour that these characters display is despicable. As a director with a team, we’re not shying away from it but at the same time, we’re not being exploitative.” The set is also proving a tricky proposition. “This play is very short at approximately 70minutes straight through but it moves between two rooms and it keeps moving. I’ve never done that before. It’s a mansion”, he pauses for effect. “We can’t do two ginormous mansion rooms in The Hope. It’s a big white pillars, white wedding cake house, flitting between rooms - don’t know how I’m going to do it yet, but I think the scenes will bleed into each other. As one finishes, the next scene starts around it.” He’s thinking maybe a big chaise, that can be both a sofa and a bed in the bedroom. “I love a scene change, making something out of a scene change, choreograph it with a shift of light for each different space” says Parker, the relish clear in his face. Curiously enough, this piece wasn’t Parker first choice for his final show at The Hope. He’s had a couple of shows in mind, but he didn’t get the performing rights. Two of them are so popular, running number one tours which means that the big theatre companies buy the rights in perpetuity and no one else can get them. He’s been trying for ten years for these two titles but to no avail. Then his sound designer Simon told him about this play; that he really should read because it had all the things he likes. Its female led, it has dark areas of psyche and elements of horror. “It’s a very fast, intense read” says Parker. “I’d not even finished the first scene and I went …” Parker bangs the table with the flat of his hand for emphasis “… I want to do this. It’s quite unlike anything I’ve read before. the dialogue is so distilled, nobodies trying to obfuscate, people say what they mean. No chaff, just wheat.” He hasn’t yet met the writer, but he knows that she regards the play as “Noel Coward comedy of manners meets Pinter”. It has a fascinating psyche underneath it. “It’s scalpel and knives, pointed, sharp, clean and clear” says Parker. “It will make you laugh, make you gasp, and it will make you recoil in terror”. His way into the drama is the fifth cast member, the outsider Lesly (girlfriend to the male twin). “She has no idea how horrendous they are” says Parker, “because on one ever told them no, so when normal people step in …” He lets this stand in the air. “She’s a working-class woman and she stands up to them.” With almost 1,000 applicants for the roles, Parker had a job whittling them down. He’d already cast the mum. Gill King works with Parker at Drama Studio London and he’d wanted to work with her for many years. It will be a “challenge” for both of them says Parker as they’ve never worked together as director and actor, but whenever he comes across someone he wants to work with, whether it takes 10 years, he won’t forget. “I will you get you in next time I can”, he says. There were plenty of people he’d dearly love to work with, but when he’s reading the play, he never thinks about casting. “The first time you read a play is the only time you’re going to be getting nearest to the first impression that the audience will see” he says. “I try to think what my first impression is of this story, write loads of notes, go back to it during the rehearsal process. Otherwise it’s not being able to see the wood for the trees. So many things come out in rehearsal and so many things at the first preview, when an audience first watches.” > Bart Lambert as Anthony Colette Eaton as Jackie O Gill King as Mrs Pascal Kaya Bucholc as Lesley Parker is no stranger to comedy, and he knows how it works. “In rehearsal with a comedy like THARK, which Parker directed at the Drayton Arms in 2017, we’re dealing with high farce, it’s a vocal word gag, say it in a certain way and you can get a ‘tshh’ cymbal noise at the end of it. There’s a physical laugh button and you’ve got to know where the button is. Not everybody will laugh in the same places all the time but often there is a rhythm one can tap into which means that most of the time it will elicit a laugh” Parker is attracted to audience who will react as they want to, and he has a very dark sense of humour. He also likes clowning. “There’s a danger when something funny lands in rehearsals and everyone laughs. You’ve got to keep doing that every time. After a few rehearsals the actor may think it’s no longer working because it’s no longer getting a laugh. If something works, we’ve got to remember that in three weeks time, because that did land.” “We have no way of knowing how people are going to react. We’re constantly looking at - what is the story here? Laughs have to come out of that. Even when an audience is deathly silent it doesn’t mean something hasn’t worked/” Parker is also aware that some audience are following others’ leads, so he keeps as silent as possible when watching his own shows. “No one wants to hear the Director laughing at their own work! Cringe! It’s the audience members that matter” he says. “So long as they don’t hurt anybody, they can do whatever they want. They can react to the story as they want. Some people miss that and think the most important person in the room is the director, actor or writer. Its’s not! It’s who you do it for - the audience - and it’s our collective job to give them a good time. I cannot guarantee it, but I do everything I can to try to.” Matthew Parker was interview by Heather Jeffery, Editor of London Pub Theatres Magazine Photographer credit is lhphotoshots @September 2019 London Pub Theatres Magazine All Rights Reserved THIS SHOW HAS ENDED THE HOUSE OF YES by WENDY MACLEOD Directed by MATTHEW PARKER At The Hope Theatre, Islington, N1 1RL, 8 – 26 October 2019 Box Office: 0333 666 3366 http://www.thehopetheatre.com/productions/the-house-of-yes/ Just what happens when you grow up in a house that only says “yes”? Meet the Pascals. A family living in the shadow of the Kennedy clan. Outside their Washington D.C. home a hurricane is raging. Inside, at the eye of the storm, a series of twisted and dangerous events have been set in motion that can only have one destination. It’s Thanksgiving, 1983. Jackie-O is beyond excited to have her twin brother Marty home. He’s excited too, but for different reasons. He’s bringing home his fiancée to meet the family. Younger brother Anthony is impressed, perhaps worryingly so, and mother Pascal is too zoned out on pills to be paying much attention to anything. The scene is set for an evening of twisted machinations and mind-games that will leave the players with scars that will never ever heal. The multi award winning Hope Theatre presents a rare revival of Wendy MacLeod’s deliciously dark comic drama given cult status by the 90’s film starring Parker Posey. By arrangement with Josef Weinberger Limited, London Press on THE HOUSE OF YES: “Wickedly funny, disturbing and vividly written” San Francisco Chronicle “Gripping, funny and worth its reputation” Time Out London Press on Matthew Parker’s previous shows at The Hope Theatre: ★★★★★ “Juxtaposes the absurd, the horrific and the comic” Act Drop ★★★★★ “Beautiful, unsettling, dark & gripping” London Theatre Reviews ★★★★★ “Taut, sinister and ultimately disturbing” The Review Chap ★★★★★ “Another stunner from The Hope” IThankyou Theatre ★★★★★ Dark and disturbing” London Theatre1 ★★★★★ “Uniquely brilliant” Views From The Gods Twitter: @TheHopeTheatre @TheHouseOfYesH1

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elcinelateleymickyandonie · 3 years ago

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ROBERTSON HARE.

Filmography

1930 Rookery Nook

1930 On Approval

1930 Tons of Money

1931 A Night Like This

1931 Plunder

1932 Thark

1933 A Cuckoo in the Nest

1933 Just My Luck

1933 It's a Boy

1933 Friday the Thirteenth

1933 Turkey Time

1934 dirty work

1934 A Cup of Kindness

1934 Are You a Mason?

1935 Fighting Stock

1935 Oh Daddy!

1935 Car of Dreams

1935 Foreign Affaires

1935 Stormy Weather

1936 Pot Luck

1936 Jack of All Trades

1936 You Must Get Married

1937 O.H.M.S.

1937 Aren't Men Beasts

1938 A Spot of Bother

1939 So This Is London

1942 Banana Ridge

1943 Women Aren't Angels

1944 He Snoops to Conquer

1947 Things Happen at Night

1951 One Wild Oat

1952 The Magic Box

1953 Our Girl Friday

1956 My Wife's Family

1956 Three men in a boat

1961 The Night We Got the Bird

1961 Seven Keys

1961 Out of the Shadow

1961 The Young Ones

1962 Crooks Anonymous

1966 Hotel Paradiso

1968 Salt and Pepper

1969 The Benny Hill Show Is This Your Life sketch

1972 Raising the Roof.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Robertson_Hare

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soropositivoorg · 6 years ago

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Chrissy Teigen & Emily Ratajkowski Have A Sexy-Off

When I was a dancer, the “more is more” makeup mantra was pretty standard. Faux lashes, wild shadows, and bold lipstick…I have the (very pageant queen) photos to prove it.

We got all the details from Rocha and her hairstylist Anh Co Tran, who gave her the cut last night at Privé by Laurent in NYC. They doubtless were Thark warriors who had been sent out to capture us, and we breathed a great sigh…

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#Street #Trends

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abitoflit · 7 years ago

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War, Death, and Transformation in the Literature of Mars

In the literature of Mars, the themes of both war and death bring about several social changes. Together, they uphold the final major theme, transformation, as they alter the landscape of an author’s work. The transformations that take place on account of these themes become evident in H.G. Wells’ The War of the Worlds, Edgar Rice Burroughs’ A Princess of Mars, and Ray Bradbury’s The Martian Chronicles. In Wells’ novel, aliens invade earth and lay waste to most of England with their superior technology, forcing England into a state of decline. This alters the country’s social landscape as the populace develops manners, which mimic the harsh realities of the world they currently find themselves in. In A Princess of Mars, John Carter leaves Earth behind and is reborn on Mars, where war and death eventually make way for peace and unity. Finally, the death of the Martians in The Martian Chronicles allows for the mass colonization of Mars and the chance to reflect on how advancements in technology are not always for the best.

In The War of the Worlds, the Earth is invaded by a group of Martians who had “regarded this earth with envious eyes,” (Wells 11). They came in capsules and gradually escaped their metal shells. Aided by various advanced technologies, the Martians managed to overcome the barrier that once inhibited their movements—Earth’s increased level of gravity. Once free to roam the earth, the Martians began to lay waste to both England and its people. Shielded by what the narrator described as a metal “hood,” they were virtually unstoppable as they unleashed their weapons upon mankind. The first was the Heat Ray, which Orson Welles described as a “small beam of light against a mirror” in his famous radio broadcast of The War of the Worlds. The light emitted by the Heat Ray Welles described was powerful enough to fry human beings and destroy entire buildings. The second weapon the Martians employed was the Black Smoke, “a heavy, inky vapour… that sank and spread itself slowly over the surrounding country,” (Wells 163). Anything that drew the vapor into its lungs, died.

As a result of the Martian’s advanced technology, the English landscape was transformed virtually overnight. Since the Martians had the ability to “smite with such power that even the mightiest guns could not stand against them,” the English began to sustain massive causalities, (Wells 143). Entire battalions were destroyed as were towns such as Leatherhead. People were burnt to a crisp alongside their homes and the landscape they had once enjoyed, which is extremely profound, especially when one considers England’s long-term status as a world power. During the “last years of the nineteenth century” when the novel takes place, England was at peace both at home and abroad, (Wells 10). Furthermore, the country was experiencing a thriving economy, which was bolstered by recent advancements in technology as a result of the Industrial Revolution. These advancements allowed for mass production, increased trade, etc., which vastly increased the country’s wealth, making England one of the wealthiest nations of the time. Finally, England’s army and navy were considered to be one of the best in the world.

Following the Martian invasion, the lives of England’s populace changed drastically. Prior to the invasion, the British had a carefree attitude, which allowed them to enjoy the simple pleasures life has to offer. However, once the Martians had come to Earth, the English were filled with a sense of trepidation—they no longer wanted to go out for fear of being killed by the Martians who fed on their blood. Instead of being able to enjoy all the comforts their new technologies provided them; the English were forced to fight for survival. Instead of helping each other to overcome challenges, the population fought for the limited resources that remained. This shift becomes evident when one considers the narrator’s re-acquaintance with the artilleryman, in which the artilleryman attempts to defend his claim from the narrator because “‘there is only food for one,’” (Wells 283).

The shift from major world power to helpless “ants” in the face of angry giants proves startling not only to Wells’ characters but his readers, because if the English, who were more affluent, powerful, and technologically advanced than most of the world’s nations could not stand up to the Martians, then who could? Luckily, the English had paid their price in blood and the Martians were defeated by the bacteria against which their bodies had not developed an immunity. As this once unstoppable force is felled by “the humblest things that God… put upon his earth,” the English regain their power, (Wells 315). Their mounting strength is evidenced by man’s willingness to leave their hiding places behind and regain the streets and their homes. A sort of Reconstruction follows, a natural shadow of war, in which a country begins to restore its ravaged land. The natives begin to rebuild, people go back to work, and life returns to what it once was before the Martians came. Thus, the novel moves the English through two large social changes, whose image is a reflection of what is occurring around it. First, as the Martians ravage the land, England’s once lush and peaceful landscape is transformed into a shadow of itself, the cold, harsh reality that war evokes. Its people become harder, colder, developing a mentality that is more about themselves and their own interests than others. Once the Martians have been defeated by the bacteria in the blood they ingested, the English begin to rebuild. They become warmer and more willing to help one another as their landscape begins the gradual transition from desolated land choked by invasive, blood red weeds, to what it had been before the great war with the Martians.

In A Princess of Mars, John Carter “dies and is reborn” when he leaves his mortal shell on Earth and is inexplicably transported to Mars, (See 65). Carter leaves behind a Post-Civil War America, which is at peace and just beginning to rebuild, for Mars, a land ravaged by bloodshed. Although he has traveled thousands of miles to arrive on Mars, “the essence of the West remains,” (See 64). The stereotypical American West, which is characterized by battles between cowboys and Native Americans and a desert landscape, is mirrored by Mars’ social milieu where there are two main Martian races—the Red and Green Martians, which are both at war with one another and themselves. Having been endowed with increased strength and agility on account of Mars’ reduced gravity, Carter becomes known for his prowess on the battlefield, earning the respect of the Tharks, (Green Martians), and a tentative place among them. Thus, Carter finds himself in familiar territory—as a former member of the Confederate army, Carter is no stranger to war, but his status as an individual from another planet makes him an outsider, as did his profession in the United States, which was rebuilding after the war.

The weapons that Carter is equipped with are similar to those he left behind—he has his fists, a sword, and something akin to a gun. They allow him to begin forging a place for himself amongst the Tharks, who like the Apaches in the west he had left behind, revel in war, their “chief form” of amusement being the infliction of “death on their prisoners of war,” (Burroughs 29). As Carter’s prestige amongst the Tharks grows because of his defeat of two of their chieftains, Carter’s uneasy position amongst the warrior race grows. When he sees his first Red Martian, Dejah Thoris, a captive of the Tharks, his place amongst the Tharks grows smaller, as did his place in Post-Civil War America. Carter’s diminishing position amongst the Tharks stems from the fact that Red Martians closely resemble humans in both appearance and manner. Although it was apparent from their initial meeting and Carter’s first few days amongst the Tharks that he was nothing like them, Dejah’s presence within their camp drives this idea home as his “warm” personality and appearance is contrasted with the Thark’s far “colder” ones. Furthermore, the distancing between Carter and the Tharks is magnified by Carter’s love for Dejah. The fact that the pair planned to escape the Tharks together so that they could be surrounded by those such as themselves continues to expand on the idea that Carter simply does not belong.

It is interesting to note however, that the notion that Carter does not belong on Mars is retracted when similarities are drawn between the Tharks and the Red Martians of Helium. After Dejah is captured by Zodangan forces, Carter helps Tars Tarkas to unite the Tharks under new rule. Under Tarkas’ leadership, the Tharks invade the Zodangan city and retrieve Dejah Thoris, the princess of Helium, as a sign of good will. When the Tharks arrive at Helium to return her, they find that the city is surrounded by Zodangans, which they help the people of Helium to defeat, since Zodanga is a common enemy. After the battle, Tardos Mors, leader of Helium, “lay his hand on the shoulder of a friend and ally,” Tars Tarkas, (Burroughs 157). This action is extremely profound because their two societies had been at war for as long as anyone could remember. Furthermore, it hinted at Carter’s importance: he was an agent of change that created a gradual shift in the personality of the Green Martians, which allowed them to do more than fight. This change allowed them to understand the meaning of friendship and to make friends and alliances. Finally, as a result of his actions, Carter solidifies his place upon Mars because he bridges the gap between the “foreign” Tharks and the Red Martians and marries Dejah Thoris.

Carter’s life upon the “Western” landscape of Mars demonstrates how both war and death lead to transformation. First, it suggests that once a common enemy is eliminated, groups that were once rivals may find peace. Second, it hints at the fact that war may be abandoned once its purpose has been achieved—in the case of Burroughs’ novel, the Tharks gained the ability to “transform” into beings with more “human” characteristics when fighting ceased. Third, it demonstrates that an outsider has the ability to find his place in a society once he finds common ground. I also think it important to note that the “West” of Mars mirrors what occurred in the American West. After years of fighting, the cowboys and Indians made their peace, as did the Tharks, (Mars’ Apaches), and the Red Martians, (cowboys). The peace the two groups forged allowed for massive social change. It allowed for the exchange of goods as well as ideas, and mutual protection from other outside threats, (e.g. the harsh landscape that surrounded them). Finally, the peace created between the two groups on account of their alliance allowed for the expansion of both cultures and populations. Had they continued fighting, this certainly wouldn’t be the case.

In The Martian Chronicles, technological advancements are depicted as a threat to mankind because technology is used as a means of destruction. In order to escape Earth’s impending demise, several rockets take off for Mars in an attempt to colonize and begin life anew. The fourth expedition is the first to be successful, with the first three failing miserably as the native Martians fight to protect their lands. The only reason that the fourth expedition manages to be successful where the other expeditions had failed is because the Martians had been decimated by the chicken pox, “brought by the previous expedition, thus echoing the deadly smallpox epidemic which devastated Native American populations” after the appearance of the first European settlers, (Harlow 312). In this instance, the danger posed by expanding technologies is twofold. First, it is depicted as being a threat because of its misuse. Then, technology is used as a means of attaining redemption—mankind tries to use it to colonize Mars, but winds up being killed in the process. Finally, technology’s inherent evil is evidenced by the death of the Martians, whose bodies would not have been “burnt [and] black… dried… brittle flakes,” if people had remained on earth where they belonged, (Bradbury 66).

The success of the fourth expedition to Mars allows for its mass colonization by the human race, who altered its landscape in order to “fit” themselves. Once, Martian cities had dominated Mars, as had books filled with their language and their stories. Instruments played their music and everything was made within the Martian image. After the humans colonized, everything changed and was made in their image. The humans filled the planet with towns and structures that reminded them of the world they had left behind. They named them “all the mechanical names and the metal names from Earth,” like “Iron Town” or “Steel Town,” (Bradbury 136). One man even built a hot dog stand. Humans destroyed all that remained of the Martians and their towns and cities, burying both Martian history and culture. This is reminiscent of many invasions that occurred on earth, such as the destruction of the Tasmanians at the hands of European immigrants. In effect, Bradbury is saying that both technology and colonization are dangerous because they lead to both the loss of life and destruction in general—the eradication of culture and reduction of buildings to rubble. Had humans remained on Earth, Martian society would not have been brought to the (brink of) extinction. Their culture and society would have remained intact, while humans blew themselves up on earth with various (nuclear) weapons. Again, Bradbury is suggesting that we cannot be trusted with technology because it only continues the cycle of the novel’s major themes: war, death, and change.

In conclusion, war and death are central themes in H.G. Wells’ The War of the Worlds, Edgar Rice Burroughs’ A Princess of Mars, and Ray Bradbury’s The Martian Chronicles, which bring about the final theme, transformation. In The War of the Worlds, the invading Martian’s advanced technology allows them to wreak havoc upon the human race before they are stopped by bacteria. As a result, England’s power declines and its people’s willingness to help one another wanes, only to be reestablished after the death of the Martians. In A Princess of Mars, John Carter’s death on earth allows for a new life on Mars, where he encounters both war and death in the battle between the Red and Green Martians. Transformation occurs once the Tharks help the Red Martians of Helium destroy the Red Martians of Zodanga, at which point, the Tharks begin to realize their more human qualities and longings—such as that for friendship. Finally, Ray Bradbury suggests that technology can have a dark side when he demonstrates how it can be used to wage war and bring about both death and destruction in The Martian Chronicles.

Works Cited

Bradbury, Ray. The Martian Chronicles. Simon & Schuster Paperbacks, 1945.

Burroughs, Edgar Rice. A Princess of Mars. Bison Books, 2003.

Harlow, Morgan. “Martian Legacy: Ray Bradbury’s The Martian Chronicles.” War, Literature, & the Arts, pp. 311-314.

See, Fred G. ““Writing so as Not to Die”: Edgar Rice Burroughs and the West beyond the West.” Melus, vol. 11, no. 4, 1984, pp. 59-72.

Welles, Orson. The War of the Worlds, Columbia Broadcasting System, 30 Oct. 1938.

Wells, H.G. The War of the Worlds. Atria Books.

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carryonmyfallencas · 7 years ago

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A Khuzdul Vocabulary Primer

Here is a very basic list of khuzdul words adapted for common use. Please note that this list is simplified, and is neither complete nor definitive. I'm no expert, I've just researched and organized it for you. Sources are cited at bottom- check them out for more info and uses in Tolkien's text!

Aglâb: spoken language

ai-mênu: upon you

aya: upon

Azaghâl: warrior

'Azanul- : of the shadows

Baraz: red, ruddy

Barazinbar: Redhorn

Bark: axe

Baruk: axes of , ie, Baruk Khazâd! "Axes of the Dwarves!"

Bizar: dale, rill, small river valley

Bund: head

Bundushathur: "Cloudyhead", one of the mountains above Moria

Bûz: root

Duban: valley

Dûm: mansion, hall

Felek: hew rock

Felak: 1) (n.) a tool like a broad-bladed chisel, or small axe-head without haft, for cutting stone, 2) (v.) to use this tool

Felakgundu / Felaggundu: cave-hewer, miner

Gabil: "great"

Gamil: old

Gathol: fortress

Gundu: underground hall

Gunud: delve underground, excavate, tunnel

Iglishmêk: a gesture-code used by the Dwarves.

Inbar: horn

Khazâd: Dwarves; their name for themselves

Khazad-dûm: "Dwarrowdelf", Moria

Khazâd ai-mênu!: "The Dwarves are upon you!", Dwarvish battle-cry.

Kheled: glass

Khuzd: Dwarf

Khuzdul: Dwarvish

Kibil: silver (metal)

Kibil-nâla’: silverlode; the river Celebrant

Mah: create (verb)

Mahal: Dwarvish name of Aulë, aka The Maker

Mazarbul: Hall of Records, library; ie, The Chamber of Mazarbul in Moria

mênu: you (acc. pl.)

Nargûn: "Mordor"

Narag: black, dark

Nibar: horn

Rakhâs: Orcs

Rukhs: Orc

Salôn / sulûn: fall, descend swiftly

Shathûr: cloud(s)

Sharah: bald

Shimak: gestures

Sigin: long

Sigin-tarâg: "the Longbeards"

Tarâg: beards

Thark: staff

Tharkûn: Dwarvish name of Gandalf, said to mean "Staff-man"

Tûm: bold, delving

Tumunzahar: "Hollowbold", Dwarvish name of Nogrod

Turg: beard

-u: in/of (conj. suffix)

u-: and (conj. prefix)

Uzbad: Lord, Lord of

Zahar: Hollow

Zâram: lake, pool

zarab: keep, document, record (verb)

Zigil: silver (color)

Zirak: spike

Zirak-zigil: "Silvertine" one of the mountains over Moria

Sources:

"An analysis of Dwarvish" by Magnus Åberg; www.forodrim.org/daeron/md_khuzdul.html

"Khuzdul - the secret tongue of the Dwarves" by Helge Kåre Fauskanger; www.folk.uib.no/hnohf/k2.htm

#khuzdul

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tt-review · 7 years ago

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Google has just launched a new visual identity and redesign of its multicoloured logo. At the time of writing the new logo is shown on the Google homepage being drawn by an animated hand. They doubtless were Thark warriors who had been sent out to capture us, and we breathed a great sigh of relief that they were traveling in the opposite direction. Quickly lifting Dejah Thoris from the thoat, I commanded the animal to lie down and we three did the same, presenting as small an object as possible for fear of attracting the attention of the warriors toward us. We could see them as they filed out of the pass, just for an instant, before they were lost to view behind a friendly ridge; to us a most providential ridge; since, had they been in view for any great length of time, they scarcely could have failed to discover us. As what proved to be the last warrior came into view from the pass, he halted and, to our consternation, threw his small but powerful fieldglass to his eye and scanned the sea bottom in all directions. Evidently he was a chieftain, for in certain marching formations among the green men a chieftain brings up the extreme rear of the column. As his glass swung toward us our hearts stopped in our breasts, and I could feel the cold sweat start from every pore in my body. [caption id="attachment_9" align="alignleft" width="320"] We are committed to remaining by his side as a family for our champion.[/caption] And then the moonlight flooded the cave, and there before me lay my own body as it had been lying all these hours, with the eyes staring toward the open ledge and the hands resting limply upon the ground. I looked first at my lifeless clay there upon the floor of the cave and then down at myself in utter bewilderment; for there I lay clothed, and yet here I stood but naked as at the minute of my birth. The transition had been so sudden and so unexpected that it left me for a moment forgetful of aught else than my strange metamorphosis. My first thought was, is this then death! Have I indeed passed over forever into that other life! But I could not well believe this, as I could feel my heart pounding against my ribs from the exertion of my efforts to release myself from the anaesthesis which had held me. My breath was coming in quick, short gasps, cold sweat stood out from every pore of my body, and the ancient experiment of pinching revealed the fact that I was anything other than a wraith. Again was I suddenly recalled to my immediate surroundings by a repetition of the weird moan from the depths of the cave. Naked and unarmed as I was, I had no desire to face the unseen thing which menaced me. My revolvers were strapped to my lifeless body which, for some unfathomable reason, I could not bring myself to touch. My carbine was in its boot, strapped to my saddle, and as my horse had wandered off I was left without means of defense.

Unable longer to resist the temptation to escape

This horrible place I leaped quickly

The crisp, fresh mountain air outside the cave acted as an immediate tonic and I felt new life and new courage coursing through me. Pausing upon the brink of the ledge I upbraided myself for what now seemed to me wholly unwarranted apprehension. I reasoned with myself that I had lain helpless for many hours within the cave, yet nothing had molested me, and my better judgment, when permitted the direction of clear and logical reasoning, convinced me that the noises I had heard must have resulted from purely natural and harmless causes; probably the conformation of the cave was such that a slight breeze had caused the sounds I heard. I decided to investigate, but first I lifted my head to fill my lungs with the pure, invigorating night air of the mountains. As I did so I saw stretching far below me the beautiful vista of rocky gorge, and level, cacti-studded flat, wrought by the moonlight into a miracle of soft splendor and wondrous enchantment. Few western wonders are more inspiring than the beauties of an Arizona moonlit landscape; the silvered mountains in the distance, the strange lights and shadows upon hog back and arroyo, and the grotesque details of the stiff, yet beautiful cacti form a picture at once enchanting and inspiring; as though one were catching for the first time a glimpse of some dead and forgotten world, so different is it from the aspect of any other spot upon our earth.

I decided to investigate, but first I lifted my head

Unable longer to resist the temptation to escape this horrible place I leaped quickly through the opening into the starlight of a clear Arizona night. The crisp, fresh mountain air outside the cave acted as an immediate tonic and I felt new life and new courage coursing through me. Pausing upon the brink of the ledge I upbraided myself for what now seemed to me wholly unwarranted apprehension. I reasoned with myself that I had lain helpless for many hours within the cave, yet nothing had molested me, and my better judgment, when permitted the direction of clear and logical reasoning, convinced me that the noises I had heard must have resulted from purely natural and harmless causes; probably the conformation of the cave was such that a slight breeze had caused the sounds I heard. I decided to investigate, but first I lifted my head to fill my lungs with the pure, invigorating night air of the mountains. As I did so I saw stretching far below me the beautiful vista of rocky gorge, and level, cacti-studded flat, wrought by the moonlight into a miracle of soft splendor and wondrous enchantment. Few western wonders are more inspiring than the beauties of an Arizona moonlit landscape; the silvered mountains in the distance, the strange lights and shadows upon hog back and arroyo, and the grotesque details of the stiff, yet beautiful cacti form a picture at once enchanting and inspiring; as though one were catching for the first time a glimpse of some dead and forgotten world, so different is it from the aspect of any other spot upon our earth. As I stood thus meditating, I turned my gaze from the landscape to the heavens where the myriad stars formed a gorgeous and fitting canopy for the wonders of the earthly scene. My attention was quickly riveted by a large red star close to the distant horizon. As I gazed upon it I felt a spell of overpowering fascination—it was Mars, the god of war, and for me, the fighting man, it had always held the power of irresistible enchantment. As I gazed at it on that far-gone night it seemed to call across the unthinkable void, to lure me to it, to draw me as the lodestone attracts a particle of iron.

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jornalvistolivre-blog · 7 years ago

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Life’s challenges force us to harden up. Relationships, work, children, family and finances all combine to put us under a lot of pressure and the way we are expected to deal with these is to develop resilience and to some extent indifference. We are required to be tough.

To teach our kids to be tough and with each blow life delivers to knock us down, we need to get up, dust ourselves off and pick up where we left off. The more times we start again, the colder and more jaded we become.

What you truly desire. Imagine what you could

Some people believe that showing tough love is an important way to ensure that their children are able to take care of themselves in the future. If you were the recipient of this approach on a regular basis, you might even believe that this has had a positive impact on your life.

Everyone’s parents criticize from time to time.

Perhaps what’s needed is a shift in attitude. To become stronger and resistant to the tribulations of life, maybe the answer is that we need to become softer not tougher. Maybe what the world needs is more nurture.

If you don’t know much about your subscribers, you could consider running a campaign asking them for more details through a simple preference centre. You may wish to consider offering an incentive or freebie in exchange for this information, which will help boost your response rates.

Do something that pushes your boundaries, something that you wouldn’t ordinarily do. Take a calculated risk and allow yourself to crumble a little.

All parents occasionally pick on their children, but when the so-called jokes become commonplace, this can be a huge problem. You do not need to accept this type of behavior just because your parent has always joked about something such as your height or weight.

A great place to start is with a minimal template and if you’re looking for a quick fix, check out Dynamite – it’s a great example of how an elegant design and the use of whitespace can be highly effective in highlighting what you are promoting.

Tips For Increasing Employee Motivation

Without injuring others or placing your own life in danger, it’s healthy to let go sometimes. You don’t have to be irresponsible to release responsibility and embrace freedom for a change. When life is becoming too burdensome and the weight of obligation and duty seems suffocating, do something that allows you to release yourself from what can feel like a prison.

It’s easy to forget that your subscribers are people with likes and dislikes (not just leads). Firstly, always watch your open, CTR, unsubscribe and complaint rates. That’s the fast way to gauge whether your email was engaging or not. When appropriate, use what personalisation you have at your disposal.

If you want to take it to the next level and gauge subscriber sentiment, you could generate feedback by adding a simple “Did you find this email useful?” line in your footer that leads subscribers to a survey. Keep it short and concise though; you’re not after War and Peace.

If a survey seems like too much commitment, check out this fun widget. You never know, this feedback may just generate the next idea that takes your email program to the next level.

Most email service providers have inbuilt mobile optimized templates, but if yours doesn’t/you want something custom and have budget to spare, consider hiring an email marketing developer on Envato Studio or Upwork. Just ensure you do you research and ask for previous work examples before you hire.

Focus on process-oriented ideas

Did you grow up believing that your parent was physically or emotionally abusive to you because you deserved it? If so, you may still be justifying the terrible behavior of others at your own expense.

Get In Touch With Emotions

Discover how you really feel about things. It’s easier said than done. Instead of maintaining the status quo and keeping the peace.

Instead of following the herd and making the predictable and reliable decisions that you are expected to make, ask yourself.

What you truly desire. Imagine what you could accomplish, if failing wasn’t an option.If there was no fear of being judged and no adverse consequences.

If there was no fear of being judged and no adverse consequences reliable decisions.

Learning to acknowledge and express our emotions freely may seem like weakness in a culture that requires us to be tough, but in actual fact it takes a strength far more valuable and honorable than living in denial.

Use the “Spaced Repetition” technique

Try the “Pinch Yourself” hack

Schedule learning sessions before bedtime

Study the content, not the language

This technique was introduced by Maneesh Sethi, a frequent traveler who mastered four foreign languages as an adult. His approach was based on the fact that negative stimuli massively boost self-improvement.

Soft is the new hard

When you think that a situation requires you to be tough, to stiffen your upper lip and puff out your chest in the face of something difficult or even traumatic, consider if you have another option. Maybe for a change it’s time to wallow in the tragedy of your experience and really feel what it is to be human. Striving for mental toughness may close you off to a world of emotional development and progress that you may otherwise live through if you let yourself open up for a change.

Ways to beat stress at work

How you can use this for language learning?

Get a set of flashcards for memorizing vocabulary or grammar.

Master the hard pinch (it should be quite hard) to activate your body’s threat response.

Review a category of flash cards (such as adjectives or group of words). Don’t pinch yourself at this stage.

Review the same category, now adding the pinch for each vocabulary word. Spend some time studying the card before moving to the next one.

Softening your perspective towards yourself and others; allowing yourself to experience tenderness and nurturing instead may seem counterproductive, but in the long run, may reap more abundant rewards.

Tough is just bravado. Softening up is a new normal you should try.

You may feel sadness more intensely, or anger. Disappointment, fear, grief. The flip side is you may discover joy like you’ve never allowed yourself to feel before. You may laugh harder, feel more inspired, encounter wonder and awe at things you previously took for granted.

Multishow apresenta novas participantes do Casa Bonita 3 que estreia 4 de julho #BelladaSemana #CasaBonita Life’s challenges force us to harden up. Relationships, work, children, family and finances all combine to put us under a lot of pressure and the way we are expected to deal with these is to develop resilience and to some extent indifference.

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the-sky-queen · 10 months ago

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Guys. Thark Shadow is real. :)

#Sky Queen #Sonic the Hedgehog #Sonic AU #Sonic of Mars AU #Shadow the Hedgehog #Thark Shadow #art #traditional art #my art

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smallpwbbles · 3 years ago

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THOUGHTS ON THE SONIC MOVIE

AIGHT had these notes for a bit about the movie cuz it’s a cinematic master piece and gave me everything we wanted

Where do I even start, bro I love how they just embrace the fact sonics a silly little kid who kinda revels in the fact he’s got a family to be silly with now

That bit where he’s pretending to be airport security didn’t have to be so fucking cute but now it lives rent free in my head

NOT EVEN 10 MINS IN I THINK AND THIS BOY WENT HOLY CRAP FJDHDJDJFFJA

Thark pointed out how smart it was for sonic to be calling peeps via FaceTime since he’s got a big ass head and his ears are on top of them (I’m so glad they don’t do the phone to the side of the head even when the characters ears aren’t there, just a lil thing I don’t like)

I bet that bit where sonic was like “your meant to be my friend, stop trying to be my dad” Tom has to repress every fatherly urge to not cry at hearing that

They just embrace the fact sonic is a Wachowski y’all we fucking WON

HE DID THE 🎵 THE WOOOOOORRRSSSSSSSST 🎵 THING

Sonic called Tom dad (the way I almost became a feral animal in the cinema)

The way lost it when Maddie was like “lets go get our kid”

Super sonic was fucking amazing, I got really worried when Knuckles said he isn’t the sonic they knew anymore then sonic basically went SIKE and did a Thor to manifest a chilidog. I can’t believe they straight up made super fucking GOD, like movie sonic is ACTUALLY the strongest version of sonic there is.

The way I might make a fleetway au again with the super thing going the way knuckles said

SPEAKING OF FUCKING KNUCKLES, favourite incarnation of knuckles so far, they did him SERVICE, Idris did amazing and I love this boy

He’s not dumb mans was just raised as a damn warrior his entire life so I fucking love it when he doesn’t get earth culture

Young knuckles also almost made me a feral animal

The way him and sonic survive a collapsing structure and sonic just starts pelting him with sand balls for no reason

The running gag of his grip breaking fingers was hilarious

I love the way he goes 🤨 when Eggmans being blatantly obvious with his lack of loyalty

They way he picked up tails at the end to carry him I’m biting my arms

TAILS MY SWEET BABY ANGEL, they gave him lethal weapons that HE MADE and address he’s doing crazy shit

God I wish during the scene when he gave his backstory we got to see him as a young kit in his village

THE WAY THEY PARALLEL TOM TUCKING IN SONIC WITH SONIC DOING IT TO TAILS THEN TAILS COVERING HIM WITH HIS TAILS MAN THEY ARE FUCKING BROTHERS

The way they let Rachel go off this movie and honestly good for her

I honestly wasn’t expecting the Wedding being a set up bit actually that was pretty cool

Man I wish they would explain why sonic and knuckles have the powers they do, seems it’s not necessarily connected with the emeralds unless they explain it in the knuckles series

I’m still reveling in the fact sonic has homies/brothers now, it was so sweet when all Tom was thinking about during volleyball was for his kid to have wingmen cuz Tom and Maddie are providing more parental roles than siblings/friend roles

Jeff really said this is my movie franchise and if I want shadow in the third movie I’m putting shadow in the third movie, and to that I say LETS FUCKING GOOOOO

Eggman and Stone are just fucking perfect this movie, I really love what they do with Stone like he looks like a straight man but he’s just really good at hiding how unhinged he is

Eggman is just a rabid animal this movie, Jim just transcends this role

I really wonder what they’re gonna do with shadows character, it’s clear he’s gonna have some of the same backstory since he’s been in stasis for 50 years, I just hope they don’t make his personality close to knuckles cuz he’s defo gonna be an antagonist for the third movie

It would be so funny if they just made him batshit and unhinged, mans just HATES people

#sonic movie 2 #sonic the hedgehog #sonic movie #sonic #sonic movie 2 spoilers #sonic movie spoilers

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