#Tunde creations

[bewitchingkitchen]

TUNDE'S SPRING COOKIE PLATTER

Another amazing design by Tunde from @tundescreations. She revamped her website to include all tutorials and links to posts, so pay her a visit (click here) and consider joining her Cookie Club Academy to challenge yourself with cookie decorating. On her site, if you go to Classes, Online Pre-Recorded, you can get some lessons to buy individually, independent of the Cookie Club. Have fun…

[roomselfcontain2]

How to organise a single room for rent click here brand new virgin pop ceiling modern cheap Selfcontain grab this house now because of the price serious working on the apartment in progress but you can pay and wait a little while located at Nta road before ozuoba in portharcourt city rivers state Nigeria.

[stellanslashgeode]

I have been thinking about the Sorcerer's of Tund. Basically exiled Sith priesthood dating back thousands of years who intermix, science and ontology and magic, believe all is one in the force and that the force unites all dualities and multiplicity in its infinity. They also have a special emphasis on shapeshfiting, deceit and illusions. I find them really interesting as basically space Hindu sages or Sufi mystics.

I have been thinking about the sorcerers of tund and their monism, their mastery of Illusion and the idea of the dark side as bound to the living force and what that would look like taken to it's logical limit and an idea struck me.

All of the world is of the force, the force had shaped it and the force will consume it;

The force in shaping the world divided itself and the world into two, the Realm of Spirit, the house of the soul, and the Realm of Flesh, the house of the body.

The living force is the energy of the soul, the power representing the eternal balance between creation and destruction that flows from the soul into the world and also flows from the world to fill the soul. All energy or force that is used to shape the world by the Realm of Flesh is incomplete without the living force to flow into or out of what is created or destroyed.

Therefore the Realm of Spirit while overlooked by many is equally needed to complete the Realm of Flesh. If one desires completion, the realization of the ideal perfect, the retaliation of potential that lies within them and the connection they hold to the force, yet is bound by the desires and bonds to the Realm of Flesh, be they mortal or god, they will never succeed. For in that bond to the Realm of Flesh the Realm of Spirit is forgotten and without the two in harmony one could never be complete. The role of the mind is to acknowledge and perceive the Realm of Flesh, yet also not allow one to be bound wholly to it, thus allowing them to perceive the force and thus understand and realize the part of themselves that lies in the Realm of Spirit. The Tund Sages would be beings who have essentially achieved permanent oneness with the force and have essentially been granted godlike power at the cost of abandoning all personal desire, I could see the Bendu being a good example of what they are like.

This is the key to true oneness with the force in the eyes of the Tund. Those Tund who achieve it become godlike sorcerers and sages capable of moving planets and healing armies. However due to the Tunds emphasis on Illusions this power manifests in a very particular way. Unlike normal illusions which could be considered "a falsehood impersonating the genuine article" these sages possess the power to create "existences identical and indiscernible to the genuine article" as they are existences whose flesh and spirit matches the nature and power of that which they imitate. A sage can do outrageous deeds such as creating illusionary weapons, creating exact copies of other people, creating illusionary landscapes, and even cover himself in an illusion, as to conceal his own presence rendering him unable to be seen or heard, and only faintly felt through the mind.

This is what I consider the very pinnacle of Force Illusions. Essentially you reach the point where the illusion is so utterly lifelike and realistic that the universe no longer registers the existence of difference between the illusion and an actual physical object meaning these illusions can hurt you and even kill you.

How does this sound as an example of the true esoteric nature of the force?

I'm so glad they brought the Sorcerors of Thund out from the EU, they're a true example of the weirdness that can coexist with more grounded stuff like Andor. It sounds like you know a lot more about them! I just encountered them in The Battle of Jedha audiobook where one of them plays a minor role, though they're much more prominent in the Phase II High Republic comics from what I understand.

There's a lot more to be fleshed out with the Force, mainly because we mostly see it through the prism of the Jedi and they have their own orthodoxies on what should and shouldn't be done. And the Sith which flips a lot of those orthodoxies on its head and guard their weird stuff like Sith Alchemy pretty jealously.

I do know a lot about the Mirialans, though, and their unique take on Jedi philosophy. They care much more about the Cosmic Force and hence take things like visions and fate and choices very seriously. I think of them as a little more mystic than mainline Jedi. They believe your choices shape your destiny and take that so seriously they tattoo their faces and bodies to commemorate those choices. The Cosmic Force doesn't get as much attention as the Living Force, and I think that's a shame. It's far more mysterious.

So yes, the Jedi have only been around 25,000 years or so. I'm sure back in the olden times, back before Hyperspace lanes were charted, there were dudes tossing planets around and doing all sorts of miraculous stuff that Jedi wouldn't even date to imagine. And there's a place for that.

I'm writing a fic about Nightsisters at the moment so I'm enjoying thinking outside my usual bubble.

[usagirotten]

REVIEW: Star Wars: Skeleton Crew is more of the same but more boring

The competition between platforms to have a wide range of content in their catalogs and for users to think that they have many options has become increasingly normalized in recent months. The content that each one offers has everything: very good things, good things, not-so-good things, things that are terrible, and some more that are just filler and will hardly ever have moderate success. Disney+, a giant in animation cinema and now aims to be one of its platforms, has content that advocates a lot for the nostalgia that exists in very good works and that several generations have enjoyed, its new content in its new acquisitions is a separate case. Since George Lucas sold Lucasfilm to this entertainment giant, things have not gotten better, television series and films have been left halfway between what could have been and what is, being more specific, Star Wars has been a very painful franchise in recent years in terms of story development and in the creation of a universe that tries to connect everything, leaving aside the canon that they have been handling for decades. The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, Andor, Ahsoka, The Acolyte and now Skeleton Crew try to make this new canon in this new universe have a more direct relationship from the Return of the Jedi film, creating new adventures with new characters that tell new stories whether they work or not. It's the turn of Star Wars: Skeleton Crew, something completely new that is aimed at younger viewers with a high dose of nostalgia that will possibly help this not be another failure of this franchise.

What is Star Wars Skeleton Crew about?

A group of children are about to have the adventure of their lives. A sudden but important discovery causes them to be lost in the galaxy. They will use everything they have and know to find their way home among space pirates in the era of the New Republic. If we do an exercise of objectivity and honesty as spectators and fans of this franchise since Star Wars arrived at Disney, this franchise has been stagnant and is going from bad to worse, offering a recycling of what we already know and already know and transforming it into something modern for the new generations, we have already seen the same garbage of space western that opened with Mandalorian and that has not managed to have a point of originality in the works that they have recently presented. This contest is joined by Skeleton Crew by Christopher Ford and Jon Watts who offer us an adventure very much in the style of an 80s family movie where a group of children are the protagonists of the adventure of their lives, knowing with this the capacities that each one has, the value of friendship and of working as a team, of valuing what they have and of growing to be better, a formula already very used that falls into the cliché that no matter the age we all have the opportunity to improve and what does not improve is precisely the originality in the stories. Skeleton Crew is set in a new timeline and takes place after the events of Star Wars: Return of the Jedi when the Empire was defeated and now it is the New Republic who has taken control of protecting peace throughout the galaxy to avoid conflicts and the emergence of a new planetary war or for the domination of everything.

On the planet At Attin, which is far from any war contact, there are very special residents. Wim (Ravi Cabot-Conyers) is a restless child obsessed with stories about the Jedi. He wants to have adventures beyond pretending to be a Jedi master with his best friend Neel (Robert Timothy Smith). This is partly an escape so he doesn't feel alone and abandoned by his father Wendle (Tunde Adebimpe), who, as is already cliché, gives more importance to work than to caring for and spending more time with his son. A very similar case applies to another pair of best friends from the same school environment, a girl named Fern (Ryan Kiera Armstrong) rebellious and transgressive by nature, and her best friend KB (Kyriana Kratter) a more thoughtful girl and aware of the importance of things and, who are bored of their routine suburban lives doing the same thing, what these children want is to find something that will get them out of all this and make them live an adventure like they have always dreamed of. Wim and Fern meet after a very unfortunate situation that takes them to the office of their school principal, once reprimanded and punished Wim tells Fern that he found an abandoned Jedi Temple, following the structure of a children's movie from the 80s Wim in company of Neel return to explore this discovery in more detail but they do not count on the fact that Fern and KB have gotten there first and together they discover that it is not a Temple but an abandoned spaceship. Questions come, questions go from where it is, who it is from, how it got there, how long it has been hidden, why no one knew of its existence, and course, we must not tell anyone else because this will be our secret pact of best friends forever since we know the characters then we already identify them as the adventurous boy, the rebellious girl, the intelligent and more aware girl and the funny fat guy who in this case is like a blue elephant, who does not contribute anything but is fun. In their exploration, they find a droid called SM 33 (Nick Frost) Wim in his excitement accidentally presses a button that puts the ship into operation and heads into space having a specific point of automatic return, very convenient so that from this point things begin to develop. Now these restless and annoying children are lost in space millions of kilometers from their planet without the slightest idea of ​​how to return or where they will go, SM 33 transports them to the only place he knows a landing base populated by aggressive space pirates and dangerous bounty hunters, there they will meet Crimson Jack (Jude Law) a mysterious man who possesses the power of the force, along with this they learn that At Attin is not just any lost planet in the galaxy but is a planet full of treasures that barely appears on the maps of the galaxy and that its exact location is not entirely known, these manipulative children reach an agreement with Jack to help them return home in exchange for a treasure. This is the premise of the series, we have the good but unlovable children and the bad pirates who look for these good but unlovable children so that they guide them to this peaceful planet and rob them of everything and enslave its population, the planet also has its secret, a series of satellites that surround it and make it invisible and here we ask ourselves, what is this planet hiding? Are the legends that there are treasures there true?

A series of the Star Wars franchise and saga that involves children, it aims to give a new twist to a simpler story to tell, one that has a high dose of comedy and involuntary action where we already know how things will end, these children will come out ahead of this adventure with the already trite moral discourse about friendship, love, the importance of family, the responsibility of parents towards children, education, teamwork, trust, and all this while they walk the path of the hero that will make them better. In these 2 episodes we can deduce without much effort that everything that happens and will happen is in favor of a script written by Christopher Ford, Jon Watts and Myung Joh Wesner that is based on things already done in movies like E.T. (1982), The Goonies (1985), Stand by Me (1986), the Indiana Jones adventure saga and the classic series Lost in Space and the modern but nostalgic Stranger Things, where these children take on the role of adults to solve impossible situations that give it that touch of nostalgia. The series desperately tries to take advantage of the resources it has which the youngest audience can identify, living an adventure in the Star Wars universe I don't think is something that excites or captivates an entire generation that doesn't understand the power of this nostalgia, a youth work subtly but blatantly directed at a more adult audience and of course at the dissatisfied fans of this franchise who are quite right in wanting all this to end or to transform into what it should be. The writers along with their directors Jon Watts, David Lowery, Daniel Kwan and Daniel Scheinert, Jake Schreier, Bryce Dallas Howard, and Lee Isaac Chung make a great effort to make these children try and feel natural in balance with the dangers they face and that we can believe that they are in genuine danger without traumatic consequences but with a lot of fun, as viewers we know well that nothing will happen to them no matter how much they face unimaginable dangers. The episodes currently airing are: - Episode 1. This Could Be a Real Adventure. The native children of the planet At Attin discover a surprising secret that will lead them to live the adventure of their lives. - Episode 2. Way, Way Out Past the Barrier. After activating a mysterious ship, they become lost in space, which is the beginning of an unexpected journey. In technical terms we already know what it is offering us, the retrofuturistic style and setting of the planet At Attin is impeccable, a society that lives isolated from the galaxy and that evokes the 50s on Earth, however, it is not far from other representations in the science fiction genre and how our planet could look like in a very hopeful, illogical and very unbelievable future, the atmosphere they recreate feels more peaceful than what we have seen before and we go from those desert scenarios to something more friendly and familiar but at the same time a jewel of the Old Republic, a lost planet that has acquired with the passage of centuries and millennia a certain mysterious and legendary nuance. We can say that the main flaws of this series are that its story is not original at all, that the easy way to take something already done and transform it pretending that this is modern focused on a new generation and that it is successful is to fall again into a comfort zone in which they no longer know what to do with this franchise and create meaningless and increasingly absurd content, the second thing is the casting of children, they have not understood that for this to work it is essential that we sympathize with the characters and that the actors do a good job, this does not happen here again. The cast is made up of Jude Law, Ravi Cabot-Conyers, Kyriana Kratter, Robert Timothy Smith, Ryan Kiera Armstrong, Tunde Adebimpe, Kerry Condon, Marti Matulis, Jaleel White, Fred Tatasciore, Mike Estes, Dale Soules and Nick Frost as the voice of SM 33 who do more than what is asked of them but the development of their characters is very little convincing so far. The music composed by Mick Giacchino is perhaps the most redeemable feature, it moves away from what we know but has that touch of the classic themes of the saga, exciting pieces that are far above the action we see, a work that if maintained like this could become a classic. There is not much to talk about this anymore, even though it is under the protection of Jon Favreau and Dave Filoni it does not guarantee that this will be a success, we recognize that Mandalorian in its first and second seasons surprised everyone and placed these 2 creators in a very high place within a franchise that has not managed to have a balance with the force that it boasts so much, on the contrary, the flaws have been evident and they insist that the path to follow is the one that the studio itself imposes on them without having the more creative freedom to do better and more convincing things and not just the filler in a catalog with works that in the long run no one will remember as something that contributes and enriches what is already known. In conclusion, it is neither too late nor too early to say that this series is completely unnecessary in this universe, children's and adventure stories had their time and moment contributing something important to cinematography, a phenomenon that they try to replicate not in the best way, hopefully, this studio will focus on what it should do and not be overwhelmed by a nostalgia that in our days is useless, unconvincing and trite. Star Wars: Skeleton Crew is now available on the Disney + platform. https://www.youtube.com/watch?v=f19gfOMZTtg Read the full article

[expectantdaddies]

Brother Tunde is a renowned warrior monk at the Temple of the Descending Blossom, dedicated to protecting the delicate balance and harmony of the world. He takes on the crucial role of training the younger monks in both the mastery of their minds and bodies. This rigorous training allows them to transcend physical limitations and stand as formidable guardians against forces that threaten to disrupt the natural order.

One particularly memorable aspect of Brother Tunde's teachings involves guiding his students in discovering the boundaries of their corporeal selves. Through his lessons they experience the full spectrum of sensations - including pain, pleasure, euphoria, and exhaustion - as part of their spiritual and martial growth. A warrior monk must learn to wield both mind and body with exceptional skill to triumph over the constraints that the material realm imposes.

It is worth noting that Brother Tunde's lessons in the art of physical intimacy are especially noteworthy. His proficiency in this area surpasses even his formidable combat skills, which were put on full display when he single-handedly held off an entire army without causing any permanent harm or loss of life. Some even whisper that with his unparalleled mastery of the marital arts, Brother Tunde could potentially vanquish two armies by himself... at the same time.

In his role as a mentor, Brother Tunde does not shy away from the more intimate aspects of his teachings. He engages in these lessons without contraception, believing that if fate deems his womb to quicken, it is merely part of the natural flow of things. His students find that his instruction only grows more powerful when he is heavy with child, as if the very act of creation imparts an extra measure of wisdom and strength.

The children born from these unions are raised within the monastery itself, nurtured by the entire community to become the next generation of monks who will carry on Brother Tunde's sacred mission. To him, this too is simply part of the great cycle that sustains all living things in perfect equilibrium.

If you like my work, Buy Me a Coffee.

Brother Tunde, pregnant monk.

If you like my work, Buy Me a Coffee.

[andyjwaldron]

ANDY WROTE ABOUT GOOD ALBUMS FOR HIS JOB

End-of-year list season is a big stinkin' deal over at Rough Trade. Listening back to the previous twelve months' worth of releases not only became a clear delineation of time passing (especially during the pandemic that kept us asking, "Oh, wait, what month is it again?") but it was also great for Andy when he worked there, as staff were asked to write about a few albums that really stuck with them.

Plus, it's always refreshing for a record store employee to provide a solicited opinion, rather than the usual unsolicited comment while ringing you up.

Here are some blurbs Andy wrote for Rough Trade about LPs from SASAMI, Bartees Strange, Little Hag, Mitski, and Illuminati Hotties:

SASAMI - Squeeze

In the same way one realizes working retail can seem like you're creating sand mandalas (i.e., organizing LPs in the morning), knowing full well how ephemeral they can be (finding Sheryl Crow in the Metal section at night), the turbulent start to the 2020s has proven that, despite the best efforts to make sense, everything is messy now. I've held onto SASAMI's Squeeze in the same way we grasp for something steady when the boat starts swaying.

In a little over a half hour, hard truths are thrown down (the systematic aggression detailed in "Skin a Rat") and then processed ("I tried to understand," "Don’t wanna agonize, just say it") and met with earned affirmations ("I want you to know you're not alone…you can always call me home"). The guitars that accompany these sentiments shred, strum, and surround the listener – almost swallowing us whole. By the time "Not a Love Song" arrives, the waves of distortion become still enough to see ourselves in the reflection.

Writer Michelle Hyun Kim put it best: In "[bringing] seemingly disparate elements together, finding slippery ways to be both/and, neither/nor, between/outside in all categories," SASAMI meets a messy world with messy creation – gleefully collapsing genre with artists who know a thing or two about frustrating binaries (Patti Harrison, No Home, Rin Kim, Vagabon, Mitski, Andrew Thomas Huang). Squeeze recognizes those who've worked hard on themselves and the world around them and gets drinks with them afterward to celebrate: a beautiful, beautiful sight. (x)

Bartees Strange - Farm to Table

Building on the promise of his first album, Live Forever, our On the Rise artist Bartees Strange carries a fiery ambition throughout his next chapter, Farm to Table. It lights up the dance floor on "Wretched" and "Cosigns" and powers the fanfare of my personal song of the year, "Heavy Heart." It becomes a campfire that warms the quieter second half, carrying the heartbreaking ode to Gianna Floyd ("Hold the Line") to the closing, cyclical singalong, "Hennessy."

It's been exciting watching artists of my generation make work reflective of our fickle upbringing; the way we've watched genre break down, earnestness break through, and connection rise above all other priorities. And while Farm to Table may seem like a 4AD fever dream (from the belt and croon of TV on the Radio's Tunde Adebimpe to the inertia of The National's most anthemic moments), make no mistake: Strange's first LP with the storied label marks a young, bold new moment in capital I capital R Indie Rock™ – one whose flame won't go out anytime soon. (x)

Little Hag - Leash

Take a heaping spoonful of Liz Phair's down-to-earth humor, a touch of Elvis Costello's cutting attitude, and a splash of Jeff Buckley's killer vibrato, and you get Little Hag's Leash, one of the most exciting releases to come from Bar-None Records in recent memory. Avery Mandeville, the NJ-based songwriter behind Little Hag, may be one of the legendary indie label's newest signees, but she's been honing her unique knack for catchy and sardonic tales of her self-described "absurd and profane occurrences of being a woman" for the better part of the past decade. Her lyrics deliver the anthemic quality from other accomplished musicians who have emerged from the Garden State. However, the power that drives them is less "We gotta get outta here!" and more "I'm stuck here… now what?" While their other digital-exclusive releases that came out in the past year (Whatever Happened to Avery Jane? and Breakfast) are worth adding to your playlists, Leash, their first album full of new material for Bar-None, is next level for Little Hag. Stories bearing weighty text messages ("The Whole World," "Cherry," "Red"), dangerous and disappointing men ("My Last Name," "Get Real!"), and self-defense weaponry ("Brass Knuckle Keychain") are conveyed with an urgency matched by a skilled rhythm section that rips. Sure, these eleven tracks are told by a singular voice, but the universality of both the shit that they’ve gone through and how she's powered through all of it makes a vital promise for anyone who listens: crank this up, and you'll feel less lonely. (x)

Mitski - Laurel Hell

The new wave nods of Mitski's Laurel Hell come in spades; not just in its production (where uptempo numbers like "Should've Been Me" navigate the liveliness of ABC and moodier tracks like "Working for the Knife" find kinship with Peter Gabriel's self-titled era) but also the paranoia and devotion beneath the sheen (the album starts with "Let's step carefully into the dark / Once we're in, I'll remember my way around" and nearly ends with "I'm standing in the dark / Looking up into our room / Where you'll be waiting for me").

In meeting acrobatic arrangements with clear lyricism across five records, the 32-year-old songwriter has proven to be one of her generations' strongest craftspeople. The difference now on her sixth is how a wide-eyed weariness emerges in a familiar fashion to the era Mitski references, how the push-and-pull between partners can stand in for the heart and mind… or the artist and the consumer: "I give it up to you / I surrender." (x)

Illuminati Hotties - Let Me Do One More

At times in-your-face like an unexpected conversation from a hilarious stranger at a dive bar, while at other times contemplative, standing beside you and huddling for heat during a smoke break, Let Me Do One More was the perfect buddy to have during a year of bumpy restarts. My favorite albums have historically become teaching moments, usually by artists getting by despite constraints both internal and external, and this album finds the endlessly-talented Sarah Tudzin doing her best in trying relationships with the personal ("Growth") and political ("Threatening Each Other re: Capitalism"). These songs truly helped me find warmth through the uneven sway of 2021. (x)

***

You can go back home by clicking here.

[oneofusnet]

Screener Squad: Strange Planet STRANGE PLANET SERIES REVIEW In the archives of the ancient past of 2019, the ones and zeros driving the super information highway would often be implemented to spread joy on the daily. Images and captions would would work in unison to create what the inhabitants of Earth would call a webcomic. Nathan W. Pyle, the life giver of the comic known as Strange Planet has been given the honour by Apple TV Plus to adapt his creation with the assistance of Dan Harmon (Rick and Morty) and a vast assortment of voice actor comedians such as Tunde Adebimpe, Demi Adejuyigbe,… Read More »Screener Squad: Strange Planet read more on One of Us

[hkbfinn]

18 years ago, as a writer & performer, I stepped further into my creativity with a brand new collection of songs.

I went further than I have ever been before with my compositions, performance & collaborations.

I made funk tinged with jazz & recited poetry over melodies from Africa that pre dated much of the modern world.

So 18 years after it’s original creation, I have re-released my (remastered) Acoustic Afro Hip Hop album.

It features the wondrous talents of Eska Mtungwazi, Sona Jobarteh, Robert Mitchell, Tunde Jegede & more all sonically tweaked from the original 2” tape recordings to a new refined version.

It’s out now from your favourite digital store. So click the link below to listen.

Good music exists...❁

Created by HKB FiNN

https://hkbfinn.hearnow.com

[laresearchette]

Monday, September 27, 2021 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: THE GOOD DOCTOR (Global) 10:00pm VOICES MAGNIFIED: YOUTH DIGITAL CRISES (A&E Canada) 10:00pm CHOCOLATE MELTDOWN: HERSHEY’S AFTER DARK (Food Network Canada) 10:00pm

NEW TO AMAZON PRIME/CRAVE/NETFLIX CANADA/CBC GEM:

CBC GEM FAMILY FEUD CANADA

NETFLIX CANADA JUDY

NHL PRE-SEASON HOCKEY (TSN2/TSN4) 7:00pm: Maple Leafs vs. Habs

FAMILY FEUD CANADA (CBC) 7:30pm (SEASON PREMERE): Chiiii-cken!

BOB HEARTS ABISHOLA (CTV) 7:30pm/8:30pm (SEASON PREMIERE): After Bob and Abishola land in Lagos, they rush to rescue Dele from his dad's place; Auntie Olu and Uncle Tunde explore their old stomping grounds and realize things have changed since their last visit to Nigeria. In Episode Two, with a traditional Nigerian wedding approaching, the Wheelers are formally introduced to Abishola's family; Bob tries to demonstrate his serious intentions of marrying Abishola; Abishola tries to keep the peace between her mother and Auntie Olu.

MURDOCH MYSTERIES (CBC) 8:00pm:  To save his former lover and son, Murdoch makes a risky deal with a Black henchman.

JANN (CTV) 8:00pm (SEASON PREMIERE):  After months without a manager, Jann realizes she needs to take control of both her life and career, and decides to hire a personal assistant; she sits in on her sister's nanny interviews to poach the best assistant for herself.

THE BIG BAKE (Food Network Canada) 8:00pm (SEASON PREMIERE): Three professional baking teams have five hours to design, bake, and decorate a cake creation in gigantic proportions based on a theme.

MARY MAKES IT EASY (CTV Life) 8:00pm: Mary gives a quick crash course in French cuisine.

NFL FOOTBALL (TSN/TSN4/TSN5) 8:15pm: Eagles vs. Cowboys

UP THE DISH (CTV Life) 8:30pm: Four chefs try their hands at both sweet and savory lasagna.

VICTORIA (CBC)  9:00pm: Victoria realises she is pregnant again, and her equilibrium is threatened by Albert's friendship.

MLS SOCCER (TSN2) 10:00pm: Colorado vs. Toronto FC

HIGHWAY THRU HELL (Discovery Canada) 10:00pm: Jamie and Brandon respond to a semi sucked into a muddy ditch; a familiar face eyes a legendary tow company; Reliable's 50-ton wrecker takes on a tricky recovery; an upside-down camper and star-studded vintage pickup test a newly-formed team.

[shakespearesglobeblog]

Music Instrument Design for Edward II. 

Our wonderfully talented Director of Music, Bill Barclay has built some unique instruments for our production of Edward II. In this blog he tells us about these instruments and the three different worlds of sound he has created for the production.

Christopher Marlowe’s dark history of Edward II still reverberates loudly today both in its powerfully modern assertion that love is love, and in the incompatibility between vulnerability and the corridors of power. To help tell the story of these contrasts that ripple through time, I’ve built two new musical instruments that provide natural reverberation in the Sam Wanamaker Playhouse, which has a warm yet dry acoustic. These devices play alongside a raft of ethnic and period instruments to create three contrasting palates of sound.

The first world of sound: war, rebellion, dissidents, and political pressure

The first sound world describes the sounds of war, rebellion, dissidents, and political pressure. This is achieved through the creation of a steel cello, which is an instrument I first encountered in Boston built by musician Matt Samolis, also known by his stage name Uncle Shoe. I was infatuated with his creations and had used them in theatre before, but this is this instrument’s debut in the United Kingdom. With Matt’s guidance I’ve constructed a new kind of steel cello bespoke to the Sam Wanamaker. 

This is how it works: several large deep ride cymbals and metal rods are bolted to a large stainless steel resonating sheet, which amplifies the metal objects as they are bowed and struck. The instrument is capable of a wide range of sounds which are almost entirely below the frequencies of consonants in speech, making words intelligible over a rash of haunting textures. Amazingly, the instrument often sounds synthesised – digital, even – metallic, industrial, dark, and yet shimmering. Matt and I used to play it for sound meditations in long beautiful drone concerts, and yet it can also distort to provide an incredible lexicon of theatrical punctuation. The whole band takes a turn on it, but it is chiefly played by Music Director Rob Millett, and it is played throughout the production.

The steel cello is complemented by a bass drum, field drum, and Sarah Homer’s contra alto clarinet – a rare instrument lower than the bass clarinet which gurgles at the low end of the hearing spectrum under the steel cello’s reverberant strokes.

The second world of sound: love

The second sound world was meant to contrast with the first as much as possible in order to depict the love between Edward and Gaveston as incompatible with its oppressive cultural antipathy to homosexuality.  For this world we lean on Tunde Jegede’s kora – the West African harp, chiefly from the griot storytelling tradition of Mali.(A griot is a West African historian, storyteller, praise singer, poet, or musician).

The kora melds with a swarmandal, a Hindu harp the characteristic buzzing from its sympathetic strings. To fill out this pan-ethnic texture, we use a hammered dulcimer and a bass dulcimer, instruments that are from all over the world, though perhaps most prominent in music from the Middle East. These three harp-like instruments from around the world emphasise the beauty, the universalism, and perhaps the exotic presence that define love so unabashedly in this play. The textures these strings make with each other seems to chime perfectly with the candlelight, and lend an extraordinary atmosphere to the Playhouse.

The third world of sound: the church

The third sound world is of the church. Here the tubular bells, accordion (mimicking an organ), cello, and contra alto clarinet form a league of ominously low, yet sinuously melodic instruments that collect like vines around the ankles of the play’s characters – powerful yet beautiful. Also in this world is the singers, who at various moments intone the Latin prayers of the Requiem Mass, as if the death of Edward I (Longshanks, Edward II’s father), still looms over the cracked glass of our protagonist’s troubled reign.

The second original instrument is the spring machine. Two long helical springs are attached to the theatre’s back wall, and connect directly to the heads of two frame drums bolted to the face of the music gallery. When the springs are rubbed and struck, we discovered that the sounds that pour out of the drums are unearthly, unsettling, and hard to mentally place. For weeks I had been seeking sounds for the play’s horrible final scenes that were truly original – sounds that could only mean this peculiar horror. We tried attaching a double bass to the springs, and had 4 springs start on each string, going into four drums. The sound was amazing but I could still hear the double bass, and the sound was too familiar.

When we took the bass away and hung the springs to a hook instead, it focused the sound much more on the strange sounds of the springs themselves, which we then tightened to amplify the signal. This revealed the coups de grace: when the drum heads are struck with a mallet in a heartbeat pattern, the heartbeat flows to the back wall and out the drums again, creating an analogue looping system. The intention is to recreate the sound of hearing your own heartbeat thudding in your ears, as you imagine the worst. The secondary intention is to allow the truly horrible parts of the story be truly horrible, by preparing our subconscious with unsettling sounds that have no preconceived identity. We don’t want you to be listening to the ‘music’ here – we want the sounds to unsettle the psychological anticipation of Edward’s grisly demise.

Once the act occur, there is no need, or room, for any more music in its final pages. The stage stays mostly in darkness, the characters have their comeuppance, and silence seems the only appropriate ending. We are still processing the horror, and the tragedy, and after two hours of steady building to this moment, it feels right to go out with these solo odd springs.

Other instruments used in the show include the tagleharpa, a medieval bowed three-string harp made for the Globe by a Russian instrument maker in Karelia. This undergirds the ancient character of Old Spencer and provides a bit of the dark ages as an important colour for the older generation of this world. Paul Johnson also plays several ethnic flutes:

Kaval -  a Bulgarian wooden flute

Tambin -  the national instrument of the West African Fula

Bansuri -  a common North Indian flute

Bombard -  a loud double-reed member of the shawm family used to play Breton music

Portuguese and English bagpipes

Occasionally Paul plays the bagpipes against Sarah Homer’s soprano saxophone – an entirely modern instrument but ones whose timbre, when mixed with the pipes, creates the sensation of two fanfaring trumpets.

Finally, the Nyatiti, the lyre from Kenya, makes a few important solo appearances. This instrument means ‘daughter-in-law’, and it is the female counterpart to the maleness of the West African kora. The two harps provide contrasting emotional colours – the kora in act 1 when love is free, and the Nyatiti in the second half when it is not.

The ambitious nature of this score is testament to the dozens of shows played at the Globe by these four incredible musicians; indeed, the score has been composed for their unique multi-instrumentalism. There is no other person in London who could double on kora and cello than Tunde Jegede, nor any other player than Music Director Rob Millett who plays the dulcimer at an expert level, yet can learn how to work magic from something so new as a steel cello. Paul Johnson and Sarah Homer each in turn provide similarly original contributions that speak to their true uniqueness as players.

The overarching goal here was for the Globe to do what it does best – be inventive, embrace the parameters of acoustic music, and lean heavily on the unique experience of its core artists. I remain a student of period music at the Globe, but only in service of bringing period sounds together with improvisation, new instruments, living composers, and surprising orchestrations.

In collaborating in this way, we attempt to fabricate an entirely unique sound world that can only define the world of this play, here, right now.

Edward II is in the Sam Wanamaker Playhouse until 20 April. 

Musical instrument photography by Hannah Yates  Edward II production photography by Marc Brenner 

[bewitchingkitchen]

I'VE GOT THE BLUES

Tunde’s Glamorous Blue Cookies, that is… Originally she made them in green, I decided to change a bit and make a different color, but keeping the designs unchanged. Tunde’s creations are always full of details and often rely on fine lines to shine, so there is no way to sugar-coat the pill, they can be challenging. Some of my lines don’t fall smoothly, the curved shapes end up with some slightly…

[akinbotundejoseph]

#Strives to Earnest Expectation of Creation,prudent Treasure's of prayer's to strengthen praise's of sacrifice,Breach not ordinances of Holiness to Escaped promising Rain that Never fall,But truncates future Bliss.Let's your all speak Greatness of sonship"AKINBO TUNDE JOSEPH"!!! https://www.instagram.com/p/CgUF3iiIxZ6/?igshid=NGJjMDIxMWI=

[dozenhost]

APC Chieftain Oladunjoye Hails Abiodun As Ogun Clocks 46 – Predicts Brighter Future

APC Chieftain Oladunjoye Hails Abiodun As Ogun Clocks 46 – Predicts Brighter Future

A chieftain of the All Progressives Congress (APC) in Ogun State, Tunde Oladunjoye, has felicitated with Governor Dapo Abiodun and the people of the state on the 46th anniversary of the creation of the gateway state. Oladunjoye, who is the Board Chairman of Ogun State Television (OGTV) described the state as “one of the most endowed, if not the most endowed state in Nigeria in terms of human…

[indefianceofthecreator]

Storytelling as Creation

Naomi Alderman’s The Power is framed by a series of letters passed between a man named Neil and his mentor, Naomi. Neil is the writer of the story that forms the ‘book-within-the-book’ -- this story is, as Neil reveals in his very first letter, an uncovered history that calls into question the matriarchal society he and Naomi are living within. He asserts that, contrary to their society’s historical and religious texts, there was once a world that (like our own) was dominated by a patriarchy until women discovered their powers. In writing this book, Neil calls into question the validity of his society’s accepted history -- a history that supports, above all else, the inherent superiority of women. This ‘history,’ as Neil writes, has apparently been actively asserted through -- among other things -- physical destruction of artifacts, among them, “statues and carvings, so many obliterated marking stones,” that contradict the accepted story of history (377). He goes on to remark, “if they hadn’t been destroyed, imagine how many male soldiers there’d be… The way we think about our past informs what we think is possible today” (377). As Neil says, our view of society and its structures and limitations is based on our history, the story of what came before us; the power to tell this story is the power to dictate those structures and limitations.

Over the course of the novel, Alderman explores this idea through the stories of several different characters. As Tunde, a journalist, covers his first protests, he recognizes the inherent power of controlling the narrative, “You do what you like, he thinks to himself, but I’m the one who’s going to turn it into something. I’ll be the one to tell the story” (60). By telling the story, Tunde comes to actually feel ownership over the events he covers, they become “his war, his revolution, his history” (61). He knows that, as a journalist, the record of history is his to create, and that gives him immense power. When, later in the novel, he is presumed dead and a woman journalist publishes his work under her name, he loses that power -- he is no longer the storyteller.

Allie, also known as Mother Eve, does similarly when she begins teaching her new religion, in which women are created above men. When she and Roxy first teach this religion to the other girls at the convent, they find “Scripture that works for them, rewriting the bits that don’t” (115). In doing so, they create a story and a framework for spiritual belief that works for their ends. In response to questions about Jesus’s teachings, Mother Eve declares, “‘So I teach a new thing. This power has been given to us to lay straight our crooked thinking’” (89). By manipulating the religious stories that form people’s ideas of purpose, meaning, and existence, Mother Eve is able to manipulate people’s thoughts. Ultimately, in The Power, Alderman makes clear the power inherent in controlling the story, and how -- beyond the power of inflicting physical harm -- it can manipulate the very foundations of what we believe to be true.

- Helen, after I finished the book :)

[tundenny]

A lot of people might be wondering about this brand name called Tundenny like what is the meaning of it, truly, Tundenny is a brand name and also known as a nickname created by the owner who is known as Sulaimon Babatunde, Tundenny is not just a brand or nickname, it is known in Yoruba Language as Tunde Nii meanwhile this meaning in English Language is known as it is Tunde/It is me. According to the creation of this so called name Tundenny if you really look deep into it you can always see that part of Sulaimon Babatunde name is included to it, this part of his name is Tunde while the nny is added to it to become a brand name, this nny was forge out from Yoruba Language which the English meaning is Me, this same Tundenny also associates with Sulaimon Babatunde organization name which is known as Tundenny Graphic Suite, Sulaimon Babatunde wanted to be sure that his own Brand Name and Organization name are almost merge together so that whenever people make research the both entity will automatically Boost out in Google Search Result. (at Lagos State) https://www.instagram.com/p/CHle8N0pKKr/?igshid=3l43y4ty858a

[goldmynetv]

Senator Osinowo Did Not Inflict Hon Tunde Braimoh With Covid-19- Family Insists The family and political associates of the late Senator representing Lagos East Senatorial District in the Senate, Senator Sikiru Adebayo Osinowo, have debunked comments credited to a member of the Lagos State House of Assembly on the cause of the death of Hon Olatunde Braimoh. Honourable Hakeem Sokunle, Chairman of the House Committee on Health, had told the media that the late Braimoh died as a result of complications resulting from Covid-19 because he had contacts with the Late Senator Osinowo. But reacting through the Media Office of the late Senator, family members and associates described the statement as reckless saying linking the death of the lawmamer to their patriach is uncalled for. “We are mortals and everybody has his or her appointed time. For our father and brother, their time has come, we can’t query Almighty Allah. So it’s shocking to say the late Braimoh contracted Covid-19 from our dear father,” the statement said. According to the statement from Osinowo’s Media Office, many family members and associates have closer contact with the late Senator in his last moments and have no symptoms of the disease. “Allah is the Creator of every being on earth and He takes the life of His creations anytime He wishes to do so. It is His wish that Senator Osinowo should die on Monday, 15 June, 2020 and it is equally His wish that Hon Braimoh should die on Friday, 7 July, 2020. We cannot question Him,” the statement concluded. https://www.instagram.com/p/CCd4leBl08o/?igshid=yhh1d6mitaei