#adult campion

[gleepolls]

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[uncharismatic-fauna]

Surprising Black Swans

A popular ornamental waterbird in Europe and North America, the black swan (Cygnus atratus) is a species of swan endemic to Australia and New Zealand. In both their native and introduced ranges they can be found near bodies of fresh or salt water, especially lakes and wetlands with plenty of aquatic vegetation. The species is highly nomadic, and migrate based on yearly rainfall patterns.

Black swans are the second largest swan species, with a maximum weight of 9 kg (19.8 lbs) and a wingspan of 2 m (6.6 ft). Despite being smaller, black swans have the longest neck of any swan. Males, also known as cobs, are slight larger than females-- aka pens. As their name suggests, C. atratus has black plumage, although the flight feathers on their wings are white. The beak is a bright red with a white stripe, thought to be indication of an individuals health and sexual maturity.

Like all swans, the black swan mates for life. In addition to their high fidelity rates, C. atratus is also unique for its high rates of homosexual couples; about 25% of pairings are between individuals of the same sex (primarily males). These mates are known to steal eggs from other nests or form temporary ‘throuples’ with a member of the opposite sex, and some research has shown that homosexual couples are more than twice as likely to successfully raise their young as heterosexual couples.

The mating season for black swans occurs from February to September. While pairs are generally solitary, groups will nest in the same area to increase the chances of finding a mate and decrease the risk of predation. Pairs form when one an individual approaches another and initiates a ritual known as the Triumph Ceremony, in which the individual extends their wings and calls out. If the mate is receptive, they will repeat the gesture, and the pair will then go through a synchronous dance to solidify their pairing. This ceremony is repeated multiple times throughout each breeding season to strengthen the pair’s bond and affirm that between parent and chick.

Females lay 5 or 6 eggs in a clutch, and will alternate incubating them with her partner for 35 to 48 days. After hatching, the young- also known as cygnets- are fairly precocial but will stay in or near the nest for 2 to 3 weeks. It takes up to 6 months for them to completely lose their grey down and grow their adult plumage, though they remain with their family units for up to 9 months. Once they have fully fledged, juveniles join groups of other cygnets for 1-2 years, at which point they become sexually mature.

Black swans can present an intimidating threat to potential predators, so there are few animals that attack fully grown adults. However, eggs and young cygnets can be a target for ravens, birds of prey, and rodents. C. atratus themselves are herbivores and feed primarily on aquatic vegetation.

Conservation status: the IUCN has classified the black swan as Least Concern, and their native populations are stable.

If you like what I do, consider leaving a tip or buying me a ko-fi! 

Photos

Damian Shaw

Richard Tommy Campion

Susan Marley via iNaturalist

[pleasereadmeok]

 “I thought, I should give that go! Why don’t I give it a crack?”

A very young Matthew Goode - who had recently decided that he might as well try being an actor!

@asgoodeasgold 's post today reminded me about this. From Matthew's biography page on matthew-goode.net. [I wrote this a LOOOOOONG time ago so don't judge 😂]

He does remember ‘performing’ from an early age – “Probably being the youngest and fighting for attention is something to do with it.”  “I’d always been someone who sang in the choir. I was head chorister of my choir at my prep school and we did school plays and bits and bobs.”  [Backstage]

Jenny Goode (Matthew's mum) was also an amateur theatre director –  “She did have a huge passion for the theatre, though, and ran The Campion Players, the local amateur dramatics group. She involved me from a young age. I always thought that actors were an incredibly fun bunch and smart with it.” [Red] Matthew has been on stage since a young age.  He remembers playing a singing rodent in ‘The Wind and the Willows’ when he was about 6. Matthew’s mum says – “From an early age in junior school productions, I saw that he had considerable presence on stage and found learning both the script and the music very easy. At that age of course children show a wide area of abilities, he particularly loved all forms of sport and had a good ear for singing and playing a musical instrument.”  [Devon live]

He says that his mum was an orphan and joked that – “She genuinely at one point thought she was Laurence Olivier’s love child. She had an incredible passion for it.”  [Herald Scotland]

[Matthew with his mum Jenny at the Brideshead Revisited premiere / Richard Young]

Matthew enjoyed being around theatres, amateur actors and being out until late in a “Brilliant adult fantasy word.” [Clocktower Radio].  However he never considered acting as a career and as he got older he got shy about performing because he tended to be a blusher.   He admits that his first kiss was on stage – “Michelle Halford was her name – she was a little minx.” “We had a kiss on stage.  It wasn’t particularly enjoyable but it was my first.”[New York Times Screen Test interview]  Unfortunately he gave up acting in his teens because he went red on stage, [Guardian] and he was more interested in sport, “so it sort of went on the back burner a bit” [Backstage]. Matthew didn’t take up acting again until he was in Sixth Form (about 17). Meanwhile Matthew excelled in sport.  Matthew Rhys asked him “How big a part does sport play in your life?” Goode: “It used to play a phenomenal part in my life, because I used to play a lot of county sport, a lot of sport for my school. I love team sports”.  [Interview Magazine].  He played hockey and cricket representing his County/school but golf became his main sporting passion. Matthew started playing crazy golf with his brother James, then progressed to ‘pitch and putt’ and on to the full size version when he was about 14.  His parents loaned him some money to pay for club fees. “I was the dream child for the holidays.  My parents would drop me off [at the golf club] first thing and pick me up when the light was going.” [Robb Report]  He reached a high level of skill at an early age with a handicap of 4 but that has dropped to a 7 today. [Discussion with Greg Kinnear at Dunhill Links Tournament]. Matthew talks about his relationship with his late father very fondly – sadly he died early in Matthew’s career.  He refers to how his father taught him about wine and Scottish whisky.  Matthew’s father also taught him to fish and he talked about this in an interview with his friend Matthew Rhys. RHYS: When did you first start fishing? GOODE: I will never forget it. I used to go to Wales for canal holidays. When I first started fishing, I was on the Brecon Canal in Wales. We pulled up in our canal boat and Dad got out these two maroon, telescopic fishing rods, and put a reel on. RHYS: Was your father a fisherman? GOODE: Yes, he loved it. In fact we used the tackle he used as a boy. It’s no longer with us. He put a couple of maggots on, cast it out, and handed it over to me. I would’ve been eight or nine. Then, about five second later I saw the thing just drift away and I had got one, and it was a beautiful roach—a perfect little roach, silver, about three-quarters of a pound. RHYS: What is it about fishing? GOODE: It’s quite exciting—it’s like acting, some bits are quite exciting and then there’s moments where you’re not doing anything or nothing is happening.  [Interview Magazine]

Education Matthew’s parents worked hard to pay for himself and James to have a private education.  James boarded at his school while Matthew was a day boy at Exeter School, an independent school in the city of Exeter in Devon.

[DevonLive]

Matthew studied A levels including Geography, Drama/Theatre studies and English.  He was considering a career in Archaeology. “For a time I wanted to do archeology, also because my father was a geologist.”[Style Magazine Italia] but his drama teacher, Stephanie Tratmore, had spotted his talent and encouraged him to take up acting again.

[Matthew’s drama teacher Stephanie Tratmore/Crupeck – Exeter School]

Stephanie was putting on a production of Sean O’Casey’s ‘The Plough and the Stars’ and persuaded Matthew to audition for the part of socialist ‘The Young Covey.’  He was reluctant because he hadn’t been on stage for a few years and he was still a blusher. Stephanie got her way and he enjoyed playing the part.   “it wasn’t until I was 17 that I really caught the acting bug,” [Herald Scotland] During this time Matthew was in many Exeter city productions including ‘Richard III’ (as the ambitious Buckingham) and ‘Waiting For Godot’. [Devon Live]  He recalls being in productions at the Northcott Theatre and Barnfield Theatre in Exeter.

[Northcott Theatre Exeter]

[Barnfield Theatre – Exeter]

Stephanie and Andrzej Chrupek taught Matthew drama at Exeter School.  He got top marks in GCSE drama and A-Level theatre studies but worked hard at his craft. Mrs Chrupek said: “He had amazing concentration when he was on the stage and an intensity. He was also very intuitive and had incredible stage presence.”  Mr Chrupek added: “He had a very charming smile, which is obviously his trademark. He hasn’t changed a lot. He was great, great fun to be around and he had charisma on the stage. Your eye was drawn to him when he acted.”  [Devon Live] His mum proudly says – “Towards the end of senior school, I began to see someone who could sustain and create a character and make it his own and I increasingly began to think that a career as an actor was a real possibility.” [Devon Live]

However Matthew decided to go to University rather than go straight to Drama School. “By the time I got to 18, I had to get a degree to make my parents happy.” [Backstage].  Matthew was also considering a career in sport and briefly considered Archaeology [Style Italia] before he finally decided to study Drama at University because he didn’t think he was good at anything else. There was a lot of competition to do drama as a degree course and so he needed high grades. He remembers that most drama courses required an ‘A’ and 2 ‘B’s at A level.  The University of Birmingham offered him a place if he got 3 B’s so he opted for their course.  He actually got 2 ‘A’s and a ‘C’ at A level so he was accepted to study a BA in Drama and Theatre Arts – graduating in 1998. [Clocktower Radio Interview] Matthew remembered some good times studying at Birmingham in this Birmingham Mail interview:- ‘The 31 year-old star has fond memories of the city where he attended Birmingham University to study drama. And as well as treading the boards in the city’s theatres he managed to hit a few of the dartboards in its pubs, too. “It was bostin’,” he laughs. “I had a great time. I used to live on balti. There were a lot of curry houses that used to open late that I remember fondly. I wasn’t thinking about being an actor but I enjoyed doing drama and it had a very good course.  I really came out of my shell and I met the people who are still closest to me there.  We were like cock of the walk and thought we ran the town, or we thought we did as far as the drama course went. We were members of the summer darts league at The Brook Pub in Selly Oak, which got in the way of a lot of work.” [Birmingham Mail]

[The Brook Pub in Selly Oak – now demolished from Our Brum]

[Screenshot from ‘Silent Night’.]

Towards the end of his degree Matthew still wasn’t totally set on a career in acting but he says that his friend Gary got a place at Drama School and “I knew I was a better actor than him [laughs] so I thought I could do it too!”  “I thought, I should give that go! Why don’t I give it a crack?” [Backstage]  He says – “If you ask my teachers and my mother they would say ‘We always knew’ – but I didn’t!”  [Clocktower radio interview] Matthew applied for a loan to attend drama school and got a place at London’s Webber Douglas Academy of Dramatic Art.  I went up to London to audition and managed to get the postgrad course there.”

By the way - this is Gary - we have a lot to thank him for!

Goode fans owe this guy EVERYTHING!!!!   He is Gary Crystal - Matthew Goode’s mate from way back.  Matthew wasn’t heading for a career in acting until this guy applied for Drama school and got in.  

“I knew I was a better actor than him [laughs] so I thought I could do it too!”  “I thought, I should give that go! Why don’t I give it a crack?” [Backstage]

Gary is now a director/editor/writer.  And Matthew Goode?  Well whatever happened to him?  

[📷- IMDb]

[pendragon1400]

BG3 Disney Favorites

Modern AU which Disney movies do BG3 campions like. I have no explanations for this lol.

Gale: I can't tell if Gale is more of a Sword in the Stone enjoyer or Atlantis. I also can't tell if it's bc Gale gives off Milo Thatch vibes.

Astarion: I feel like Astarion loves the Hunchback of Notre Dame or Tangled.

Karlach: Emperor's New Grove/Lilo and Stich

Wyll: Grew up on like the classic Disney movies, and has always adored the true love aspect, but as an adult his favorite is Hercules.

Shadowheart: Mulan

Lae'zel: At first doesn't have a favorite, but than likes Treasure Planet.

Halsin: Jungle Book. (it's bear necessities that is the entire reason he likes it).

[nellasbookplanet]

Book recs: post- and transhumanism

AKA: cyborgs, uploaded minds, and humans otherwise altered by technology.

I have previously written a rec list for books featuring robots and artificial intelligences, but ended up excluding various titles for not quite fitting the theme. Hence, this list, which focuses more on the step from human into something else, commonly with themes of what it means to be human.

Previous book rec posts:

Really cool fantasy worldbuilding, really cool sci-fi worldbuilding, dark sapphic romances, mermaid books, vampire books, portal fantasies, robots and artificial intelligences

For more details on the books, continue under the readmore. Titles marked with an * are my personal favorites. And as always, feel free to share your own recs in the notes!

The Quantum Thief by Hannu Rajaniemi*

Place this one in the category of ‘accept that you’re gonna be confused as hell and just let the world wash over you’. The singularity has come and gone and humans can now easily upload, download and copy themselves into new bodies, not all of them human and not always willingly. Consciousnesses and time has become something close to currency. Follows a murder mystery on Mars.

The Scorpion Rules (Prisoners of Peace duology) by Erin Bow*

Young Adult. Featuring a dystopian future in which an AI forcibly keeps world peace by holding the children of world leaders hostage. If anyone attempts to start a war, their child will be executed. Greta is one of these children, kept in a school with others like her. But things start to change one day when a new, less obedient hostage arrives. A unique, slowburn take on the YA dystopian craze, also featuring a bisexual love triangle.

The Adoration of Jenna Fox (Jenna Fox Chronicles) by Mary E. Pearson

Young Adult set in a near future. Jenna wakes from a year long coma after an accident, and something is wrong. Is this really her life? Are her memories her own? Exactly what happened a year ago, and what did her parents do to get her back?

Children of Time by Adrian Tchaikovsky*

Millenia and generation spanning scifi. After the collapse of an empire, a planet once part of a project to uplift other species to sentience is left to develop on its own, resulting not in the intelligent monkeys once intended but in sentient giant spiders. Millenia later, what remains of humanity arrives looking for a new home, only to be met by the artificial remains of the ancient woman who once led the uplift project - and she is not willing to let them on her planet.

War Girls by Tochi Onyebuchi*

In an enviromentally fraught future, the Nigerian civil war has flared back up, utilizing cybernetics and mechs to enhance its soldiers. Two sisters, by bond if not by blood, are separated and end up on differing sides of the struggle. Brutal and dark, with themes of dehumanization of soldiers through cybernetics that turn them into weapons, and the effect and trauma this has on them.

The Ship Who Sang by Anne McCaffrey

1969 classic. Features a future in which children born too weak to survive are put into and raised in mechanical bodies. Helva, one of these children, grows up to be put in charge of her own space ship, from which she works to fulfill various missions out in space, missions which she quickly comes to learn are much more dangerous than she could've imagined.

Cinder (The Lunar Chronicles) Marissa Meyer*

Young Adult fairy tale retelling. Cinder, a cyborg with a mysterious past she can't remember, lives with her stepmother and two stepsisters in New Beijing as a deadly plague ravages the world and a race of Lunar people threaten war against the entire planet. As Cinder becomes entwined with the young prince Kai, she is pulled more and more into dangerous politics that see her as less than human due to her cybernetics, yet need her to save them.

House of Suns by Alastair Reynolds

Six million years in the future, humanity has spread across the entire Milky Way galaxy. Purslane and Campion are both clones of the same woman, sent into the galaxy millions of years ago to explore along with almost a thousand clones like them. Every 200 000 years they all meet to compare memories and experiences. But this time Purslane and Campion arrive late - and discover that a secret millions of years in the making has lead to an extinction level attack against their kind. Now they must find out the truth before their line is completely wiped out. Absolutely wild world-building, featuring various kinds of posthumans (among which the clones are, shockingly, the most similar to people of our time).

Nexus (Nexus trilogy) by Ramez Naam

In a near future, a nano-drug is developed that can link human minds together, having the potential to change humanity forever. As different factions fight over it - some wanting to control it, other to eradicate it, and many to exploit it - a scientist who's caught improving the drug is thrust into a world of danger and international espionage.

Skinned (Cold Awakening trilogy) by Robin Wasserman

Young Adult. Rich girl Lia Kahn had the perfect life - until she died and was brought back by having her memories downloaded into a mechanical body. Despite having her life back, Lia also finds her life changed, as people fear her and treat her differently. Worse; she herself isn't sure if she's still really Lia, or whether she's even a person at all anymore.

Blindsight (Firefall duology)by Peter Watts*

Vampires and aliens and questions of the nature of consciousnesses, oh my. A ship is sent to investigate the sudden appearance of an alien vessel at the edge of the solar system, but the crew, a group of various level of transhumanism, isn't prepared for the horrors awaiting them. No, seriously, this book will fuck you up, highly recommend if you’re okay with a lot of techno babble and existential horror.

Mortal Enginges (Mortal Engines quartet) by Philip Reeve*

Young Adult. On a barely survivable Earth humanity has taken to living on great wandering cities, hunting each other across the plains for resources. Tom lives in London, but when he intervenes to stop a murder, he falls off the city alongside a strange and hostile girl on the hunt for revenge. Together they set out to catch up to the city, but are chased by a murderous machine like being set on stopping them. Trans/posthumanism isn't the main theme of the book, but it continues to grow in importance throughout the series.

Bonus AKA I haven't read these yet but they seem really cool

Meru by S.B. Divya

A human and a posthuman, called an alloy, venture together into space to explore a newly discovered, earth-like planet, testing the future of the relationship between their peoples on the way.

WE by John Dickinson

Humanity has become a hive mind, constantly connected. When Paul is sent on a one-way mission to a frozen moon, he must disconnect from the rest of humanity, for the first time seeing what it has truly become.

Accelerando by Charles Stross

In a time in which the artificial and the posthuman is more and more outpacing the human, something strange enters the solar system and starts dismantling its planets.

Honorary mentions AKA these didn't really work for me but maybe you guys will like them: We Are Legion (We Are Bob) by Dennis E. Taylor, Down and Out in the Magic Kingdom by Cory Doctorow

[memelordotherblog]

Do you have any idea for Petra and Simon's future as adults?

I feel the most ideal future without any sort of crime is where Simon is florists and Petra is baseball campion.

But I will admit it interesting thinking about them helping with the old "family business. " when their older. Petra loving the attention of being daughter of three infamous criminals and Simon wanting to do whatever it takes to protect his sister from getting in over her head.

[gacmediadaily]

Candace Cameron Bure has nothing but pride for her Full House roots!

On Friday, the 47-year-old actress shared a throwback picture of her wearing a wedding dress, which she later wore on the beloved sitcom's sequel series, Fuller House. In the post, Bure celebrated 36 years since taking on the iconic role of D.J. Tanner.

"That Friday feeling 🙌🏼— flashback to finding the DJ wedding dress ✨," she captioned the Instagram pic, which showcased her throwing her arms up in delight and smiling. "Today also marks 36 years since becoming DJ Tanner."

"What a ride," she added. "So blessed!"

As fans may recall, D.J. married her high school sweetheart Steve Hale (portrayed by Scott Weinger) during a memorable triple wedding in the Fuller House series finale.

Prior to Steve, D.J. was married to firefighter Tommy Fuller Sr. (Dan Thiel), who later died on duty. They shared three sons: Jackson (Michael Campion), Max (Elias Harger) and Tommy Jr. (played by twins Dashiell and Fox Messitt).

Full House ran on ABC from Sept. 1987 to May 1995, spanning for a total of eight seasons. Aside from Bure and Weinger, it also starred John Stamos, Bob Saget, Dave Coulier, Jodie Sweetin, Mary-Kate and Ashley Olsen, Lori Loughlin and Andrea Barber.

Fuller House, a sequel following an adult D.J. as a widowed mother, premiered on Netflix in February 2016. The series ran for five seasons, concluding in June 2020. Numerous original cast members reprised their roles, and new actors also came in to play the roles of D.J. and Kimmy (Barber)'s kids as well as D.J., Stephanie (Sweetin) and Kimmy's love interests.

At '90s Con in Tampa last weekend, Bure reunited with her Full House costars Barber, Coulier and Sweetin, as well as series creator Jeff Franklin. Ahead of the event, she shared several sweet throwback photos of her and Weinger, 47, on Instagram.

“90s Con tickets are almost sold out!!...” the actress wrote in the Instagram caption. “But if you grab a ticket, you’ll be sending these two there #90scon #djandsteveforever @thats4ent.”

[bismuthwisdom]

Umineko no naku koro ni Shared VAs - Stakes

Others:

Main Three

Cousins

Adult Siblings

Spouses

Servants

'98 Squad

Heavenly Court

Golden Land

Lucifer - Yuka Saitou

Chizuru Akaba (Seitokai no Ichizon)

Ena Seishuuin (Campione)

Cotton (One piece)

Tae Takemi (Persona)

Subaru Nagayoshi (Idolmaster)

Tamamo Sakuraba (Daitoshokan no Hitsujikai)

Lian Lu (Gin no Guardian)

Misalie (Gate)

Satan - Yoko Hikasa

Diana Cavendish (Little Witch Academia)

Rias Gremory (Highschool DxD)

Shino Amakusa (Seitokai Yakuindomo)

Hina Tachibana (Domestic Girlfriend)

Qiang Lei (Kingdom)

You Asakura (Shaman King)

Mio Akiyama (K-on)

Kyouko Kirigiri (Danganronpa)

Leviathan - Madoka Yonezawa

Ui Hirasawa (K-on)

Tsugumi Shirasaki (Daitoshokan no Hitsujikai)

Rika Ichinose (Ao no Kanata no Four Rhythm)

Lashara Aasu XXVIII (Isekai no Seikishi Monogatari)

Setsuna Ogiso (White Album)

Olga-Marie Arsimilat Animusphere (Fate)

Yaya Tushan (Huyao Xiao)

Izumi Akazawa (Another)

Belphegor - Seiko Yoshida

Zest (Shinmai Maou no Testament)

Misaki (Toki wa meguru: Tokyo Station)

Demon King (Level E)

Kyousuke Kamijou (Madoka Magica)

Rika (Amnesia)

Sanae Mizuno (Another)

Kayo (Manyuu Hikenchou)

Ruka (Naruto)

Beelzebub - Yuri Yamaoka

Ai Shindou (Kyoukai no Kanata)

Erika Yano (Shirobako)

Fumi Hoshiya (Ore no yubi de Midarero)

Chocolat (Yumeiro Pattissiere)

Choi Mochimazzi (Tamako Market)

Kanon Otosaki (Tribe Cool Crew)

Yuuko Yoshikawa (Hibike Euphonium)

Admiral Hipper (Azur Lane)

Asmodeus - Aki Toyosaki

Kofuku (Noragami)

Medaka Kurokami (Medaka Box)

Yunyun (Konosuba)

Momo Belia Deviluke (To love ru)

Altair (Re creators)

Yui Hirasawa (K-on)

Isuzu Souma (Fruits Basket)

Aoi Kunieda (Beelzebub)

[dansnaturepictures]

08/05/2023-Pennington 

Pictures taken here in this photoset are of: 1 and 2. Some of a glowing group of Oystercatchers we saw well beside Lower Pennington Lane. 3, 9 and 10. Views on a quite blustery day. 4. Avocet, we got brilliant views of these iconic and eyecatching birds which was great today. 5. Mushrooms, possible sulphur tuft. 6. Another New Forest Pony foal on the way home. 7. A record shot of the stunning Long-billed Dowitcher on fishtail lagoon which I was thrilled to spot, a rustic, quite prehistoric looking and beautiful bird which I was amazed to see picking about behind grass on the lagoon and on grass at one point. This species was already one of my birds of the year having seen one in Norfolk in February the Cley bird and it felt fantastic to add a local one to that and was great to contrast with this one being in summer plumage whereas the Cley one we saw in winter plumage. Another brilliant birding moment this long weekend. It was good to share the sighting with a lady who we had a good chat with as we walked around butts and Pennington lagoons with her. 8. An Oak Eggar moth caterpillar, the first I’d ever seen which was a delight to find, I saw the adult last summer so this was nice to observe. 

Other highlights included a spring time quadruple perhaps for the first time this year seeing Swifts including epic views as they flew incredibly low, Swallows, House Martins and gorgeous Sand Martins. It was also great to see and hear Whitethroat well again and see Shoveler, Gadwall seen very well I’m on a good run for them, Shelduck, Eiders, Tufted Ducks, ducklings definitely some Mallard and possibly some of another species, pretty dainty Dunlins, Great Black-backed Gulls, top views of enigmatic Ravens including I believe one seen off by territorial Avocets over the lagoon and Buzzard on a post. It was good to hear Reed Warbler and see my welcome first sea campion of the year, daffodils, thrift, vetch and seas of daisy and buttercup. Another amazing wild long weekend. 

[backstage-bucknell]

Bucknell Theatre Newsletter: Fall Break Edition

By: Katie Schadler

One Hen, Two Ducks: My Experience in the First Year Show

By: Abby Campion

At the start of each rehearsal for the first-year show University: A New Generation, our fearless student director Alice Jackins (‘25) would have us cast members recite vocal exercises for the purpose of promoting pronunciation, diction, and projection. “One hen, two ducks…” the first would start. Between this exercise and the “All I want is a proper cup of coffee” tongue twister, the cast grew increasingly hyped for warm-ups, making each time we did the exercise more performative than the last. We eventually memorized both “One hen” and “Coffee,” so the whole ordeal quickly became a silly ritual that brought the whole cast together, excitedly watching dramatic renditions of the phrase “eight brass monkeys from the ancient sacred crypts of Egypt” in “One hen.” This ritual combined with that of going around in a circle and saying the best part of our day facilitated a warm and welcoming environment. An environment where we were able to be comfortable making art.

Other than a handful of full cast rehearsals for the show’s prebeat, rehearsals for University were quite individualized. They were limited to us and our scene partner(s), so making art with exclusively one other person and Alice felt intimate, yet freeing. This took some getting used to, as myself and other cast members have typically participated in ensemble-heavy shows in previous theatre experience. However, venturing outside of our comfort zones in this manner allowed us to form genuine connections with our scene partners and set the stage for authenticity. In addition to a scene opposite a scene partner, I was assigned a monologue in the show: another first for me. I had never been on stage alone before and I was nervous to traverse the world of acting without reacting; acting by creating a scene for the audience with my words alone.

This was a process that proved difficult for me, but endlessly gratifying. Alice in her infinite grace and wisdom went through the piece with me countless times until I reached a place of ease with the lines and the scene itself. She exhibited great patience as I took breaks as needed, working to gradually get out of my own self-effacing mind and into the mind of my character. Moreover, once opening night finally arrived, I felt confident in my ability to make the scene my own, and have some fun with the choices I could make. I couldn’t have reached that point without Alice’s guidance and assurance, and I can’t wait to see what she does at Bucknell and beyond.

Getting to see the growth of my fellow cast members in the span of a mere three weeks was both impressive and rewarding. The show itself was a roller coaster of emotions. University is a complex, sometimes funny, sometimes heart-breaking, sometimes just flat-out confusing but always endearing journey into what it’s like to be a college-age adult. Many actors explored vulnerability when performing intimacy with each other, myself and my scene partner Cheatra Cheeang included. Cheatra and I, playing characters that are unlikely friends, had to perform a tango while cross-dressing and being visibly gender-ambiguous. This was another rewarding challenge for me as an artist. Other cast members who had to engage in intimacy did so with great care, and between them I saw numerous connections being made in such a short time frame. The cast itself started out the process being almost silent at the first rehearsal, and closed the last rehearsal screaming “whoosh” at the top of our lungs during a game of “Whoosh, Whoa, Zap.” I’ve been told that the first-year show, more than anything, is community-building, and this could not be more true. Establishing a support system among our immediate peers amidst the scary new college setting has already been beneficial, and we’re only a few weeks into the semester.

The actual performances on parents’ weekend were loads of fun. I got to do my favorite thing with many of my favorite people. Two evenings before opening night, we discovered that a cast member had come down with COVID, so Tessa Brizhik stepped in at the last minute for the roles of “Pink” and “Woman C.” Tessa did fabulously, especially given such little time for preparation. Her attitude brought a warm presence complete with fun pre-show games and much appreciated words of affirmation. The performances went relatively smoothly, and were positively received. Parents loved seeing their children showcased; my own parents were impressed that “their baby” was featured in a role with more than two lines. The reception in the ELC that followed the Saturday evening show hosted by Bucknell University was a nice air of closure that allowed us to debrief and socialize with friends and family. I’m sure I can speak for the cast of University: A New Generation when I express how grateful I am to have had such a positive experience with Bucknell Theatre right off the bat, and how excited I am to hopefully pursue other theatre opportunities in my time here.  

ATTENTION: LOOKING FOR USHERS!

Do you love Bucknell Theatre?

Do you want to support upcoming productions even if you’re not an actor or crew member? 

Do you want free tickets to the shows?

BECOME A BUCKNELL THEATRE USHER AND GET YOUR FREE TICKETS:)

Write to mhuthinson@bucknell.edu if you are interested!

Practicing Natural: Intimacy On Stage

By: Katie Schadler and Abby Campion

As intimacy choreographer for recently-premiered show University: A New Generation, Theatre and Dance professor Dustyn Martincich taught first-year students how to practice consent on stage in a way that prioritized efficiency, clarity, and self-advocacy. One of these practices involved the way in which intimacy scenes were taught in the first place, using desexualized language to instruct movement and focus on the mechanics of intimate scenes so that they were repeatable and thus expected. The consistency not only added structure to the story itself but built trust between the actors.

Another aspect of this training was establishing boundaries through a shared, non-judgmental language that was based on the vocabulary and practice of the organization Theatrical Intimacy Education (TIE). Offering “TIE’s” terms like “fences and gates” to suggest the degree of an actor’s bodily boundary and “button” to indicate when something in rehearsal was activating for someone fostered a space of open-communication and limited personal tensions and feelings of resentment. Because a person’s boundaries can be ever-changing, check-ins with scene partners prior to taking the stage were essential to know where or if the actor felt comfortable being touched that day, regardless of whether they voiced consent the previous day. While feelings of safety could not be guaranteed for everyone, Dustyn instead aimed to create “a brave space” in which college students were encouraged to stand in their own bodily autonomy and advocate for themselves freely without the fear of disappointing the group. 

Students were instructed to use the phrase “no, but…” in contrast to the typical theatre rule of “yes, and…” to urge the refusal of an actor’s consent but their willingness to try an alternative approach. The goal was to find the balance between satisfying the dramaturgical elements of the story while also ensuring that students’ boundaries were not accidentally violated. Through leading with the motto “Better is better,” Dustyn emphasized the reality that not everyone would ever be fully content or comfortable with the scene, but rather than striving for a perfect solution, to look for an improved one.

Finally, students learned the importance of being able to “clap out” of a scene, allowing actors to immediately come out of their characters. As actors, it can be easy to “get lost in a scene” or assume that fully immersing themselves into their craft equates to intimacy without limits. Taking measures such as high fiving with an acting partner before the scene began or running lines for intimate scenes in the presence of a stage manager or other third party ensured that the intimacy stayed in the scene, creating a clear distinction between the performance and real life as well as the character and the actor. 

While intimacy tends to be associated with notions of “chemistry between actors” or scenes appearing “effortless,” Dustyn challenged this falsehood of intimacy on stage by admitting that what looks “natural” takes practice. Having the opportunity to choreograph intimacy in the first-year show, Dustyn believes that such consent practices within theatre set actors up for success and increased their confidence in working with each other.

We asked students in the first-year show to speak on their experience, learning the importance of having a framework when approaching intimacy on stage. Students Quincy Saadeh, Alexandra Schajer, and Julia Piccolino–all participants of intimacy training in University: A New Generation–approached this framework with open-mindedness and care. Quincy referred to the training as “awkward but necessary.”

Brand new to Bucknell Theater’s consent measures, the University actors had a lot to say regarding their first go at this approach. All three students touched on previous experiences compared to those of Bucknell, Alex expressing the discomfort she felt with the violating and borderline damaging practices of her high school theater department. Emphasizing how theater should be a welcoming space where all can creatively thrive, Alex spoke of the contrast that Bucknell has presented, one that has made her feel grounded in her path to continue theater. All three sustained how these practices should be the norm in the theater-realm. “Always ask,” says Julia.

When asked about looking “natural” while also practicing consent, Quincy reaffirmed Dustyn’s claims about intimacy on stage, asserting that communicating boundaries “makes scenes more powerful and intimate.” The three students conveyed that it’s important to make choices in the moment, but that these choices should be within the realm of what everyone on stage was comfortable with. This ensured trust between all parties, furthering the scene’s spontaneity that bloomed when all actors felt at ease.

The intimacy training in University also explored nuances with matters like sexuality and individuality. Speaking as scene partners, Alex and Quincy both touched on University being their first experience with same gender-identifying intimacy. Both female-identifying, the two actors expressed how the work was challenging but “a good challenge.” Both mentioned being glad to have the experience, communicating how it’s expanded their scope of partner acting, making them better artists. A complex process but a worthwhile one, rehearsing the intimacy in their scene has made Quincy inclined to further delve into the values and desires of her character. Following the intricacies between one’s self and one’s character, Julia briefly spoke of the individual challenges she faced with her own scene. This further exemplified the importance of the attention and check-ins that both Dustyn and director Alice Jackins facilitated when teaching these practices. The intimacy training inspired by “TIE” that Bucknell Theater enacted was crucial to ensuring consent and success on stage. It made students comfortable with showing up to rehearsal the next day and enhanced the audience’s experience once the actors took the stage. 

Meet the Publicity Team

Clea Ramos ’25

Role: Design posters, stickers, props, promotional media for upcoming events

Pronouns: she/her

Major: Computer Engineering, Minor: Studio Art 

Extracurriculars: Founder/Secretary of PSA, Garman Guide for Engineering School, IEEE, APIDA

Favorite part of being on team: Working alongside people with various skill sets and creating a collective product  

What would you do if you had infinite time? 

Work on more art/coding passion projects, spend more time with friends and family

Libby Hoffman ’24

Role: Post content on Theatre Instagram/other social media platforms, create cast posters for upcoming shows 

Pronouns: she/her 

Major: Anthropology Studies and Italian Studies 

Extracurriculars: Acting in showcases, mainstages, cocktails; Executive Internship Program; Orientation Assistant; 7th St. Cafe barista; Kappa Alpha Theta

Favorite part of being on team: Brainstorming how to make BU Theatre more visible with students across years 

What would you do if you had infinite time? 

Thrifting/antiquing around world & finding cultural pieces

Aisling McGrath ’26

Role: Designs programs for upcoming shows, edits and selects theatre photos

Pronouns: she/they

Major: Accounting and Literary Studies 

Extracurriculars: Freeman DEI Alliance, GSA, orchestra, jazz band, “Bison Band”, philosophy club

Favorite part of being on team: Heightened appreciation for people backstage and excitement for upcoming performances

What would you do if you had infinite time? 

Focusing more on self-care and being themself as much as possible

Katie Schadler ’26

Role: Compiles and writes articles for the newsletter  

Pronouns: she/her

Major: Literary Studies 

Extracurriculars: Presidential Fellows, “Bisonettes Dance Team,” Club Volleyball, SAAB, Philosophy Club

Favorite part of being on team: The Hutchinsons, Joe’s chips, Mark’s bread (that he seldom brings) 

What would you do if you had infinite time? 

Write more poems, read for pleasure, play volleyball every day, fearlessly make art

Jennaye Pointer ’26

Role: Running Theatre Facebook page

Pronouns: she/her

Major: Psychology and Film & Media Studies, Minor: Theatre

Extracurriculars: Backstage Tech Crew, Stage Managing, Animal Rescue Club, Film Club, GSA, Chi Omega

Favorite part of being on team: Thinking up new post ideas and the collaborative environment 

What would you do if you had infinite time? 

Practicing ukulele and guitar, devoting more time to content creating 

Abby Campion ’27

Role: Our newest member, writing pieces for newsletter, future work in social media

Pronouns: she/her

Major: Political Science 

Extracurriculars: “Offbeats” Acapella, Mock Trial, Pre-law, acting in First-Year Show  

Favorite part of being on team: Loves sharing a space with theatre people and utilizing the newsletter as a creative outlet  

What would you do if you had infinite time? 

Take on 27 majors at Bucknell, travel with loved ones, learn how to teleport (she is chronically late to  everything)

Follow us on all social media platforms:

Facebook: Bucknell University Department of Theatre and Dance

Instagram: @bucknell.theatre

Happy Fall Break!!

Don’t forget to take care of yourself, take care of each other, & take care of art:)

[nakedcomedy]

Christina Catherine Martinez is an artist holding the tension between worlds. With a live act that blends elements of stand up, performance art, and clowning, the writer, actor, art critic and comedian comes to Littlefield for a one-night-only evening of comedy and performance. "I'm working on an hour," Martinez says, "and right now that hour is split between a slideshow lounge act about the decline of Democracy, and a standard stand up set. I'm going to perform both and have some of my favorite NYC people do sets in between."

Featuring special guests:

River L. Ramirez

Ike Ufomadu

Pierce Champion

& Jesus of Nazareth

(Cory Peter Lane)

$12 advance / $15 at the door

Christina Catherine Martinez is a writer, actor, art critic, and comedian living in Los Angeles. She’s been named a Comedian You Should Know by Vulture and a Comic to Watch by TimeOutLA, and is a recipient of the Andy Warhol Foundation Arts Writers Grant. Christina writes for The Los Angeles Times, Aperture, Artforum, Art Agenda, DOCUMENT Journal, Texte Zur Kunst, as well as for television, including The Eric Andre Show and a forthcoming animated series on Adult Swim. She devised and acted in the short-form series Two Pink Doors for FX/Hulu and is the creator and host of the live comedy talk show Aesthetical Relations and author of a book of essays, also titled Aesthetical Relations. She has performed commissions for The Los Angeles County Museum of Art, Art Toronto, REDCAT Center for the Performing Arts, The Geffen Contemporary, the Spit Take Comedy Series in Minneapolis, and at the SXSW Comedy Festival in Austin, Texas.

Projects on the horizon for Martinez include her first gallery exhibition with No Moon LA, and forthcoming documentary on her work as a comedian, produced by ITVS. "I'm always writing," Martinez says, "that's the foundation of what I do. I just finished my first screenplay and am working on my second book of essays. And of course, jokes. Or my approximation of them."

[goddamnwebcomics]

Forest Hill

It’s a slice-of-life dramedy webcomic by Tim Rodriguez (AKA Campion Lapine).

It mainly centers around the Locket family who, after the father of the family gets promoted to district manager of a grocery store chain, are forcibly relocated to a small town called Forest Hill in the Appalachian Mountain chain (The Alps). From there on, they meet new friends and other recurring cast members as they go through various misadventures in life, such as, dealing with bullies, adult negligence, poverty, child sexual abuse, child sexuality, child molestation, various assault charges, grooming, pedophilia, maybe some (though honestly very little) discussions of religion, foster care, and personal explorations and growth in a found family unit. You know, typical things people deal with in the mid-90s.

The art for this comic starts off extremely terrible looking (character proportions, head to body shapes, and facial expressions being more static and lifeless than a bad animal mascot costume), but gradually gets better. You know, minus the slightly angular heads, sometimes stiff motion, and overly anatomically correct body structures of the cast. The whole comic is mostly formatted as a newspaper comic strip, but puts enough content (dialogue) and character action for narrative purposes.

I’m very split with this comic. It’s one of the few types of webcomics out there that both commit to and succeed in the topics it decides to tackle without feeling needlessly edgy, dark, depressing for the sake of wanting to wallow in its own misery, or even chickening out when things get too heavy or complicated. It’s even one of the few webcomics that actually have a rare positive review on the Bad Webcomics Wiki (pretty much why I finally checked this out to begin with). It’s just that the comic is very exhausting to read through, and not always for what it’s intending to do. I can commend it for not shying away from the various topics I mentioned two paragraphs ago and trying to portray them as realistically as possible, but I’m not kidding that child sexual abuse and everything related to it is the entire chunk of this comic all starting from one character the author got too invested in. It’s tedious, it’s basically where most of the drama comes from and it kind of makes the comic feel like it’s only got one thing on its mind. Also, definitely didn’t need the onscreen uncensored child nudity later in the story, but at this point this whole comic can be considered a “your mileage may vary” type of deal.

I think I might need a second opinion on this. I feel the comic can be riffed but also, would it be too insensitive to riff something that doesn’t even botch at executing the darker aspects?

[mydyspraxiablog]

Well having dyspraxia is hard at time I want become of Dyspraxia foundation uk but haven't told mum yet

I doing want join friendship chalet school again but bit too late this year only because could not found cheque book and new cheque book haven't arrived want take Natwest so long.Banks there rubbish

I want get my confidence back in Cooking but confidence as gone from all bullying received I want make Gluten free cake and want make Gluten free cup cake but can't find things need and I don't want mess the kitchen now after mum clean all.

Now got faith in God and always pray 🙏 but sometimes don't who pray for so trying say Lord Pray.

I soon be going holiday to Turkey so think going missing Trefoil guild middle somewhere in Staffordshire.

I wish could adult mobie phone so could download membership from Coelic UK and downloaded Compassion uk app so could write to my sponderchild but mum won't have mobie phone because of scarm so won because Lone Trefoil Staffordshire can't get touch with me and also member 3Ua can't get touch with me and friendship of chalet school can't get trust in me.

So can't Upper Morton farm or Lower Drayton farm 🚜 that isn't fair but mum not making down because she is Campion star sign I Aris and not back down too.

It make difficult for me community with my friends up Rising Brook cafe and I miss them.

Have no Sydnee or Annabel really missing badly know gone over the Rainbow Bridge was going put there ashing in the bottom of garden but can't now because some idot broken the fence trying get locked off fail get lock off so hasn't got gate back of Park anymore and I worry if repair or get new gate is just do again " Mum because there fed up Stafford Town own falt cutting funds down noughting for children noughting for adult for learn different hidding disability because no funds in Stafford hasn't got Stafford Trefoil guild anymore just everything close wish one was open in Stafford ,Stone,Lichfield, Lapy all too far away from me.

When the frence was broken I want moving closing my sister Georgina Stafford Town is wost.

I read newspaper people not use bus pass lot why because hardly any buses There no buses on Sunday no 101 Stafford to Hanley bus no 8 bus too.Also can't use bus pass after 930am but Some driver won't let use bus pass till 10am but most buses finished 6pm so can't going out in evening because noing buses in evering who was stupid idea cut bus pass time cut the bus isn't very good serrive at movements.

I really do need going church this week 😩 but things have been bad this week but won't be beat with faith in Jesus but do need little help from brother Christian and Francis but won't help but Georgina too busy work run kids to the after schools actively so hard to come up. So going read the chalet school bookmtrying send more chalet book when stop going on Holiday to Turkey around the UK.

I wish could have another cat 🐈 or hearing dog 🐕 but won't happon can't see mum agree with it.

[cinquecolonnemagazine]

Violenza di genere e rischi online per la Generazione Z

Ragazze e ragazzi della Generazione Z vivono uno spazio ibrido tra il mondo online e offline, dove ogni vissuto è reale, inclusi dolore e sofferenza, e dove la violenza di genere è un fenomeno strutturale, pervasivo e ampiamente diffuso al di là delle differenze sociali, della provenienza geografica, a cui spesso non si sa come o non si riesce a reagire. Sono l’orientamento sessuale, l’identità di genere, la disabilità, e l’aspetto fisico a scatenare attacchi nel mondo virtuale rispetto a quello che avviene per le persone adulte. Le piattaforme social più utilizzate sono Instagram e WhatsApp. Generazione Z: l'indagine di ActionAid È quanto emerge dall’indagine Let’s APP! realizzata da ActionAid, con il supporto di Fondazione Vodafone Italia, che ha intervistato quasi 700 ragazze e ragazzi tra i 16 e i 29 anni di Milano, Carmagnola (Torino), Lecce, Palermo e Agrigento per conoscere le percezioni dei rischi e delle opportunità rese possibili dagli strumenti digitali e dai social. Un campione ampio composto per il 65% da ragazze e per il 77% da giovani con meno di 18 anni, che ha partecipato al progetto Let’s APP: un percorso di empowerment sull’uso consapevole delle tecnologie.  Let’s APP Let’s APP è stata sviluppata a partire dall’utilizzo di LV8, il learning game di Fondazione Vodafone Italia nato per coinvolgere i giovani in percorsi di formazione digitale. LV8 permette attraverso l’esperienza del videogioco di acquisire conoscenze digitali di base e di alcuni applicativi e di aumentare consapevolezza del mondo digitale e delle sue potenzialità. Con il superamento di 8 livelli di difficoltà crescente, LV8 prevede il rilascio di Open Badge, certificazioni digitali riconosciute dell’Unione Europea, da valorizzare nel proprio curriculum vitae e, al termine del gioco, è possibile accedere a test di autovalutazione, oltre che a corsi gratuiti mirati e ad altre opportunità promosse dai partner di LV8.  L’indagine: i social per crescere Per quasi 500 giovani del campione, Internet è un luogo privilegiato per trovare corsi o tutorial online e per più di 400 è un ambito di riferimento per orientarsi nelle scelte future in campo lavorativo o di studio. Online, offline o onlife? Non esiste un confine chiaro e netto tra la dimensione online e quella offline: per la Generazione Z ciò che si vive nella cornice digitale è reale, comprese le conseguenze emotive.   Quali rischi la generazione z sente?  La violenza online è ritenuta un fenomeno molto grave e preoccupante (88% delle giovani), e il dolore e la sofferenza che ne derivano sono reali. Le ragazze la percepiscono in maniera più profonda, anche perché sono maggiormente colpite da episodi di discriminazione, violenza, stalking e molestie. Spesso, però, non hanno gli strumenti per riconoscere le dinamiche di genere da cui deriva la violenza online e offline contro di loro. Nonostante l’80% dei partecipanti ritenga che la violenza online sia molto diffusa, infatti, la maggior parte dichiara di non averne fatto esperienza, né come vittima (circa 80%) né come autori (90%). Sussiste, quindi, una scarsa conoscenza e consapevolezza di cosa costituisca espressione di violenza online, specialmente se vissuta in prima persona, e si assiste ad una sorta di normalizzazione di alcune dinamiche discriminatorie tra ragazze e ragazzi.   Le (non) reazioni Se attaccati online, più di un terzo degli intervistati non reagisce (34%), mentre circa un quinto ne parla con una persona amica o blocca l’utente. La tendenza a (re)agire è decisamente più alta quando ad essere colpita è proprio una persona vicina, come se fosse più semplice agire quando non si è coinvolti direttamente. Il 67% del campione sentirebbe l’amica o l’amico in privato e il 37% aiuterebbe a controbattere all’attacco. C’è una normalizzazione delle espressioni di odio, specialmente quando sono manifestazione di una violenza strutturale come quella contro le donne e le ragazze.                   Generazione Z: contrastare la violenza online Per contrastare la normalizzazione che sottende alla violenza online, è necessario fornire strumenti per riconoscere i fenomeni violenti sulla rete. Allo stesso tempo è dirimente che le istituzioni legiferino in materia e realizzino, nell’ambito del Piano nazionale contro la violenza maschile in corso e in quelli futuri, interventi ad hoc per prevenire e contrastare questa specifica forma di violenza.   Let’s App again! È prevista la nuova edizione “Let’s App again! Tecnologie per l’empowerment economico e sociale giovanile”. Sostenuto da Fondazione Vodafone Italia, il progetto mira a formare 200 docenti di istituti superiori che accompagnino le studentesse e gli studenti nel percorso di crescita ed orientamento nel mondo dello studio e del lavoro, e a sensibilizzare e formare 600 ragazze e ragazzi sull'empowerment giovanile, promuovendo l'acquisizione consapevole di competenze specifiche e tecnologiche, contrastando la dispersione scolastica e prevenendo il fenomeno NEET.    Il progetto Let’s APP è co-finanziato dalla Fondazione Vodafone Italia e implementato da ActionAid Italia in vari territori italiani insieme all’Associazione Tierra Techo Y Trabajo (Agrigento), il Gruppo Locale ActionAid di Lecce (Lecce), Ala Milano Onlus (Milano), Bayty Baytik (Palermo) e l’Associazione Karmadonne (Carmagnola, Torino).  Foto di Gerd Altmann da Pixabay Read the full article

[birdofdawning]

I am now realising how reading about Campion and Amanda molded my adolescent ideas of what a healthy adult romantic relationship looked like, and on the whole, I think I was quite right.

[micro961]

“Se Piovesse Sarebbe Neve” è il nuovo singolo di nicolainmusica

Da venerdì 16 giugno in uscita sui principali stores digitali

“Se Piovesse Sarebbe Neve” è la canzone delle promesse mai mantenute, dei discorsi che lasciano il tempo che non si trova, del “oggi sole finalmente” quando dentro hai solo pioggia, dell’insana pratica (qui il campione mondiale) di controllare il meteo per ammazzare il tempo e di controllare il tempo per ammazzare il meteo.

“La canzone che mi ricorda che in fondo dovremmo parlare un po’ più della pioggia. Anche e soprattutto quando fa caldo.” nicolainmusica

 Storia dell’artista

 nicolainmusica è il progetto solista di Nicola Cassarino, nato ufficialmente nel 2019 in una piccola stanza di neanche 10 metri quadrati a Torino. Nicola nasce come umano a Modica, in Sicilia, nel 1999 e come chitarrista all’età di 13 anni. Cresce musicalmente con il rock e i “chitarroni”, per poi approdare a generi diversi come jazz, elettronica, neo-soul. Ma questi sono solo alcuni dei generi che influenzano le sue creazioni. Ritrovatosi solo, dopo numerose esperienze in band, nel grigio capoluogo piemontese si vede adesso impegnato in un progetto che lo coinvolge direttamente e personalmente; ed è pronto a raccontare in musica le proprie riflessioni esistenziali sul mondo, sull’uomo e sul cibo del supermercato. Nel febbraio del 2019 viene selezionato per partecipare al programma “OGRYOU – Young Adults”, promosso dalle Officine Grandi Riparazioni di Torino, che coinvolge giovani artisti nell’organizzazione di eventi culturali e in incontri con personalità importanti del mondo dell’arte, nazionali e internazionali. A settembre 2019 viene selezionato tra circa 100 artisti per partecipare al contest “Torino Sotterranea”. A ottobre dello stesso anno, inoltre, annuncia la propria partecipazione al Live Tour di “Sanremo Rock” per cui è stato scelto grazie al brano “Yogurt Greco”. Tra i locali torinesi in cui ha portato la propria musica: OffTopic, LAB, Il Maglio, OGR. Il 31 maggio 2019 esce su Sound Cloud il suo primo EP di quattro pezzi completamente autoprodotto, “BE-EP”. Il 1° novembre 2019 esce su YouTube e successivamente in tutti gli stores il singolo “Destinity”, con un testo in dialetto siciliano scritto dal rapper e amico Terra. L’8 gennaio 2021 esce “Un Sorriso”, una ballata rock con venature di malinconia. A luglio è la volta de “La Grande Depressione del ‘29”, brano che sarà accompagnato per la prima volta da un videoclip auto prodotto disponibile su YouTube. Dal 2021 sposta le proprie attività a Bologna. È qui che a febbraio 2022 rilascia il proprio ultimo singolo, “Oceano”, con un videoclip presente su YouTube, interamente ambientato all’interno di una libreria di Torino che accoglie anche delle parti animate. Il 10 febbraio 2023 pubblica “L’Uomo di Pietra”, brano già incluso nel primo EP ma adesso in una nuova versione. Seguirà l’uscita del videoclip su YouTube. “L’Uomo di Pietra” è una canzone-ricordo ma anche una canzone-ringraziamento. Parla di quello che avrei dovuto dire ma non ho mai detto, di quello che capisci quando ormai è troppo tardi. Musica che attraverso il ricordo cerca di superare i confini del tempo per lasciare un messaggio al proprio destinatario.”

 Instagram: https://www.instagram.com/nicolain_instag

Facebook: https://www.facebook.com/nicolainmusica

Spotify: https://open.spotify.com/track/1oMQucX1wd5JhHeNiE1DVh?si=c4415c24904d4924

YouTube: https://www.youtube.com/channel/UCykVRJQ1TPD2TWVUAhyuOdg