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passionate-reply · 4 years ago

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This time on Great Albums, I talk about an album that actually isn’t older than I am for a change! Enter the spooky, haunted forest of The Knife with me, and find out why it was Pitchfork’s Album of the Year in 2006! Full transcript after the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be tackling an album that’s more recent than anything I’ve done on Great Albums before, but it’s still old enough to start being considered a classic: The Knife’s Silent Shout, released in 2006, and hence seeing its fifteenth birthday in 2021. Silent Shout is a bit special to me, insofar as it was an album I loved as a teenager, back when it was still pretty new, and it was probably the first album I really fell in love with that wasn’t significantly older than I was. I was quite surprised when I eventually learned just how beloved Silent Shout is among music aficionados. This album has been lauded in critical circles, recommended as a “patrician” essential, and even considered one of the greatest electronic albums of all time! So, what’s the fuss about?

Before Silent Shout, The Knife were significantly closer to a conventional electronic pop duo. Their biggest claim to fame was the track “Heartbeats,” which scored some exposure after a cover of it was featured in a TV ad.

Music: “Heartbeats”

I like to think that “Heartbeats” contains the seeds of what’s great about Silent Shout, with its grinding synth backing and vocalist Karin Dreijer’s affecting wail. But its indie-pop brightness is something distinctively absent from their follow-up. Contrary to what might’ve been expected from an up-and-coming pop act, the sibling duo hunkered down in the studio and set about making something stranger and more exotic. On the technical front, they stripped the production down to its bare essentials, using just digital rhythms and two synthesisers to achieve everything we hear on the album. Stylistically, they took their sound into moody, atmospheric territory, imbuing it with this eerie, claustrophobic ambiance. It’s the musical equivalent of Frankenstein emerging from Mary Shelley’s mind, while the dreary “Year Without a Summer” had poisoned the world around her.

Music: “Silent Shout”

The title track here is also the opener, and introduces us to the frightful world of Silent Shout without mercy. This track is dominated by a powerful contrast of sound: low, thrumming bass, and these quick, but delicate and meandering synth arpeggios, carrying a distinctively Scandinavian flair. This bewitching synthesis of musical ideas makes sense in light of the diverse influences of the two siblings who made up The Knife: Instrumentalist Olaf Dreijer was strongly influenced by dance styles like house, trance, and progressive techno, as well as ambient electronic music, whereas vocalist Karin Dreijer was interested in guitar-based popular music, as well as the distinctive folk traditions of their native Sweden. Not unlike the Pet Shop Boys, they’ve got a wide gap between their influences, but that only serves to intensify the uniqueness of their work, which strikes listeners in a way the constituent musical parts of its heritage never could. Perhaps the most significant sonic feature of the album, though, is the extreme electronic distortions of Karin Dreijer’s voice.

Music: “One Hit”

If raw and everymannish vocals make music feel more in line with our everyday reality, the shocking and monstrous ones on *Silent Shout* render it a truly otherworldly work of art. While many people are quick to decry the “fakeness” of electronically mediated vocals--despite the fact that all art is, of course, artificial--I think Silent Shout proves, more boldly than anything else, just how uniquely powerful this musical tool can be in the right hands. Once you get past the sheer sonic force of the vocals, and their peculiar, skin-crawling timbres, you’ll find that most of the lyrical subject matter is actually painfully quotidian. “One Hit,” for instance, is told from the perspective of an all-too-normal “monster”: a domestic abuser, extracting and enforcing femininity and domestic servitude through the force of violence, dealing in “one hit, one kiss.” Sex, gender, and exploitation based upon them are among the album’s most central themes, and expressed harrowingly on tracks like “Na Na Na”:

Music: “Na Na Na”

Perhaps moreso than any other track on the album, “Na Na Na” is rendered borderline incomprehensible by vocal treatment--a trait magnified by its obviously meaningless title and chorus. But “Na Na Na” does have real lyrics, which tell the story of a life mediated by reproductive anatomy, defined by the rhythm of menstruation, coming from within, and the constant fear of sexual violence from without. It’s a tale of hidden anxiety, and experiences that go unseen and unspoken despite how common they are, making the haze of inscrutability laid over them all the more poignant. It’s clear that these issues are of high importance to Karin Dreijer, who has publicly described themself as “genderqueer,” despite both members of the band being remarkably sparing with all personal details. In another of the most striking vocal performances on the album, “We Share Our Mother’s Health,” Dreijer even gets to sing a duet with themself, and embody two distinct characters at once.

Music: “We Share Our Mother’s Health”

“We Share Our Mother’s Health” can be read in the light of gender and sex dynamics, as well, particularly if you’re willing to read its twin narrators as representations of masculinity and femininity. Personally, though, I think that’s a bit too easy, and really, a bit too cisnormative. I think the album is more interesting if we embrace the fundamental uncertainty of identity, and the transgressive queerness of it all. That said, I prefer to think of “We Share Our Mother’s Health” as a piece about capitalism--the endless toiling and scrounging for more material comfort and security, and the emptiness left behind when that proves to be no pathway towards true happiness. Besides, it’s not like sexism and the class struggle don’t feed off of each other in the end. This track’s sense of cacophony, with voices nearly battling to drown each other out, shows its more strident, aggressive, and downright angry side, which it delivers as powerfully as it does those moody atmospheres.

Silent Shout is the perfect title for this album, given its emphasis on voicing internal and private laments that go unheard--and voicing them with this terrifying sense of primal scream catharsis. While I initially wasn’t overly fond of the album art, it’s grown on me a bit now that I’ve seen it blown up to a larger size. This central disc shape is certainly evocative of a record or a CD, and its industrial-looking lattice structure, with a mottled, grimey-looking texture, helps conjure the impression of machine-age ennui.

I think a lot of the enduring appeal of Silent Shout is its sense of mystery. A lot of that mystery is deliberately crafted iconoclasm, and part of the art--while promoting the album, The Knife were photographed wearing sinister, elaborate beaked “plague doctor” masks, and their live performances from this period shrouded the band in darkness to obfuscate their appearances. They’ve refused to accept awards for their music or attend award ceremonies, including one memorable incident in which they sent costumed representatives of feminist organisation Guerrilla Girls in their stead. After Silent Shout, the duo created an opera based on Charles Darwin’s The Origin of Species in 2009, and released one more studio album in 2013: Shaking the Habitual.

Music: “A Tooth For an Eye”

Shaking the Habitual received mixed reviews, and so far, has proven to be the siblings’ final work together, though they remain active as musicians independently, with Karin Dreijer recording under the moniker “Fever Ray.” Part of the great myth of Silent Shout is the fact that nothing else in their discography really quite approaches its specific sound, and sharp precision of conceptual focus. It’s like the album is tailor made to stand perfectly alone, outside of context, perhaps even outside of genre.

For many of us, this great legend of lightning-in-a-bottle genius is infinitely alluring. But I’ve never really bought into it too thoroughly myself. I obviously adore Silent Shout, and I think it’s a Great Album. But, unlike many people who have showered it with praise, often claiming that they don’t enjoy “electronic music” overall, I’ve always been interested in a lot of heavy, angry, creepy synthesiser-based music, and so I never thought too much of listening to this and liking it. People praise Silent Shout for being unlike anything else, but I think it sounds like a lot of post-industrial dark wave, like Attrition or Chris & Cosey, and its themes of feminist rage feel like a strong parallel to that of more recent stars of noise music such as Pharmakon and Lingua Ignota. But that’s not to devalue what Silent Shout does achieve! I think it *is* a unique album...in the way that a bat is a unique animal. Much as bats are not the only creatures who fly, but stand out for having developed that ability despite their mammalian heritage, Silent Shout doesn’t actually take direct inspiration from the earlier music it sounds the most like. It ended up there through the aforementioned eldritch alchemy, combining trance and folk and Kate Bush to get something new. That’s still something worth celebrating! Silent Shout needn’t be a perfect enigma to be a stirring masterpiece of an album.

My overall top track on Silent Shout, which I bet will be a popular choice, is “Forest Families.” It’s equal parts bleak and strangely anthemic, defined by both the unease of adapting to a plainer and harsher existence, outside the bounds of society, as well as the release that music itself provides to so many of us as we seek comfort. Since music is so important to me, I’m a real sucker for music about the importance of music, and it feels particularly well-placed on an album that’s a cathartic listen in so many ways. That about wraps this one up; thank you for watching!

Music: “Forest Families”

#music #great albums #album review #album reviews #the knife #fever ray #silent shout

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aion-rsa · 4 years ago

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The Karate Kid: The Real Martial Arts History Behind the Movies

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When it comes to martial arts films, The Karate Kid was a game changer when it came out in 1984. Its lasting cultural impact was a landmark advancement for the western understanding of the martial arts. But was it a genuine representation of Karate?

Den of Geek consulted Dr. Hermann Bayer, an expert authority on Okinawan Karate and the author of the upcoming book Analysis of Genuine Karate―Misconceptions, Origin, Development, and True Purpose. Dr. Bayer remembers firsthand how The Karate Kid stimulated the Karate boom in the mid-eighties because he was a practicing Karateka then. But as a martial scholar, he’s pragmatic about his opinions.

“First and foremost, we have to bear in mind that we are talking about a movie, not about a documentation or a piece of research,” says Bayer. “This means that we need to concede that fascinating viewers by something pretty, amazing, or spectacular to look at is more important than authenticity.”

The Year That The Karate Kid Premiered

When we reflect upon the original, we must remind ourselves that the landscape of martial arts films in the west was vastly different in 1984. There just weren’t that many martial arts movies in western pop culture back then.

Bruce Lee’s Enter the Dragon came out over a decade before The Karate Kid, and tragically, Lee didn’t live to see it succeed. Many B-movies coat-tailed on Enter the Dragon‘s success, especially in the subgenres of Bruceploitation and Blaxploitation. This comprised the bulk of martial arts for western audiences. Beyond the imported niches of Hong Kong Kung Fu and Japanese samurai movies, there just weren’t that many other martial arts films available. And those were limited to showings in second- and third-run theaters or midnight “Kung Fu Theater” TV broadcasts. Consequently, the genre was considered low-brow entertainment with minimal impact on the box office.

When The Karate Kid debuted, most of today’s martial arts superstars had no Hollywood presence. Despite starring in dozens of Hong Kong films, Jackie Chan had only led one Hollywood production by that point. That was Battle Creek Brawl, made by the same filmmakers who did Enter the Dragon, however it under-performed and was deemed a failure. His other Hollywood credits in 1984 included a cameo in the sequel ensemble comedy The Cannonball Run II. With only three minor Hollywood appearances, he was still virtually unknown to the Western audience.

Chuck Norris was more prominent having starred in more than a half dozen B-action flicks by then. His 1984 entry was Missing in Action in which Jean-Claude Van Damme had an uncredited role. JCVD didn’t grab any limelight until four years after The Karate Kid, when he starred in his breakout lead role for Bloodsport. Jet Li was only on his second film that year, Kids From Shaolin, but that wasn’t shown outside of Chinatowns in the U.S. It would be another 14 years after The Karate Kid before Jet made his first Hollywood appearance as the villain in Lethal Weapon 4.

The Karate Kid changed the way martial arts films were perceived. It demonstrated that the martial arts genre could deliver wholesome family entertainment, as well as good box office returns. It ranked fifth among the highest grossing films of 1984, behind Beverly Hills Cop, Ghostbusters, Indiana Jones and the Temple of Doom, and Gremlins. The Karate Kid was the sleeper hit of the year, and it made Daniel LaRusso (Ralph Macchio) and Mr. Miyagi (Pat Morita) into crane-kicking icons.

The Limitations of the Karate Kid Trilogy

The Karate Kid was a Hollywood adaptation of a common plot device of Kung Fu movies – the training trope. Many of Jackie Chan’s late seventies films were “martial training” stories. Those narratives can be distilled down to three acts as seen in The Karate Kid: the hero suffers an injustice — like the murder of his family (or in Daniel’s case, just getting bullied) — then the hero finds a quirky master who uses obscure, almost non-nonsensical training methods, and finally the hero, armed with these hard-earned skills, takes revenge.

Jackie’s groundbreaking 1978 Snake in the Eagle’s Shadow is a perfect example of this. That was a turning point for Jackie, the launch of his unique style of comedy Kung Fu, back when he was in his physical prime. In that same year, the Kung Fu grindhouse Shaw Brothers studios delivered the timeless classic film The 36th Chamber of Shaolin, which is a perfect example of the same formula. “Martial training” stories are even retold in animated films like Mulan and Kung Fu Panda. The Karate Kid just had the ingenuity to set it at West Valley High School in San Fernando, California.

Today, Daniel-san is enjoying a revitalization through Netflix’s hit series Cobra Kai. Packed with more easter eggs that an April bunny basket, Cobra Kai has been rectifying flaws from the original films with a subtle, yet effective elegance. Despite its time-honored success, the original films fell under tremendous scrutiny from genuine Karatekas who were quick to point out inaccuracies. Frankly, for such a flagship film of the martial arts genre, the martial arts weren’t that good. The main cast of the original film had little or no martial arts background. Kreese (Martin Kove) was the only cast member who studied Karate prior to the films.

Part of this adds to the charm. Despite being the All Valley Karate Champ twice in a row, Daniel is a newbie to the art. In fact, the original trilogy happens in a little over a year. The Karate Kid takes place in 1984. The Karate Kid III, despite premiering in 1989, depicts events at the following All Valley Karate Championships. Daniel goes from zero to hero in an alarmingly short time.

How could Daniel genuinely master Karate with so little training time? Is “wax on, wax off” deck sanding and fence painting truly that effective? Of course not. If it were, the MMA cage would be dominated by car washers, carpenters, and house painters. That’s the magic of movies. Movie martial arts are no more realistic than movie car chases.

This still begs the question – how much of Miyagi’s weird training really works?

“Whole floor. Right circle, left circle.”

Traditional martial arts training can take many forms, and the spirit of Mr. Miyagi’s esoteric lessons isn’t too far off the mark. Although few practitioners today carry water up mountains like the Shaolin monks, mundane chores like cleaning and repairing are still implemented in training within a traditional Dojo. Frankly, the repetitive nature of martial arts practice is boring so any way to invigorate enthusiasm is welcome. And the efficiency of multi-tasking is always appreciated, even in modern strip mall Dojos.

A common training ritual is cleaning the floor before class. This is extremely important because most Dojos practice barefoot. Many old school Dojos require that students push damp rags across the floor with their hands in a low crouch. As anyone who has done it knows, this is harder than it looks and serves as an excellent warm-up exercise. When the Dojo needs repairs, students pitch in where they can because a good Dojo fosters community that way, and variations on training emerge within those tasks akin to Miyagi’s painting and sanding. And if there’s a Dojo fundraising carwash, you know there will be plenty of “wax on, wax off” practice.

But beyond the waxing, sanding, and painting, how real is Miyagi-Do?

“Only root Karate come from Miyagi.”

There are two styles of martial arts represented in The Karate Kid, Okinawan Karate and Korean Tang Soo Do. Kreese’s Karate is Tang Soo Do mostly because the choreographer for the original films was Grandmaster Pat E. Johnson, a leading proponent of that style. Although most likely the product of coincidence, it fit Kreese’s character perfectly. Many U.S. soldiers who served in Korea brought Tang Soo Do back to the states when they returned, just like Kreese, including Johnson and his martial comrade, Chuck Norris.

In Season 3 of Cobra Kai, Kreese’s backstory confirms what martial arts fans have always suspected – that his style of Karate is in fact, Tang Soo Do. Calling it “Karate” was not inaccurate. Few Americans know Tang Soo Do, so even today, some schools market themselves as “Korean Karate.” Tang Soo Do is a predecessor of Taekwondo. Taekwondo is the other Asian martial art in the Olympics alongside Judo, but this is soon to change.

Cobra Kai Season 4: What to Expect

By Gene Ching

Cobra Kai and the Debate Around Cultural Appropriation

By Gene Ching

Miyagi-Do is derived from a branch of Karate known as of Goju-Ryu. Writer Robert Mark Kamen had learned some Goju-Ryu which inspired him to create Mr. Miyagi. He even poached the name of the founder of Goju-Ryu, Chojun Miyagi, and adapted the history to fit the Miyagi family history for The Karate Kid II where they travel to Okinawa. Goju means “hard-soft.”

“Karate legend Miyagi Chojun gave the name ‘hard-soft’ to the style in the mid-1930s,” explains Bayer.

Bayer finds the contrast between Miyagi’s and Kreese’s philosophies more intriguing than their difference of styles. “I see the first movie of the trilogy as the most important in terms of establishing the two contrasting mindsets of Mr. Miyagi’s ‘Karate approach to life in general’ and John Kreese’s ‘No mercy’ combat-specific attitude. However, both mindsets are essential to and part of genuine Karate.” Bayer claims that fighting in genuine Karate is exclusively reserved for life-threatening situations. “Karateka never start a fight; they always end a fight―and to end a fight ‘no mercy’ is essential.”

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The All Valley Karate Championships and the Olympics

The most unrealistic story element in The Karate Kid is the All Valley Karate Championships. Beyond the controversy about whether Daniel-san’s crane kick win was illegal, Karate tournaments didn’t have the level of production value in the eighties depicted in the movie. Even today, they seldom get that elaborate. A hexagonal ring is hard to make out of the square puzzle mats typically used for local tournaments nowadays. And that spectacular tournament table backdrop was way beyond the budget of tournament promoters. However, Karate will soon be showcased on the global stage, replete with a grand pageantry far beyond what the All Valley Championships imagined.

The Tokyo Olympics will introduce Karate as one of the five new sports in 2021. This will be divided into two categories: Kata, which is a solo form recital akin to gymnastics floor routines but with kicks and punches instead of leaps and flips, and Kumite, which is sparring. Here, Dr. Bayer draws an important distinction between authentic Karate and sport. It’s a critical distinction for what plays out in The Karate Kid. “As long as any kind of rules are implemented, combat changes into some kind of game,” says Bayer. “Life-protecting fighting is pure violence, pitiless full-power action, and has no place in a sport setting.”

Here also is where Bayer sees Kreese’s villainy. A symptom of his wartime PTSD, Kreese is unable to make the distinction between self-defense and sport. “The ‘No Mercy’ combat approach in competition and sports is inexcusably misplaced and represents an ‘Americanized’ misconception of Karate, characterized by ‘winning at all costs’ in combination with the importance of fancy uniforms, of ranks, and of other attributes in an attention-seeking culture.”

According to Bayer, this is also where the authenticity of Miyagi’s contrasting Karate approach shines. “This is the exact opposite of Mr. Miyagi’s humble Karate-Do mindset, where ranks, belts, and other visible signs of competency are irrelevant. His answer to the question what belt he wears was ‘Canvas. JC Penny. Three ninety-eight. You like?’ In spite of its lethality, the purpose of authentic Karate training is not the use of violence, it is gaining self-control, especially in situations loaded with threats and aggression, and where blood pressure and adrenaline levels are off the chart.”

Despite this separation of killing art and sport, Bayer still sees the role of sport Karate as extremely important, and he can’t wait to see what happens at the Olympics. “Sports Karate canalizes aggression into fun and competition activities, and its training practices are perfect for physical education, for health and fitness purposes. Under a responsible coach, students grow mentally and are guided towards positive values―reflected in modern physical education learning outcomes and their according training designs.”

“Karate here. Karate here. Karate never here.”

Despite its martial shortcomings, The Karate Kid succeeds in revealing the heart of Karate. The hardships Daniel endures, his loyalty to his sensei, Miyagi’s humility, and the distinctions between the street fights and the championships all play out with an uncommon sincerity, and perhaps that is the secret of its longevity. Even if Miyagi-Do is entirely by Kamen’s design, it’s a clever homage to Okinawan Karate. And even in the martial world, that’s hard to find.

“Authentic Okinawan Karate’s genuine purpose was exclusively self-protection and the protection of someone’s life,” says Bayer. “This genuine Okinawan Karate is hardly to be found in today’s worldwide Karate practice.”

The Karate Kid trilogy is streaming on Netflix now.

The post The Karate Kid: The Real Martial Arts History Behind the Movies appeared first on Den of Geek.

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allensalkin · 4 years ago

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10 Things to Know and Understand Prior To Beginning A Renovation

Any remodeling job is going to be tough and requiring. There are numerous things you should know before starting any renovating job. Listed below, you will discover 10 suggestions that will help you get going on your restoration journey.

Know What You Want

As the client bring in trades/service providers to see and assess. It is necessary that much thought has been provided. Spend some time thinking of fundamental objectives. Essential should -haves, a wish list. If you are not able to equate your desires, hiring a designer, is an ideal way to help draw up your thoughts. Generate a couple of; I am certain you will find the concepts will be valuable to your bottom line. They understand the principles of building principles they can normally easily identify what, will provide you the greatest value. Regularly customers struggle with generating yet another decision maker. Nevertheless, an impartial third party is a great method to redefine, the goals while considering timelines and budget plans in conjunction with each other. Another set of fresh eyes can never injure. Professionals in business see things rather in a different way. Enjoy and check out!

Research

Yet another essential tool in remodeling work, understand the job. As well as the ability of everybody brought to the table. Frequently specialists can conserve your money and time, by limiting the huge field of choices. I can stroll into an area and immediately deem a list based upon what stands apart and is shrieking to be dealt with. Often customers tend to concentrate on the little things. It is the larger impact products that are going to make the task feel lively and as though great strides have been made. Trust me when the visual products are modified. The little items will be lost in order of top priority.

Planning

Organize your ideas. Make lists. Rank your leading priorities and pencil in your ideas and the cost connected with that product. Do a rough budget, a budget plan, not what you would like to invest. What quantity of cash you feel relatively requires the expense of that item and or job? Do you see value in altering all your light? If so what quantity of cash do you consider a suitable investment? Then do a bit of research online or browsing at shops what type of fixtures you like. Is that number achievable? If not, is this a location you want to compromise? In order of importance where did lighting fixtures rank? This is the process, which is done referring to various products within the task lifecycle experts in the industry can ballpark to a degree, having background understanding of brand name specifics, along with vast resources to pool from. Often bargain costs feature deal service. It tends to be the sacrificial lamb. Stores cannot preserve high level staff when the pricing is based upon low margins. I make sure you comprehend you can buy an item at a store and it is more costly elsewhere. However, their customer service is second to none. Is it worth it to pay more for less irritation? This is yet another concern two people frequently do not address the exact same. It returns to your relationship with cash and the worth you place on service.

Get a Quote

A book needs to be written on the art of understanding how to get a quote. All I will say here is clearly specify the scope of work to guarantee all quotes are produced equivalent. Comprehend what adjustment costs will be, are they time and materials? Re quotes? Simply a recommendation; there are constantly modifications. No matter how well planned. If you know this in advance, it will assist psychologically prepare you for the months ahead. I cannot stress enough the significance of preplanning.

Trust

Interview professionals to guarantee a fit. A relationship needs to blossom here. Everybody likes to work with individuals we like. If you can, bring in a few specialists. Do they "hear" what you are stating? Do you trust they understand your needs? Retreat from anybody who is all about cash, purchasing, and or large deposits? Believe me the check writing will quickly follow, however in the meantime a strong emphasis on preplanning will assist, the loss of funds by making haste selections and reduce the number of mistakes. The idea here has to do with method. There are great deals of time to invest. We must plan every purchase, so your money works for you. This way if you lay out some rough costs, you can see in black and white where you have an ability to bump up or scale back, in specific areas.

Set Limits

Set reasonable specifications, to ensure everyone comprehends. If you wish that trades keep the hours worked within timelines, this is something that needs to be attended to. If you do not desire subs, in on the weekends, it is especially important to point that out. What timeline have you set out for the execution of the scope of work? Is it realistic? Do you realize if labor is included and/or modifications are made this can modify the dates of execution? Is that ok with you? Could this be a stage 2 part? Lots to think of ... Strategize

It is necessary to interact how you like to work. Are you a busy professional who just desires the interaction of the bigger picture? Do you want constant updating relevant to all information? Are you a spreadsheet addict? Do you need to be within budget plan? This is where an expert must work with you and outline the job from start to finish. How this job can best be tailored to your convenience level. This will be demanding; things will fail. Embrace the fact that when one door closes, another opens. As a matter of fact, some of the best style ideas have been produced vicariously through a problem. Pandora's box- as soon as opened we are all in uncharted area accept it! This is where some support can direct you through critical, services. To wind up at the exact same fantastic result!

Contracts

Know what you are accepting. Customize as needed, beware here. A contract is meant to be a document that binds both parties accountable to what was concurred. If changes are made the contract must show this. Typically, this kind of work hurries by, a lot work and or changes is being finished rather on the fly. One piece of advice, conversations get forgotten. People make mistakes. A lot is spoken about daily. It can be difficult to bear in mind where you ended. Bear in mind the employees are most likely on six other sites. They do tend to blur together. If high interactions are expected, interact this upfront so, the business can change and or increase the staff needed to upgrade as per your demands. Numerous trades are sole owners, have trouble with the administrative side of business. If they know this is an expectation, arrangements can and will be made. Possibly it can be by means of day-to-day development contacts us to the designer, so we could send out recaps/questions and so on. Via email? You choose, be as in advance as you can with your convenience level.

Understanding the Big Picture

Are you a visual person? Is a drawing needed to visualize the concepts? If yes, this can be a valuable investment. Just like any service there are costs associated with this, however it conserves hours of miscommunication and costly errors a picture/rendering can deserve its weight in gold. Once again, only you are familiar with you, the more in advance you are re your ability or failure to see things. The clearer all can be figured out. Customizing a method is the key to success. You ought to love the procedure as much

Know When to Start

Are you sitting? Begin the "process" a year beforehand. This is simply the start, clip images out of magazines. Prepare yourself to a level of convenience and knowledge so you can begin having individuals come in to evaluate and stroll you through the steps. Understand that quality business is in need, most have a waiting list. This is not a service to be hurried through. Excellent decisions take time and tactical preparation, prior to implementation. Roughly map out a vital path on a calendar. January- considering project objectives specifies each look/feel of areas. Find an excellent designer or a couple of, book visits, to examine area and chat about base project concepts. Are seeing where I am going here. A common remodeling takes six months to strategy but can take several more months to execute based on those choices. Always much better to ignore and over provide.

Delight in the fruits of your labors. Renovation work is a tricky undertaking. You will gain from this experience. Hindsight is 20/20. Live vicariously through others who have traveled this road before you and the many that will follow later.

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architecturalrenderingtips · 5 years ago

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The Merits of Hiring an Architectural Rendering Company

We can consider architecture to be a visual art; something that represents your work even before it starts. Be it a shopping mall, a house or a residential complex, every structure requires proper planning. A lot of architectural rendering services have sprung today due to the fame 3D modeling has received. Make sure you are careful when looking for an architectural rendering company so that you hire experts who will provide services that suit your requirements. You can read more here about the merits of working with an architectural rendering company here!

The first advantage of hiring an architectural rendering company is that it is cost-effective. During the maturing state of a [project where 2D sketches and designs are used, the project will have a lot of mistakes if they are not seized in 3d form. A design that is accepted without 3D visualization and with mistakes will cost you and the client lots of dollars. You should have your ideas visualized in a 3D form as this will help spot errors that would bring about additional costs.

The other reason why you should hire these service providers is that they will design unique displays. You will be fighting with numerous competitors for project hence the need for a unique presentation. 3D rendering is essential for making your presentations distinctive and convincing. You should let your audience to coherently see your view via accurate photorealistic rendering instead of presenting your ideas via reference images and sketches.

Another benefit of hiring these service providers is that the edits are done instantly. When managing blueprints, it is quite challenging to work on mistakes as this will mead redrawing the entire design. When working with 3d interior rendering models, all you have to do is open the software, click some buttons and the changes are made instantly. This will allow you to instantly get back to your clients with any revision and improve the efficiency of the entire project.

The next benefit of hiring these experts is that they will better your overall marketing quality. It is not simple creating marketing that has topnotch content. Your marketing needs to be topnotch and mostly in an industry such as real estate. In the real estate market, aesthetic and quality are of essence- the standard of the building’s exterior for instance. Producing content with low-quality images can have an inimical effect. Look for professionals whit use ideal images and designs for marketing their clients content. Through this, your marketing will be enhanced, and this will result in high productivity. Discover more here: https://www.britannica.com/topic/architecture/Architectural-planning.

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vapormaison · 5 years ago

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2019 Best Press 3/4: カタカナ・タイトル + Kanji Title by TANUKI

While for many vaporwave vinyl is doubtless equal parts collector’s item and audio source, I don’t want to lose sight of the goal of this blog here: developing a canon of the genre for high fidelity enjoyment. That said, when I come across something remarkable or noteworthy about a particular piece of wax, even if it is not a “purely audiophile” object, I want to make mention of it.

And TANUKI’s カタカナ・タイトル + Kanji Title wax release is not only noteworthy, but contends for hi-fi consideration despite it’s status as a picture disc.

But let’s back up slightly.

Going back to the previous thesis on why we buy records, sometimes you just want to own a vinyl just because. Just because you’re a collector trying to compile a discography on wax — or, better yet, just because you truly love the album art. For me, カタカナ・タイトル + Kanji Title (Double EP) was undoubtedly all of the three “just be-causes”.

A while back, I noticed that the LP was going into its 3rd press, and decided to snap up a copy because I like Tanuki, I like Lum, and because of those other just becauses. Unfortunately the only format available was not the pink vinyl, but the picture disc. As I’m sure is well-known (because audiophiles are very loud about things they dislike), picture-discs are a big no-no in the audiophile community. This is because while a beautiful objet d’art, a serious listening session of a picture disc release will usually produce greater amounts of surface noise than any other type of vinyl. You can, of course, with the right system, neutralize and mitigate this process slightly, but true-blue hi-fi heads pursuing that elusive muse of “pure sound” would never give a picture disc a second look.

I’m not one of those people.

Tangentially, I’ve heard whispers of ghosts of rumors from when I was living in Shenzen, China — that various record suppliers (small batch Makers) are working out manufacturing and material processes that minimize these issues on pic discs to create appealing records that cover all the bases: hi-fi suitability, collector oriented visual esoterica, and price. I should also admit I have no idea where those companies are in terms of R&D and/or producing these. I end up catching a lot of very fast talk from extremely motivated enthusiasts, but Chinese is still as elusive a language to me at times as “pure sound” can be. With that in mind, however, it’s logical to surmise that advances in technology will eventually render the differences between picture discs and traditional black wax undistinguishable. So long as the world isn’t destroyed in some cataclysmic climate disaster (very real possibility), or -- as we are watching evolve now: World War 3. My view is that it’d be pointless to dismiss the format out of hand when there are active attempts to innovate it as we speak.

That all said, I know what to expect when a contemporary, big-label picture disc plays. During my college days, I used to spin wax at the university radio station. One of the previous catalog managers had a fetish for this “collectible” format, and was convinced he was doing the station a favor by purchasing all these vinyls, noting a pre-supposed resale value later. I remember throwing these on the well-worn Technics SP-10 we had as our main turntable, and listening to the occasional scratch, frequent popping, and constant surface noise, that for the uninitiated (bless you), sounds like a sustained “cracking” in your Rice Krispies — or for those born in the analog age, CRTV static.

So when I sat down with the Tanuki picture disc, I had this laundry list of preconceptions and prejudices about the format. I thought that I could listen to a moderately scratchy record once or twice, keep it as more a visual boutique item and then eventually include in an article where I bemoan the poor quality of the genre’s releases.

But then, I actually listened.

And it sounded… well, I won’t get ahead of myself. Here’s the full review:

THE MUSIC

BABYBABYの夢 — is doubtless the reason why many of us have bought the EP from a sonic perspective —especially if the band-camp reviews are indicative of trends. I still maintain that this is the Mariya Takeuchi sample/remix work par excellence. Tanuki hits all the essential notes here, a genuine respect and love for the sound-staging of its original source, Yume No Tsuzuki. I still get echoes of the original arrangement in my system, (ever so slightly) with a bright and dance-infused collection of unique sounds — particularly in that delicious, wide mid-range — that flesh out the track into its own sort of masterpiece.

何がGoin' On — the curatorial and conspiratorial side of my brain tells me that Goin’ On will probably go down as one the under-appreciated vintage bangers of this era of future funk. I can envision hipsters two or three decades from now sussing out a neophyte with pretentious questions about this track’s pitch-shifted sample draws from. It has that sort of vibe that you know hits with a certain subset of electronica fans — rich & vibrant, making the tweeters on your system work out in all the best ways — it’s just great.

がんばれ — Tanuki is at his best when he gets playful with brass samples. I firmly believe that the titans in this genre each have their go-to piece in their best arrangement — like Dan Mason’s creative vocal array, or greyL’s manipulation of micro-samples. For Tanuki, it’s whenever her gets a horn — synthesized or otherwise, into his production workflow.

ファンクOFF — continues Tanuki’s magic act, taking another city pop track more iconic for its soulful electric guitar riff and turning it into the most slap-worthy single on this EP. I prefer it when Japanese pop samples are fundamentally re-imagined, although I can see how the perfectionist tweaking of someone like Yung Bae is more appealing for some. Tanuki is undoubtedly one of the innovators of this genre, and there’s no more solid evidence of that talent than this track.

腕の中でDancin’ — if I ended up hosting a sort of mythical vaporwave grammies or something like that, (I’m available, folks!) I would probably go off on a Ricky Gervais style rant on how artists aren’t in touch with “the people” (read: me) because all we really want are more remixes of Meiko Nakahara songs — who given her impact on City Pop should have way more play in this genre than she does. This one, like most of the Meiko mixes I’ve heard, is a banger with an absolute fire bass riff punctuated throughout.

Radiant Memories — this might be my first certified “hot take” in the publication (they’ll be many more, I imagine) — but as far as I’m concerned this is the superior Plastic Love edit. I’ll just leave my thoughts there, so they can soak in with a portion of the fanbase who split my reddit account on an open fire of downvotes for suggesting that other artists than Macross 82-99 (Praise be upon him!) are allowed to touch this song as well. While Macross’s mix is definitely the more up-temo of the two, and that for some is the very essence of the genre, this slightly down-mixed version is both the perfect conclusion for the EP and ideal antithesis.

THE LISTENING EXPERIENCE

Signal to Raise ratio on the following albums:

カタカナ・タイトル + Kanji Title: ~61.9db (1 db MoE)

Tron Legacy, Daft Punk: 58.4db

Love Trip, Takako Mamiya, Kitty Records Press: 65.8db

(ratings based on averages 5 minutes of sustained play on the testing unit, the machine actually complied this data on its preset, which is another fascinating part about this sort of vintage press-testing tech). The margin of error is because the machine, according to my mentor Dr. Juuso Ottala formerly of Harman International, informs me it was never meant to give accurate readings of picture discs, and to add about a dB of error margin.

One of the benefits of growing up in New England and, subsequently, New York, is that there are no shortage of heritage professional audio brand HQs in operation around a 200 mile radius from Manhattan to Boston. Off the top of my head, there’s Harman/Kardon, Boston Acoustics, Bose, NuMark, Marantz, and Rane headquarters within an hour’s drive from my two hometowns. Early on in my audiophile quest, I got my hands on some cool vintage gear — vinyl lathe testing equipment that has collected dust in both an old Harman technician’s storage unit, and now my parent’s basement. Over the holiday, I recently brought it out to do some surface noise testing on it to get a rough confirmation of what I was explaining in yesterday’s hi-fi guide. The innards of the machine looks eerily like a plinth-less linear tonearm and plate pair attached to a monitor. After making sure I’m not violating some kind of Harman International trade secret, I’ll post it on instagram.

Wanting to also get a firm idea on just how good my ear-test sounded, I grabbed another picture disc vinyl I had received as a gift a few years ago from my brother — the Tron Legacy OST. While I found the film passably enjoyable, my own preconceptions about pic discs, and a general exhaustion with french house — left me with no discernible desire to spin the thing. I hadn’t even broken the seal on the plastic wrap, so it seemed like as good as a blind test as any. I also grabbed what my ears tell me is a “good”, “heavy” press, a 1982 original dead-stock copy of Takako Mamiya’s Love Trip LP pressed by Kitty Records Japan. I’ve played it maybe a half dozen times since I bought it, so it’s as close to “new” 80s audiophile pop record as you can get. The Japanese are infamously anal about low SNR on their vinyl.

And, well, the results speak for themselves. The sweet spot for most black vinyl records is between 60-70db depending on age, weight, and a host of other frankly uncontrollable factors that aren’t worth getting into detail here, as I’d go on forever. The main takeaway here is that Neoncity’s and Tanuki’s record sat at the low end of the audiophile vinyl reference spectrum. Which in itself is a remarkable achievement for a pic disc. It’s worth taking a look at Tron Legacy, which just barely scratches 8db above a cassette tape, and 7db a Japanese vinyl from 1982.

This is all in an effort to say: damn, this is pretty good.

This also somewhat counters the usual “picture discs sound like shit” narrative that’s prevailed pretty consistently in the audiophile community. Tron Legacy? Yeah, that probably sounds like shit if I could bother to suffer through a listen. But whoever Hong-Kong based Neoncity is using actually makes “good” — if such a qualifier needs to be attached — image-pressed records. And that devotion to audio fidelity should be rewarded.

It might be time for me to re-asses picture discs on the whole, and that mind-expanding moment is something I owe to the fine folks at Neoncity.

#bestof2019 #bestpress

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magog-on-the-march · 6 years ago

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Lanning says real-time rendering is now at the point where it's possible to create movies and TV shows using virtually the same assets as a game project. For Soulstorm, the models and rigging in the cinematics are essentially the same as what players see during gameplay; the game just uses higher resolution texture maps for cutscenes. Lanning says that having such unified data sets gives game developers tremendous business opportunities to take their creations into other media.

"If we look at TV series, real-time is perfect for episodic series because the database is continuous," Lanning says. "I have Abe, I bring him in to the next shot, I tell him to run and I'm not re-animating anything… But for Hollywood, if we were to make a pilot, the pilot is the cheap thing. If it's greenlit, then you can get into the real costs. The problem with the real-time capability is that the pilot's the most expensive thing. You have to build real-time databases that have all this knowledge and logic built in that have to be smarter than the film databases."

In that sense, making a game like Oddworld: Soulstorm is in essence like making a pilot for a future TV series.

"One of the reasons we overinvested in this project is because we still share that dream that databases can cross-pollinate into different verticals for media. In order to get there, you have to somehow be able to have the opportunity to go past the cost of that initial high-priced pilot... Then if we're talking to someone who's interested in a linear series of the IP, we can say this is going to carry over. We can make that pilot."

(Full article under the cut for posterity)

At this year's Electronic Entertainment Expo, Oddworld chief creative officer Lorne Lanning and executive producer Bennie Terry III are talking up their latest project, Oddworld: Soulstorm. But they don't have a booth of their own, and they aren't hitching a ride with a publishing partner or platform holder, either. Instead, they are being hosted by Unity, the engine in which Soulstorm is being built.

Naturally, they want to talk about technology, and there's plenty of reason for it. After all, the Oddworld franchise was built on high production values. Lanning and Oddworld chairman Sherry McKenna co-founded the company in the mid-'90s after working together at Hollywood visual effects house Rhythm & Hues, and the studio's early titles showcased cinematic visual and storytelling sensibilities that set them apart. Abe's Oddysee and Abe's Exoddus were heavily promoted exclusives for PlayStation. Then Microsoft lured Oddworld away from Sony to show off the Xbox's technological virtues with the exclusive Munch's Oddysee.

But things got tricky after that, and Oddworld's position in the industry shifted. Its fourth title, 2005's Oddworld: Stranger's Wrath, launched late in the Xbox's lifespan and with an unimpressive marketing push from Electronic Arts, which wanted a PlayStation 2 version that never materialized. Months after Stranger's Wrath launched to critical acclaim but commercial apathy, Oddworld shut down its development studio and shifted its focus to film and TV. Oddworld would return to games years later, but it was no longer in the business of AAA system-selling exclusives.

"What I saw happening in the industry was the ambition of what you needed to get a project greenlit and funded from publishers was getting to be a really difficult bar to reach in the Xbox 360/PlayStation 3 generation," Lanning says. "Things were starting to look better and people were realizing art assets cost a lot more, animation fidelity had to be better, lighting had to be better, they had to bring in Hollywood art directors, screenwriters... everything got more complicated. Everything got more expensive.

"For the developer, the incentives became less because it didn't mean everyone was selling a lot more units; it just meant games were more expensive, the market's more cluttered, your chances of success were lower, it would cost you more time, more energy, and you're going to get less of a deal on your end because it's a higher risk for the investor. That's just capitalism."

In large part because of that hostile environment for creators, the company has slowly built its way back up to the point where it could self-finance Soulstorm, porting its catalog of games to new platforms and partnering with Just Add Water to develop 2014's Oddworld: New 'n' Tasty, a modern remake of the studio's first game.

"We're small. We're lean, we're mean," Terry says of the studio, but he adds that the company is still striving for a "near-Pixar level of quality" on a budget. That's where the studio's partnership with Unity comes in, as Terry says the engine maker has been "absolutely instrumental" in guiding the developers to best take advantage of what the engine can do.

The "near-Pixar" quality goal is only possible because the quality of real-time rendering has closed the gap with pre-rendered computer graphics, Lanning says, and the big quality benefits now come not from rapid iterations. Real-time graphics might not be as technically impressive as something pre-rendered, but he says whatever shortfall there is can be more than offset by being able to tweak and revamp things again and again, rather than making a change and having to wait overnight for it to render to see what impact it had.

"The efficiency of the models and computing is such that when we're working on our cinematics now and show them to someone, they think it was probably done in Maya," Lanning says, "But they're not. They're rendered in real-time in Unity. And in doing that, we're able to adjust lights on the set in real-time, adjust performances in real-time. We're able to play with all kinds of things that would have taken longer with a different mindset. If you're pre-rendering movies, you don't mind waiting until tomorrow to see the shot. But we don't have the time and efficiency for that."

He recalls a joke about Stanley Kubrick: "On the seventh day, God said, 'Let's rest.' And on the eight day, Kubrick sent it back for changes."

"I'm not calling myself a perfectionist, but that's the nature of a perfectionist," Lanning says. "They just want to keep tweaking and tweaking it. The faster they can make those tweaks, the better the quality you're going to get, provided the horsepower is under the hood to get there."

In that sense, making a game like Oddworld: Soulstorm is in essence like making a pilot for a future TV series.

This is not a new goal for Lanning, as he's never been quiet about his transmedia aspirations. And while he's seen skepticism from the film and TV industries about the potential advantages of re-using assets from games to linear media, Lanning's insistence in the idea's merits is unwavering.

"George Lucas understood this by saving every model from Star Wars and amortizing it into Empire Strikes Back," Lanning says. "You can bet every little TIE Fighter that was built got amortized. He saved all that stuff because he saw the benefit of having one IP that continued over time, and how you could re-use things. Hanna Barbara figured this out where Fred and Barnie were running across the same seamless painting in the background 10,000 times because they were doing a cheaper Disney that was more economical. But the barrier has to be broken. Someone has to prove it where it doesn't look like low-budget CG."

Lanning believes game technology is finally at the point where it could produce real-time CG TV shows that look a step up from Saturday morning cartoon fare. While that could help developers like Oddworld build a viable business, Lanning doesn't believe all the efficiency and rapid iteration can do anything to reverse the escalating cost of competing in the AAA market, or even hold it in check.

"If you're striving for the top, no. [It doesn't get cheaper] because someone's always going to want something better, faster," Lanning says. "And even if we reached the point where everyone who's capable can do magnificent, then the arms race is about who can do magnificent cheaper and faster again. So in that respect, speed will always be an issue. The creation of databases, the creation of rigging, there are all these areas that can be more highly optimized and smarter."

Terry adds, "In the arms race itself, there are elements that lend themselves to becoming less expensive because it's easier and more democratizing technology."

He points to his own stint at Rhythm & Hues in the 2000s, when someone needed to understand how light behaves at a very deep level in order to work with it in computer graphics.

"We were trying to pierce through an uncanny valley using decades of experience to pull off mind-bending tricks in the engine," Terry says, "where now I can get to that quality by hitting a few buttons and executing it without having to be a graphics engineer... But the creativity to push it further to that next level always takes more time and energy, resources and money, because your talent needs to push the tool."

The talent obviously makes a huge difference in any project. For Oddworld: Soulstorm, Lanning says it helped create a game that should realistically have cost a lot more than its actual development budget.

"We just have a lot of history, we do it a certain way, we're deeply involved, and we get no sleep," he says.

That leads into the second part of our interview, in which Lanning discusses his views on crunch and unionization. It should run later this week.

#Oddworld #Soulstorm #Lorne Lanning #gameindustry #future tv pilot dreams #Bennie Terry III

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jwood719 · 6 years ago

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A Walking Tour of Iron History on the Monongahela River.

When Pittsburgh’s Quantum Theatre announced that it would be producing King Lear at the Carrie Furnace, interest exploded. True enough that Quantum’s productions are consistently pretty damn good and are well attended, but couple a pretty damn good show with an old Iron City industrial site? Wow! The Associated Press took up the story, too, and news outlets ran the wire copy as far from Pittsburgh as Japan. Perhaps needless to say, there was a waiting list for “rush” tickets, which went up 15 minutes before curtain (and seating was limited, anyway).

“General view of blast furnace plant, known as the Carrie Furnaces...Carrie Furnaces No. 6 and No. 7 are on the left, No. 3 and No. 4 are on the right. The town of Rankin is in the background.” Jet Lowe, 1989. {2}

The Carrie Blast Furnaces were first built in 1884 on the north (or is that east?) bank of the Monongahela River, and were in operation until 1982. From fairly humble beginnings as a private operation, selling iron to whomever would buy, the Carrie Furnaces were purchased by Andrew Carnegie and expanded to include 7 massive furnaces (some of which are pictured above) operating 24/7 for the Homestead Works, and continued to churn out iron when Carnegie’s steel company was restructured as United States Steel.

Interior of the AC Power House, now used for tour introductions and special event receptions. {1}

“Big Steel” in Pittsburgh went from supplying a quarter of all the steel on the planet to “big bust,” and the furnaces went cold along with the rest of the sprawling Homestead Works.

Satellite view of the Mon River Valley: what is now the Waterfront retail development (outlined in yellow) was once Andrew Carnegie’s signature Homestead Steel Works; the Carrie Furnaces are circled on the opposite bank. {3}

"’Pittsburgh was once a giant in that particular space. You can't be at the site without feeling the enormity of industry and the enormity of the fact that the industry collapsed and we were stripped as a region of this power,’ said Karla Boos, artistic director and founder of [Quantum Theatre]. ‘All very wonderful metaphors for King Lear.’" {4}

Beginning the walking tour: guests approach the No. 6 Furnace between the AC Power House (left) and the Blowing Engine House (right). {1}

“General interior view of low pressure turbo blower wing [for] No. 3 power house...” Martin Stupich, 1989. {2}

Carnegie was an early adopter of “vertical integration,” as Henry Ford would do a couple decades later. If there was a way to bring any aspect of iron and steel manufacturing under the company’s direct control, such would be done -- like buying the blast furnaces across the river instead of buying from them.

Satellite view of the Carrie Furnace site, below Rankin. {3}

The furnaces as they exist today are basically as they were when built in 1907. For that condition (deterioration aside) they are listed on the National Register of Historic Places: they are the among the last of the pre-World War II blast furnaces that still stand essentially unchanged.

Looking up at Number 6. {1}

The interceding decades have seen some changes, of course, since the furnaces were shuttered. Environmental contamination has been remediated to some extent, and the large surfaces have proved a magnet to “urban artists” who went over or under fences. Many of the operating ports and moving parts were rendered inoperable, and naturally the structure has been subject to the weather.

The ore bridge: a massive gantry that was used for spreading iron ore pellets through the ore yard, using the clam shell bucket at right. That bucket is twice the height of the average man. Some of the urban art can bee seen at center, where a pair of stag heads have been painted, as well as on the retaining wall in the far right distance, which has been a “canvas” for a great deal of spray can paint application. Rivers of Steel now allows (regulated) application of urban art in select locations. {1}

“View of Carrie No. 3 and No. 4 ore bridge, ore yard and furnaces...” Martin Stupich, 1989. {2}

Allegheny County bought the site in 2005, and it is now managed by the non-profit Rivers of Steel, a local heritage organization formed in 1988 to save the history of what had been an economic powerhouse (if an ecological disaster area). To help in their preservation efforts, Rivers of Steel offers tours across the region, including walking tours around and through the Carrie Furnace site. Quantum had the option of an hour long tour for patrons before curtain, but those sold out as fast as the shows -- so I booked a regular tour with Rivers of Steel that I attended the day before I saw Lear.

Tour leader Doug Styles with guests on the stationary car dumper.

The stationary car dumper was installed to speed the unloading of iron ore cars; instead of a team of men shoveling for a several hours to empty a rail car of iron, the entire car would be heaved up and tipped out in a half-hour so. An entire shipment of ore, on a 150+ car consist, could be processed in a few hours.

The iron ore was brought down mainly from the Iron Range in the Great Lakes region, shipped first by lake boats to Ashtabula or Conneaut, Ohio, then by rail to Pittsburgh and other plants up and down the rivers.

The lake boat port of Ashtabula, Ohio, in 2015. {1}

Also shipped were loads of coke, and limestone, for in-furnace filtering-out of impurities. The raw iron was kept in the ore yard, as large an area as a couple three football fields, in quantities to last for up to three months of operation -- as the lake boats couldn’t always get through in winter; y’know: because ice.

The view down the ore yard, with the ore bridge above. {1}

The tour in the ore yard. The iron ore was piled up nearly as high as the top of the retaining wall of the stock house in the middle distance. The Number 7 Furnace is above. {1}

“Carrie Furnaces No 6 and No 7 from across ore yard...” Martin Stupich, 1989. {2}

It’s odd, and a little sad, to look at the images taken in 1989 and see that nothing much has moved since. In the two preceding images it can be seen that the hoist cars on the Number 7 have been stuck in the same place, probably since the plant closed in ‘82. But, I suppose there isn’t much need to move them, nor the means to do so, other than cutting the cables.

The hoist cars on their car way at No. 7 Furnace. The stock building held ore, limestone, and coke, which was transferred in measured quantities to the hoist cars for delivery to the top of the furnace where they were tipped in. {1}

Looking down the stock house. The various ingredients of the blast furnace process were kept in the hoppers overhead, and then dispensed as needed into the “larry car,” which would then transfer the material to the hoist cars at a central loading pit. {1}

Tour leader Doug Styles spent as much time describing the conditions of the furnace operation as he did the mechanics of it -- which was, in fact, a good balance of information. As much as the steel heritage of Pittsburgh can be lauded, it was also a dirty, dangerous employment, done for bosses who would happily replace a recalcitrant worker. As the saying goes: “You don’t like the job? There’s 16 guys at the gate who’ll take it if y’don’t want it.” The hoist cars, for instance, were apt to suffer broken cables, which would result in a 4 ton load sliding down an inclined plane at high speed -- to the detriment of the men in the central loading pit under the car way, unless they managed to get the hell out the way.

Approaching the No. 7 Furnace; the remains of the cast house are seen above the tour group, with the stock house to the right, and the hoist car-way angling up to the top of the furnace structure. To the left, above the encroaching foliage, can be seen the giant wire deer head. {1}

Because the interior of the furnace was, well, hot enough to melt iron, a metal structure was in danger of melting, too. To stave off the otherwise inevitable, the interior of the furnace was lined with fire brick several inches thick, and the exterior was clad with heat abating plates and wrapped in water pipes that helped keep the outside cool (or cool enough). The water was pumped from the Mon River, sent through the system, and back into the river. None of the water used in the iron or steel making processes were subject to any regulation on pollution: “pollution” didn’t exist at a regulatory level -- not until the Environmental Protection Agency was established, but that wasn’t until 1973.

“Electrostatic precipitator for Carrie Furnace No. 7...” Martin Stupich, 1989. {2} Compare to following image:

Doug Styles describing the events surrounding the Homestead Strike of 1892 at Quantum’s act 1 setting. The electrostatic precipitator is above to the right, with the great Carrie Furnace Deer Head up center. {1}

Crafted by urban artists with materials found on the site, the Deer Head is held together with “zip” ties, wire, and fast acting adhesive compounds. According to Mr. Styles, the Carrie Furnace can’t be fully designated as a National Historic Site unless the urban art, like the Deer Head, is removed, as the graffiti and the constructs were all executed after and beyond the original construction and intent of usage.

The view of the ancillary structures between No’s 6 and 7. {1}

Above: “General interior view of Carrie No. 6 cast house...” Martin Stupich, 1989. {2} Below: interior view of the No. 6 cast house, 2019. {1}

The molten iron produced from the furnaces was, at first, cast into iron ingots that could then be shipped to any buyer for further refining into steel. To reduce time and costs, the Homestead operation sent the molten steel across the Mon River to the steel works in “torpedo” or “bottle” rail cars, on the appropriately named Hot Metal Bridge (one of two that still exist over the Mon). Ports at the bottom of the furnace could be opened to allow the molten iron to flow down sand lined troughs in the floor, where it would then drop into the bottle cars for shipment.

Detail highlighting two of the furnace ports, and one of the troughs. The ports are around the base of the furnace in several places, and all have been sealed. {1}

I would say “as might be imagined,” but I’m not sure I can reasonably imagine the heat that would blow through the cast house when the furnace was operating, much less when molten iron was flowing down the ways to the bottle cars. I mean, maybe turn your oven on to “broil” and try sticking your head inside?

Mr. Styles noted that much of the agitation for unionization was about employee safety more than for wages. The hours worked, the dangers of moving mountains of raw material, the heat and other hazards of handling molten metal, all took their toll on the workforce. Safety demands at the federal level did make some changes, as did unionization when it finally landed in 1936, but the relationship between labor and management never really did improve.

Tour leader Doug Styles beneath the No. 6 Furnace. Mr. Styles spent 30 years working steel in Canada.

And steel in the United States didn’t go bust just because of cheaper overseas steel finally being produced, nor was it just automation, though both did affect the market. Among other things, Mr. Styles explained, it was because companies like U.S. Steel were still literally operating as if they were producing in 1910, not 1975: modernization never came to Homestead, despite improved methods of steel production being available. The unions didn’t help themselves, and neither did management -- both sides were stuck in the past, too, the union employees frittering work hours away while they waited for “repairs,” while the owners had no wish to spend any money that might eat at quarterly profits -- and neither side trusting the other.

Looking up the No. 6. {1}

The Edgar Thomson Works, Andrew Carnegie’s original plant, still operates about two miles up the Mon from the Carrie site. It was modernized, however, and while never as large as the Homestead operation, it today turns out 5 or 10 times the steel it used to, with a quarter of the labor force. Such is the case with most steel concerns in the 21st Century.

Looking up at the No. 7 gas washer and other ancillary structures. {1}

The evening light on the No. 7, with Lear audience members meandering prior to the performance. {1}

And, yes, there will likely be more from Carrie Furnace. Rivers of Steel offers other options for visiting the site, and I’m of a mind to take them up on the offers. So, stay tuned!

Rivers of Steel official site: “Founded on the principles of heritage development, community partnership, and a reverence for the region’s natural and shared resources, Rivers of Steel strengthens the economic and cultural fabric of western Pennsylvania by fostering dynamic initiatives and transformative experiences.”

Associated Press story, “Theatre Company Brings Shakespeare to Steel,” as displayed by The New York Times, May 26, 2019.

{1} Photos by R. Jake Wood, 2015-2019.

{2} Images from the Library of Congress Prints and Photographs Online Catalog. The Carrie Furnace photos as well as other images taken in and around the Homestead Works are part of the Library’s Historic American Buildings Survey. Minor processing by Jake Wood, 2019.

{3} Satellite images by Google Maps, with minor processing by Jake Wood, 2019.

{4} Karla Boos as quoted by the Associated Press, May, 2019 (see link above).

Last light over the ore bridge. {1}

#photography #pittsburgh #rivers of steel #carrie furnace site #our shots

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oliverupsidedown · 2 years ago

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Project proposal...

The Oceana Blood Gate...

Rotational: First project was about creating voxel art background for our digital Photoshop characters, mine was a slime so I made it a bog, a simple small landscape with Lilly pads, damp tree bark, fireflies, running water and long spindly bits of foliage. Second project was creating the backs to cards on illustrator, to be honest illustrator really sucked and I didn't like using it as it never went how I wanted my artwork to go so I just went with simple geometric shapes with low opacities and a border to make it look fancy. I missed the day when we were making a chair in cinema 4D so I can't comment. We manipulated text made in Photoshop in cinema 4D by extruding it or bending it to make bubbly text. After that it was making a video game scene that had neon lighting, making our cities look all fogged up and cool with global illumination inspired by Andreas Levers. My knowledge of these programs has increased by a fraction where as my skills in Photoshop have drastically increased I now understand how to use the tools to manipulate images and shading plus lighting.

Project concept: 3D Voxel work, creating an underwater mountain terrain (256 256 256) with a giant sea gate, with pillars glowing portal effects flying in the air for lighting and seaweed rising from the surface of the ocean, from previous lessons of voxel art I would just build a base for my mountain using simple 15 by 15 blocks and work on a simple foundation for the background mountain, then using a smaller 3D sphere I would start to lay in the topography of the cliffside making them more detailed. I might make one of the mountains into an underwater volcano just for extra ambient red lighting. After that I will add the first half of the broken gate plus pillars, again building it up in simple blocks and erasing or adding tiny blocks from it, create the pillars and staircase leading up to it with small statues either side of it... When the main portal gate has been finished I will add small building or settlements with sea weed spiralling out of the ground making the end bulb bits light up for more background lighting. In final rendering give the landscape a dark gravely texture with the lights sources very bright since working on highest scale. In the end I will hope to produce a abundantly lighted underwater area with high mountains and tall sea weed with ancient stone pillars that create a portal gate to a forgotten city.

This will all be created in the Mac room L1.03 using the entirety of Mondays lesson to construct the portal scene into the lost kingdom...One disadvantage of working in voxel is that everything is in blocks so when you would want to add finer details that give some backstory it's a little frustrating but Voxel is easier to use than cinema 4D

My mountains would look more like this one with the spikes reaching towards the surface and a few deep valleys to add a better topography, I also need to make sure that I build up the surface that leads up to a mountain rather than just putting a spiky mountain in a flat field.

I will make the sea weed like this, more coral like with a few swirling pieces reaching the surface, also I would make sure that some of the sea weed bulbs that sprouted off had a coloured light so that most of the area is lighted up and looks fairly colourful. Most of my research during after college would be done at the library for up to an hour minimum looking at research material such as textures for my mountains and sea weed, cool lighting of effects used on voxel and colour combinations that would mix well together.

Evaluation: I will reflect on my work with sharing it with my fellow youths and taking into account third party opinions, making sure that I utilise the help of Josh and Chris in the Mac rooms as they are one of my primary resources that I can use whenever I need help or inspiration, I will also during the projects production I will continuously upload research and up to date work onto Tumblr whilst explaining what I have achieved in that lesson. The project may even be written down on paper as I find writing easier than digital typing as it's just faster and I get dyslexic whenever I looka at a screen. (Yeah that totally makes sense)

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rivershelms33-blog · 6 years ago

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How to Make a Professional Songs Movie at Property

How to Develop Your Personal Professional Tunes Video from Property Today, a lot of who go web-surfing operate into spoof audio videos that get tens of millions of sights. Unfortunately, much more than half of those folks who acquired one,000,000+ views skipped an opportunity of earning $twenty,000 or far more from just that YouTube add. Why is this so? I will let you know around the conclude of this post. Shall we get back again to the subject? For those who think it isn't really achievable to make a large top quality audio movie from house like the ones you see on tv, I am here to inform you that it IS achievable to make even Much better video clips. You could not be capable to create one as very good on the initial attempt, but again who is? It takes perfection following these 5 steps: Phase 1: Music Of course a music online video isn't really a tunes movie with no tunes. Find an instrumental that you want to generate a tune to and download it. A very good system that I suggest for downloading instrumentals would be Frostwire. You can obtain it from frostwire.com. fl studio tutorial is completely free to down load and use. Or so it was the very last time I checked. Be watchful when downloading from Frostwire even though. The initial two or three data files at the prime are normally tricks, but you can easily inform them aside. The untrue kinds generally match your research phrase term for phrase, letter for letter, and are decrease scenario. Also check the file size to the right of each end result. Instrumentals and tunes are generally at an regular file dimension of 1,000 Kb for each moment of a music. So if an instrumental you're searching for is about 3 minutes long, the file size must be all around three,000 Kb. The false types at the top are generally at a small file measurement, about ten-30 kb. I utilised to use Frostwire till I began making my own tunes with audio generation application. If you want to make money from YouTube, I suggest you make your personal instrumentals like I do. Any individual can find out to make a easy beat. Some good tunes manufacturing computer software I suggest to use for the Computer would be Fruity Loops Studio. The most recent model is FL Studio 9, but FL Studio five, 6, seven, and 8 are just as very good. If you want to pay for it, you can acquire it at your local computer keep or online at flstudio.com, but if you want it for free, I propose you use Frostwire, considering that it can also down load programs for free too. For the Mac end users, your pc ought to already come with a music creation software referred to as GarageBand. In my opinion, GarageBand's instruments seem a lot more skilled than Fruity Loops. Both plans have consumer manuals offered in the support menu and Garageband has a novice tutorial. For any other tutorials, I suggest that you lookup YouTube for Fruity Loops Beginner Tutorials or Garageband newbie tutorials. Other Personal computer Tunes Creation softwares include Cause, Sonar, and Nuendo. Yet another Mac music manufacturing software is Logic Professional. The songs sector by itself specializes largely with a computer software named Protools. It's suitable with both Personal computer and Mac, but is typically the software program desired for studio recording. If you make a decision to use Protools at all, I advocate that you acquire it fairly than downloading it for a lot of causes. Have confidence in me on this one. Phase 2: Lyrics Of course, songs video clips do not Usually have lyrics, but if you do decide to, make confident you compose lyrics to the instrumental and keep them for the studio recording, which we will get to afterwards. (Lyrical suggestion: Maintain your lyrics fairly cleanse and it may possibly be a lot more marketable! Make it hilarious or comical, and it may get a lot more performs! Ex. Search "White and Nerdy" on YouTube) Stage three: Home Studio (Session) Recording The greatest application for studio session recording starters is Cool Edit Pro. Amazing Edit Professional is only Computer appropriate however. I discovered it on my very own via experimentation, but for tutorials, I'm certain you can uncover them on YouTube. There is also a person handbook in the support menu. You can also download Great Edit Professional for totally free employing Frostwire. For the Mac customers, once again, congratulations! You can document oneself employing Garageband! To do so soon after you have concluded making your instrumental on Garageband, at the prime simply click Track> New Track> Actual Instrument> Produce. You will notice that on the remaining, a observe for recording appears that is titled "No Results". If you have a microphone plugged in, check it out by talking into it. The inexperienced bar up coming to "No Results" need to rise every single time you talk. If not, verify your System Tastes for Seem and switch to Constructed-In Mic/Inner Microphone. Most Mac laptops have a built-in microphone. Most of them are discovered on the still left speaker at the bottom proper aspect, but only on laptops. For Personal computer laptops, your microphone may possibly be found in the leading of the keep track of in the center, remaining, or right corner. For more sophisticated customers, session recordings can be carried out with Protools. You can get microphones, but the low cost kinds are usually not very good recording microphones at all. If you have a built-in microphone, you're in luck since believe it or not, it is far better than most microphones underneath $fifty. Just make sure you change the volumes of each separate recording you do accordingly, regardless of which mic you use. You can make a bad mic audio much better than it does by altering the volumes. P.S Idea: How to Autotune Sadly, I only know how to do Autotune with the Fruity Loops customers and the Garageband customers. For the FL consumers, you have to obtain a plug-in known as Antares and drag it into Fruity Loops. As for the Mac and Garageband customers..... you guys are very blessed. GarageBand arrives with a developed-in Autotuning system. To use it, at the prime click Track> New Track> Real Instrument> Develop. If your Audio Area at the bottom is not obvious, at the top, simply click Control> Show Editor, or just press Apple+E. Turn the "Improve Tuning" in your Audio Area all the way up. Then search just beneath that change, and check out in the box "Limit to Essential". Action 4: Recording the video clip To report the video clip, you are likely to require a decent top quality digicam. But just because you have a good good quality digicam alone doesn't indicate that the video clip is likely to be excellent. It really is all about how you set it together. As considerably as quality goes, I recommend the Jazz Elite Hd Portable Digicam for starters. It is a $five hundred higher definition digital camera, but you can get it for only $240 at electrotech.totalwarehouse.com. I have not discovered a less costly higher definition online video camera on-line yet, but if I do, I will let you know. Also, seeking into getting a tripod would support for stabilization. You can locate individuals at Wal-mart for quite low costs. Also, if you happen to be making an attempt to make funds on YouTube, make certain to maintain other organization products' logos and titles out of the video as significantly as achievable. YouTube can stop funds producing from practically any logo being shown publicly in your video. This also involves logos on shirts, so just make confident that whatsoever apparel you select to dress in for the movie, that the emblems or logos of your shirt's producers are not noticeable. Step five: Putting the video together Hook up your camera to the laptop and transport all of your online video clips in a folder. For Laptop movie creation novices, I advocate employing Home windows Film Maker. It comes with each Home windows computer. If you are unable to find it, just click on Start (or the windows icon for Vista consumers) at the base left facet of the screen. Go to Programs> Accesssories> Home windows Movie Maker, or Programs> Accessories> Entertainment> Home windows Motion picture Maker. If you can not find it in both of people areas, go to My Laptop, open up up the Nearby Generate (normally C:), and go to the System Documents folder. Appear for a folder referred to as Home windows Movie Maker and search for the startup icon. For Mac consumers, there is iMovie. The video clip clips can be dragged or imported into both of these plans to use. If your Computer or Mac arrived with the Adobe Selection, you may also use Adobe Premiere Professional, which is compatible with each personal computers. Adobe Soon after Consequences is a much more advanced application to use for particular outcomes, but you can very easily understand it by means of 10 limited tutorials at videocopilot.internet. A a lot much more innovative video clip editor is Final Minimize Professional for the Mac consumers, used by actual sector motion picture makers. There are video clip tutorials for all of these softwares on YouTube, but, in my opinion, Home windows Film Maker is ridiculously effortless to use but Adobe Premiere has a lot more resources and results that you can do to your movie. Adobe Premiere also has eco-friendly display screen keying, which Film Maker does not have. If you are looking to make audio movie manufacturing or songs manufacturing a foreseeable future profession, I advise you look into a school named Full Sail College. It is identified as the "Harvard of Entertainment and Media Colleges" and has one particular of the three greatest movie packages in the planet and the best five Recording Arts programs in the nation. It is a large-paced faculty, and you can acquire your Bachelor's in either plan in twenty months. To look even more into this faculty, visit the Total Sail website. Make positive you render your video clip in a high good quality location as well. "Rendering" just implies conserving the online video in video structure. The increased the good quality, the longer it might just take to finish conserving the movie, but it could be well worth it. If you have the Jazz Elite High definition Transportable Digital camera, you may not have to fear about good quality as much. Added Action: Earn Income By way of YouTube To receive money, just attain over two hundred,000 sights with your online video. YouTube will send you directions on how to set it up and will evaluation your video to make sure that there are no copyright infringements. But as for audio videos in standard, I've witnessed the very best and I have noticed the worst. The top quality of the ultimate merchandise all arrives down to how you use these instruments to the ideal of your creative capacity. Display laziness in manufacturing, and lazy is how the final product will seem to be. Happy audio making!

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paulisweeabootrash · 6 years ago

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Series Review: Read or Die (R.O.D. the OVA)

Welcome to another episode of Paul is Weeaboo Trash! Today’s topic is a show I’ve previously seen one episode of, so long ago that I’m almost going in fresh: the OVA (what we in the US would call a “direct to video release”) of Read or Die (2001–2002)! I was lucky enough to grow up in a household where education and fun were not portrayed as opposites, and we had the means to find plenty of fun educational things to do. My parents searched for all kinds of potentially interesting activities, and living in southern New Hampshire, the Boston area was not prohibitively far to go for them. And so I was signed up for Splash, a program one weekend per fall in which MIT students teach middle- and high-school-age kids seminars on a wide variety of topics.

What counted as topics worthy of education was quite broad, however. I ended up in a "class" that consisted of watching one episode each of several anime that the student running the class was a fan of. This was back in the days where anime fandom spread person-to-person by recommendations and there was more emphasis on developing a background knowledge of "classics" among the more informed and/or snootier fans. (I still feel this way a bit because certain tropes and references are so common or influential that being familiar with the original sources can make newer shows suddenly make a lot more sense, but I disapprove of the gatekeeper tendency to look down on people who don't yet know the things "everyone knows".)

I don't remember how many shows we sampled there, but the two that made an impact were Hellsing, which in retrospect was at best questionable for the age of the audience, and was very much not my thing because I have a low tolerance for gore, and the topic of this post, Read or Die, which was very much the kind of thing I wanted to see: a nerd being a badass in a fantastical way. Especially since I was also really into James Bond at the time, so I was probably primed to eat up other media involving a British spy fighting a mysterious secret organization. Since I'm incredibly averse to media piracy and had no clue where to buy anime, though, I never followed up to finish watching it, and eventually it faded from my mind. Until I stumbled across the first volume of the manga for super-cheap at Saboten Con last year, and it flicked some nostalgia switch that reminded me how much I'd enjoyed it at the time, although I barely remember any actual details, so I am practically going in fresh here.

Read or Die follows Yomiko Readman, a teacher, obsessive book collector and reader, and superpowered secret agent who can manipulate paper in nearly any way. Any paper available, from money to ribbons to a briefcase full of blank looseleaf she apparently just brings with her. She uses this power in the course of her service as a secret agent, codename The Paper, working for the British Library?! Along with Miss Deep, who can selectively phase shift, and Drake Anderson, a gruff and dismissive military type (and apparently potter in his cover job), she is assigned to a plan to save the world in a way that vaguely involves collecting books. Saved from whom? The I-jin, clones of historical geniuses with superpowers related to their areas of expertise, such as... knowing stuff about insects, or... uh... spreading Buddhism to Japan... who are going to flashy and violent lengths to steal books the British Library is trying to acquire legitimately. Trust me, it eventually gets explained, and the Big Reveal, although pretty goddamn weird, fits in with the rest of what has been established. Suspend your disbelief enough to accept the I-jin at all, and it’s fine, although still a bit ludicrous.

And I submit that all that is still less weird and ridiculous than your typical superhero or spy movie, and this show does after all have elements of both genres in one. Or, well, more and more superhero and military action as it goes on. Although the theme music uses 60s guitar sounds, chromatic chord changes, and blaring brass hits that are virtually guaranteed to evoke the James Bond theme, and our main cast do work for a secret intelligence agency, they are in quite open military-style conflict with the I-jin -- with the approval of the UN -- and very little that’s actually covert occurs, with the notable exception of something I can’t spoil that happens at the end of ep. 2. And because of the superpower angle, some of the instances of weirdness are not flaws at all but pretty creative implementations of the characters’ powers (using a paper airplane as a lethal weapon?!).

This last point didn’t really fit in organically, but I'd also like to mention a couple of things about the art that I love but don't see often. The very first shot of the series uses multiple flat backgrounds at different distances moving in relation to each other to convey the camera moving across the scene, which I have seen in other animated works (at the moment, I can only think of examples from very old Disney movies off the top of my head), but not in recent ones. I don't know whether it's simply out-of-fashion or this is a result of the shift to CGI so animators figure "why would we do this when we can actually render a city with realistic perspective?" This show also has a particular kind of fluid motion in characters that I’ve seen in many reasonably-high-production-value shows from the 90s and 00s, but rarely in newer shows (Space Dandy being a notable exception). Maybe I'm watching the wrong recent shows, maybe it's just a stylistic choice that's out of fashion, maybe it's harder to pull off convincingly when you're not animating by hand.

I’m glad I finally got to watch this. It’s even better than I remember. Now to get to work on the rest of the manga and the other series. Oh yeah, haha. The abbreviation "R.O.D." stands for both "Read or Die" and "Read or Dream", which are different parts of the same larger series. The Read or Die manga (4 volumes), this OVA series, the Read or Dream manga (also 4 volumes), and a 26-episode TV series all take place in the same narrative universe, rather than the usual model of the anime being an adaptation/retelling of the manga. There is also a light novel series I know nothing about, but it sounds from the Wikipedia article like that is the single ongoing series that is the source for the two manga and two anime. (There is also apparently a barely-related future side story manga.)

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W/A/S: 1/3/3

Weeb: I don’t think there’s much, if anything, in here that would require explanation to a typical Western audience and which isn’t also explained in the dialogue.

Ass: There is a single implied nipple in the opening sequence. Gasp! And Miss Deep's costume design is pretty fanservicey, but only barely more explicitly so than you're likely to get in American media deemed suitable for older children.

Shit: Until the Big Reveal, it's just unclear why anyone involved other than Yomiko should be this interested in acquiring the specific books that serve as the show’s MacGuffin, nor is it clear that the I-jin’s plans extend further than searching for them in a very destructive way, leaving me baffled that the Library immediately makes the connection that the books are key to saving the world. There are a few minor errors in the subtitles and a visual glitch (Blu Ray remaster, please?), and a couple of places where faces just... don’t... look right. Oh, and if you’re watching the dubbed version, add another half point of Shit for Crispin Freeman’s British accent.

And for the first time I feel the need to add a CONTENT WARNING. Usually, I think the review is sufficient to give you the idea whether there is anything likely to be disturbing in a show, but this is different, because the first two episodes have the sort of over-the-top stylized combat you might expect from other action anime or Western superhero media, where even a death comes off as un-shocking. But in ep. 3 of this, there is a shocking pivot. There are several short instances of graphic and sudden violence of kinds that are quite a bit more disturbing and distressing (even when they involve the use of powers) than anything that occurred previously.

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Stray Observations:

- Yes, those of you who know a little Japanese caught that joke: "Yomiko" could be loosely translated as "read girl". Her name is "Read Girl Read Man". Because she likes to read. Get it? Ha! Ha! Ha!

- In the manga, Yomiko is also established to be a literal bibliophile. As in "books, regardless of content, turn her on". I'm kind of glad this is not a plot point in the anime.

- The “secret” operation in the last episode, which is conducted with UN approval and involves an actual military attack with an actual goddamn naval fleet (and collaborating with North Korea to keep the US too distracted to notice it, even though this is a British operation against an organization that literally burned down the White House in the first scene of the first episode) might actually beat the first few episodes of Full Metal Panic! for “worst undercover operation ever”.

#R.O.D.#Read or Die #anime review #weeaboo trash

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kilts-for-men · 6 years ago

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Brazilian Jiu Jitsu BJJ Clothing Apparel for Men & Women | Bravo

Bravo have earned a reputation as being a respected leader when it comes to supplying fighters with high quality MMA products from the biggest brands in the industry. We strive to offer products which have been approved by serious fighters for serious fighters. We also provide stylish MMA apparel for fight fans and casual spectators who want to dress like their favourite fighters.

We believe every article of BJJ clothing should provide you the means to effectively implement your full skillset and so our no-gi clothing has been developed in close consultation with BJJ masters and enhanced by the use of top-quality materials and construction throughout.

Putting together your BJJ gear arsenal can be fun and exciting - if you know what to get. This BJJ beginners checklist will tell you about all the Jiu Jitsu Gear you will need and want to get started with Brazilian Jiu Jitsu. This covers both the traditional form of BJJ (with a Gi) as well as No Gi Shorts. Have fun putting together your arsenal!

Jiu Jitsu (with Gi)

For the traditional form of BJJ, you will need a Jiu Jitsu Gi and Belt at the very minimum. Rash Guards are also recommended to wear underneath your Gi - see the No-Gi section below for details on rash guards.

Brazilian Jiu Jitsu Gi | Bjj Gi

The word ‘gi’ is derived from the Japanese words ‘keikogi’ or ‘dogi’, which means “uniform for training”. As such there are many types of gis out there for all the different martial arts that require this type of uniform.

It is very important that you get a gi that is made for Brazilian Jiu Jitsu. This is because BJJ Jiu Jitsu Gi are made of tougher material and are designed to be durable and make it difficult for your opponent to grab. A Jiu Jitsu Gi comes with a jacket and pants, and are not usually accompanied with a belt. There are many things to consider when choosing a BJJ Gi.

BJJ Jiu Jitsu Belts

A BJJ Belt is functionally used to tie around your Gi jacket to help keep it in place. It can also be used for both offensive and defensive techniques. A BJJ Belt is something that is very important to the Jiu Jitsu practitioner - you will have it for a very long time, whether on the mat or nailed to your wall after you’ve moved onto bigger and better colors. Make sure you choose the one that best represents you. We offer a great selection. For beginners, this will be a White Belt. From there it goes in the order of Blue, Purple, Brown, Black for Adults and Yellow, Orange, Green for Kids.

BJJ Jiu Jitsu Belts are long as they are meant to wrap around your waist twice and still have excess length after you tie it. On one end there will be a patch with the manufacturer’s logo. On the other end there is usually a black bar (red bar on black belts) where you put your stripes that indicate progress between belt levels. When sizing for a belt, choose the same size that you chose for your gi.

No Gi Brazilian Jiu Jitsu

Because Brazilian Jiu Jitsu focuses so intently on ground work and grappling it’s crucial your no-gi clothing protect you from abrasions while also enhancing your performance and that’s exactly what our grappling shorts, camo grappling spats and rash guards do.

No Gi Clothing

Animosity Fight Gear design their shorts to withstand the toughest workouts, session after session. We make our shorts from the lightest stretchable material, just to make sure that when you are in battle you know your kicks and knees are unrestricted. Our shorts are designed to last a lifetime with double stitching throughout and embroidered logos that won’t rub off or fade.

Helps improve blood circulation and accelerate recovery time

Anti-microbial fabric

Constructed with high quality polyester

Fully sublimated logos so they will never peal or crack

Made from a super soft flexible 100% polyester material

Triple stitched and overlocked across all stress points

Grappling Shorts

Grappling Shorts (also known as Fight Shorts, MMA Shorts and Vale Tudo shorts) are essential for no-gi BJJ. Fight Shorts are designed for the movements and technique of BJJ. First, they do not slide off easily - which is very important given the holds, grabs, and pulls that they will experience. Second, they allow for flexibility, both on the ground and for kicking if you are into MMA. Lastly, they do not have any metal objects (buttons, zippers, etc.) that can get in the way and cause damage to your opponent.

Fight Shorts (BJJ Shorts) come in two varieties: Board-style shorts which are loose, and Vale Tudo style shorts which are very tight and form fitting. You can also wear Gi Pants for no-gi BJJ, but keep in mind that it gives your opponent an advantage as they will have more to grab onto to control your movements.

Rash Guards

Rash Guards are important for several reasons. First, they are made with moisture wicking material. This draws moisture away from your body, while having the cooling effect of helping sweat evaporate. It also provides thermal insulation by using material that allows air to easily flow through it - essentially creating a layer of cooling air around your torso and arms. Rashguards are an essential form of protection from what is commonly known as “mat-burn”, or damage caused to the skin from contact with the traditional tatami mats used in jiu jitsu. As these mats feature a textured surface which renders them waterproof whilst also offering traction, friction between skin and mat can result in this type of burn. Although the soles of the feet and palms must remain uncovered during combat, the preventative measure of wearing a rash guard can protect key areas of the body such as the chest, arms and back. Rash Guards are also recommended for use under a Gi for the same reasons listed above. Additionally, it limits the rug-burn like effect of the rough gi material - especially the elbows if the rash guard is long sleeve.

Protective Gear

Although Brazilian Jiu Jitsu does not involve striking, it is very intense in that you are applying a lot of force while in very close proximity with your sparring partner. The bottom line is that nobody can always be 100% accurate when executing technique, so sometimes parts of your body end up where you don’t intend, which can cause damage to important areas. Wearing protective gear will help minimize this damage.

Mouth Guards

Although there is no striking/punching/kicking of any sort in Brazilian Jiu Jitsu, there are takedowns and you always try to keep your opponent close as you manipulate and move around their body. This means it is likely that you will eventually get accidentally struck in the mouth by a passing arm, knee, leg, etc.

You can diminish the risk by wearing a mouth guard every time you are ready to practice Jiu-Jitsu. A mouth guard is used to protect teeth, gums, and nerves in the jaw.

Groin Protectors

A groin protector is the most important equipment a boxer should wear in every training or sparring session.

This piece of gear protects our groin and other body parts near to it from any accidental hit that might happen during training.

For Fighters, accidental low blows are normal occurrence during an intense sparring session.

To protect boxers,Fighters from any unbearable pain and other injuries resulting from an accidental hit, it is essential to wear a groin protector.

Groin protectors (aka groin cups) are highly recommended, especially since the groin is highly exposed in a variety of Jiu Jitsu techniques and movements, like passing the guard. One slip-up by you or your sparring partner and it is easy for a knee, foot, etc. to get planted where you don’t want it.

Groin protectors come either with a supporter (or jock strap) or the cup standalone. It is recommended that you get a good supporter for the cup as it will ensure a snug fit to your body. This is especially important in BJJ because if your cup is allowed to shift to a bad position, the groin protector quickly becomes a groin assaulter as soon as pressure is applied. Good supporters also have convenient cup sleeves, which enables you to quickly slip the cup in and out as needed between sparring sessions.

Head Gear

One of the conditions that can be caused by BJJ is cauliflower ear. This is due to trauma to the ear by an accidental strike or repeatedly pulling your head out of choke holds. The friction on your ear can cause the skin to separate from the cartilage. The result is a mangled looking ear that is caused by the calcification of the blood that fills up the space between the cartilage and the skin.

Not only is it not painful, cauliflower ear is not very pretty and it can impede hearing. Although cauliflower ear is considered a status symbol amongst veteran fighters and Jiu Jitsu masters, it may not be for the average BJJ practitioner.

To prevent cauliflower ear, be sure to get some headgear or ear protectors. The thing to consider most when getting headgear is something that is very low profile so that your opponents cannot use it as extra advantage to keep you in choke holds. The wrestling headgear should be light. When you choose it, make sure it is made of light materials. There is a load your ear can handle. Make sure not to press ears too much. In the case the pressure on your ears is too high, it might be even worse. Better not to have headgear at all than wearing an uncomfortable one which will affect negatively. A cauliflower ear can also be a consequence of bad ear guards, despite it is rare.

You need a material that will not become too warm after 15-20 minutes of an intense training session. Despite many ear guards cannot fulfill this criterion, it is crucial to try to find the most suitable ones. If it is too warm, you will have to take it off during hard training sessions, which leaves your ears and face exposed to the contact.

Knee Pads / Braces

• When practicing Jiu Jitsu, you will put strain on your knees. This is from frequently posturing on them, landing on them, and twisting them as you roll. Protect and Prevent knee injuries during exercise. Keep warm, prevention and reduction of stiff muscles and joints. Effectively impact resistance, increase blood circulation.

Ergonomic design, super lightweight, provides freedom of movement.

• High-density sponge shock absorption protection, effectively resist the impact force.

• Made of high quality material, comfortable and breathable.

• Large elastic force, comprehensively protect your knees while exercising.

• Great for fitness, outdoor sports or training exercises.

You will want knee pads/braces that are made from BJJ and other grappling martial arts as they are very low profile and flexible. Your legs and knees need to be very flexible and unimpeded during rolling if you wish to execute proper Jiu Jitsu technique.

Jiu Jitsu Bag

Where are you going to put all that gear? BJJ bags and gi backpacks are a very functional and practical way to carry your Jiu Jitsu equipment. Sometimes they are even made with the same type of cotton material and weave used in Jiu Jitsu Gis - which means they are very durable and rugged, and they look pretty cool.

There are two types of BJJ bags to choose from: the duffelbag and the backpack. The backpacks are usually good for carrying one gi and your protective gear. The duffelbags have more room for another gi, a change of clothes, fight shorts, etc. Duffelbags are also very useful for holding water bottles, sports drinks and snacks - which come in quite handy during long and intense sparring sessions.

#Bjj Clothing #Men's Clothing #Sports #mens clothing #Clothing and Accessories #Jiu Jitsu Bag #No Gi Shorts #BJJ Jiu Jitsu Gi #BJJ Jiu Jitsu Belts

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oscopelabs · 7 years ago

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Moving: On the Cinema of Kate Bush by Willow Maclay

“Experimenting with film is exciting to me. It feels like it has purpose.” -Kate Bush, Egos and Icons, 1993

Kate Bush has always been more than your average musical artist. It’s not ordinary to have a chart-topping single when you’re 19-years-old, let alone a number-one hit about a classic literary text of all things. From the onset, she was more than hooks. She was a wizard of merging artistic interests, folded together into a stunning presentation of everything she could offer as an artist. Bush is never satisfied, but geniuses so rarely are, and when she masters one art form, she moves onto another with a ravenous appetite for perfection. In her art she has combined music, dance, mime, literature, fashion, and cinema into one. Her art is overwhelmingly dense and, from the beginning, few could truly reckon with her talent. Her music videos and concert television specials, in particular, are the purest distillation of her skills, and in cinematic terms, share a kinship with the likes of Maya Deren, Jacques Rivette, François Truffaut, and Terence Fisher.

In an interview with a British Television station from 1978, Bush recalled a moment in her childhood which would have a lasting effect on her psyche and her engagement with art. She was struck by an image from a television adaptation of Wuthering Heights. She caught the last five minutes of it and, without context, the image of a ghostly Kathy (the protagonist of the novel) haunted her. It was an extreme close-up, with Kathy begging for a window to be opened so she could enter her old house. From her earliest inclinations as an artist, she was first and foremost interested in visual imagery. Bush would also say in this interview that she wanted to write a song about the image that had stuck with her, but she needed to read the book first so she could “have context and get the tone right.” What would become of this collision course of image, text, and music is her first number one single in Britain, “Wuthering Heights.” The music video that followed would be one of the best the genre has ever seen.

There are numerous videos for the “Wuthering Heights” single, but two are widely recognized as the canonical examples in Bush’s oeuvre: The red dress video and the white dress video. Both present different formal takes on the single, and both are altogether dynamic in their connection to the song. The first of these, the white dress video, is shot on a sound stage with golden, harsh lighting, emanating from Bush’s body as she does her interpretive dance of the song. She makes big, swooping gestures with her limbs and has wide Clara Bow-like eyes. The image is split into two separate sections to create one fluid image—one a close-up so you can see her facial reactions to the song, the other with a wider scope so you can see the gestures she’s making to emphasize certain lyrics and passages of the song. Occasionally time-lapse photography is used to give off the illusion that Bush’s body is splitting into parts as she moves like Da Vinci’s “Vitruvian Man.” Cinematically, this video shares DNA with some of the earliest short films, more specifically the Serpentine Dance experiments that many different directors used to showcase how images could move in a certain way, but updated to aesthetics that would be more commonly used in early experimental music videos. These techniques were used to better capture singular movement and siren, ghostly feminine images, like in Bruce Conner’s groundbreaking video for “Breakaway,” starring Toni Basil. It would be startling in its own right if it were the only video for “Wuthering Heights,” but Kate Bush did one better when she donned the red dress.

The red dress video is overwhelming, shot in 4:3 and comprised almost entirely of medium shots to accentuate the visual language coming from the entirety of Bush’s body. Where the white dress video uses flashier techniques to evoke a very specific luminescent feeling, here the cinema is coming completely from her interpretive dance, as she uses the entirety of her body as sign language to emphasize the lyrical and tonal content of the song. The dance is note for note the same as the one in the white dress video, but the camera almost never pulls away here beyond the occasional close-up shot of Bush’s own facial acting, which in and of itself is also presenting the narrative of the song through her expressive, maximalist acting. The video evokes an almost mythic, idealized England of deep greens, where ghosts and ghouls roamed the land alongside the living. It’s a land of beautiful old gardens, and cottages (much like the one she grew up in), but the beauty is unnerved by a cerebral pull towards death, and in “Wuthering Heights,” that very nature is in the soul of the video. It’s set in an old forest, intensely green, but beset with fog, and Bush breaks the image with her stark, loud crimson dress. The wider framing allows us to see exactly what she’s wearing and how she moves. The medium lensing is reminiscent of many of Jacques Rivette’s high fashion pictures like Duelle, Noroit, and ironically enough his own adaptation of Wuthering Heights, where the outfit was always presented in full from head to toe and worked as an extension of the characters. In this video, the red dress is worn as a means of seduction. “Let me into your window,” Bush beckons, pulling her arms in closer. She’s speaking for the ghost of Kathy, begging to get out from the cold, but in addition to the narrative conceit of the song, it also works as a device of temptation for an introductory single. “Let me into your window” could just as easily be “Let me into your lives,” and after “Wuthering Heights,” England and the rest of the world obliged.

The zenith of Kate Bush’s music video career was between 1978 and 1980, when her videos were barebones soundstage productions, for the most part, capitalizing on her ability to dance. “Them Heavy People” was the follow-up music video single to “Wuthering Heights,” and again the video didn’t disappoint. Shot in one continuous take on a sound stage, Bush is projected as a Humphrey Bogart figure if Humphrey Bogart were a pendulum of hips. Bush wears a tilted fedora with bravado, and pairs that up with a magenta knee-length skirt. She’s accompanied by two back-up dancers who follow her throughout the narrative of the song. Here, the music is about Bush learning to dance. (��They break down my body. I feel like it’s killing me. What a lovely feeling.”) Throughout, these two back-up dancers engage Bush in a dance of combat before getting Laurel and Hardy-esque or WWF by bashing chairs into each other before the song concludes. Bush’s greatest skill as a choreographer is interpreting the lyrical content of her own songs and painting a picture with her body on top of the image we are already seeing, creating a kaleidoscope effect in which different cinematic gestures are moving in and out of one another to create a full unified statement. Bush’s auteurism, if you will, is how she moves her body in a way to create a narrative surrounding the song she’s already written. With enough time, she would soon move behind the camera as well, but director Keith “Keef” MacMillian gave her earliest dance videos the space necessary to let Bush tell the story.

Her video for “Hammer Horror” works for the same reasons that “Wuthering Heights” and “Them Heavy People” do, but with the additional context of moving into genre cinema through dance. This time, her soundstage is shrouded in darkness with a blue spotlight on Bush and a masked man in an an all-black body suit that renders everything but his uncovered arms nearly invisible. Bush is wearing a low-cut, slinky, sequined black dress, complete with the vampiric cleavage of the eponymous studio vixen. It’s equal parts vampire film and a dance exhibition, as Bush taps into the recently bankrupt Hammer Pictures’ ethos of blood, boobs, and gothic chills. The man who dances with Kate acts as a pseudo-villain, always lurking behind Bush’s frail damsel-in-distress in the verse stanzas before she erupts into a violent demoness herself in the loud, plunging chords of the chorus. Bush rarely had time for hard rock, let alone heavy metal, but this could easily be described as such, with its horror-movie lyrical content and killer riffage. This video, like much of her earliest videography, is shot in one take, but here the camera moves with Bush to create movement alongside her body, making it one of the more visually ambitious works “Keef” did in collaboration with Bush. In particular, when the camera idles side to side in an extreme close-up on Bush’s back as she alludes to running, it gives off the illusion that we’re sprinting too. When Bush turns and the camera captures her cold, horrified glare, it moves us into the third act of the horror film where the dance centers entirely around choreography of her neck. The neck is an essential image in any horror film involving vampires, but it was practically one of the Ten Commandments in Hammer cinema. The closing image of the video is Bush dangling in the arms of her faceless villain, head tilted back, with her neck exposed completely. She’s faceless at this point, and the man takes his seemingly gigantic left arm and runs it down the nape of her neck slowly before clamping down completely. The camera zooms in a little and a perfect horror-movie image closes the video before cutting to black. It’s an image both sexual and horrific, the lifeblood of vampire cinema.

It was around this time, 1980, when Kate Bush started shifting her ideas of what she wanted to convey in music videos into something more traditionally narrative-based, with a less heavy reliance on interpretive dance and pantomime. In this period, she made “The Wedding List,” as an homage to the Truffaut film The Bride Wore Black, about a wronged bride who sought revenge for the desecration of her romantic life. Additionally, there was the Jean-Luc Godard-influenced experimental video for “Another Day,” with Peter Gabriel, which showed the unravelling of a couple by using frame-within-a-frame imagery to convey two separate stories of past and present simultaneously. Bush’s best video of this time period, however—and one that births a new period of her music video career—is her apocalyptic science fiction short for the song “Breathing.” The song saw a shift in Bush’s interests from her pop-inflected, piano-based dance music to something harder and altogether more experimental. It was a shift that would characterize her career for the next 30 years.

In the video for “Breathing,” Bush represents a fetus, begging and pleading to be given a chance to live and be with her mother in the outside world in the wake of nuclear annihilation. It’s a song that has deep ties to maternity, childbirth, and pregnancy, and when compared with the majority macho considerations of science fiction, it becomes something complex and unique within the genre. The video is matter-of-fact in its simplicity, but deeply moving in what the images convey about the lyrics. Once again, it’s mostly shot on a soundstage, where Bush is inside of a plastic orb, with deep amber lighting underneath her frail frame. She’s wearing a sheer outfit with white trim to portray the relative innocence of the fetus, and she spends the majority of the video either in the fetal position or pushing the orb back and forth to represent the kicking or pushing a mother may feel while pregnant. The words “Breathing my mother in” are a gently affecting and deeply harrowing sentiment when set against the context of nuclear war, and the video becomes a barrage of dissonant images. Our greatest possibility for love (giving someone life) and our greatest possible evil (the nuclear weapon) collide to create a pure statement on the human condition. When the mother’s water eventually breaks and Bush leaves the womb, what follows is a slow-motion dip into experimental imagery of one girl, bathed in shadow, peaking out from underneath a cloudy image reaching towards the reds, oranges, and bright lights of what she hopes will be a welcoming world. Only here she’s greeted with an atomic explosion that sinks into the earth in the shape of Kate Bush’s silhouette. This is a woman’s story of creation caught in the crossfire of what man creates and mourning the death of a world she knows will inevitably fall. It’s a complicated, resonant question for any time, but made even more evocative by the terror of a supposedly inevitable nuclear war between the United States and Russia in the 1980s. In terms of cinema, it’s probably the greatest exhibition of pregnancy and childbirth this side of Stan Brakhage’s “Window Water Baby Moving.”

In an interview for British Television series, Egos and Icons, Kate Bush stated that her music video for “Running Up that Hill” was her way of saying goodbye to the pantomimed, interpretative dance of her earlier music career in favor of dancing that was more serious and elegant. The choreography of the video would be a pure dance, stripped of theatricality, with its footing in a bolder narrative sophistication. For this video, she brought in choreographer Diane Grey to take the reigns in constructing a dance around the narrative of the song, about a woman who wishes her partner could see things through her eyes, because it would fix their problems. Bush’s work has always been heavily gendered in a feminine context, but there’s a deliberate decision here to present two bodies working in jarring competition with one another while being punctuated with bursts of synchronicity, as Bush and her male partner move in and out of one another’s grasp and bodies with a fluid grace. The dance is the most complicated and daring of her music video work, while still gravitating toward a narrative interest in reflecting the lyrics of the song. But what follows in all of its beautiful lifts, cradles, and slides is a dance of two people starkly different from one another finding occasional momentary symbiosis. It’s a melding of both the masculine and the feminine into one perfect image, only for it to slip away.

Bush’s work has always highlighted the female form, with real emphasis on her body as it relates to its present state in the world of the song. It’s reminiscent of the work of Maya Deren, whose work frequently foregrounded womanhood in the deep waters of experimental cinema. Deren’s “At Land” bears stark similarities to “Running Up that Hill” in this regard, where Deren’s body is more like a curving liquid at one with an elemental earth rather than in man’s creation. In the Deren short, the ocean moves in and out, which is a dance in and of itself, and the woman (played by Deren) enters into a chess game that’s representative of her own push-and-pull conflict with being a woman in a man’s world. Her body, ever present and always in frame, sometimes looking toward the sea as if the murky deep would offer a tranquility, and in Bush’s video, she reaches toward a sun, maybe even to God, to bring her closer to understanding the conflict within her own life. Fittingly, Deren’s short ends with her running up a hill.

Kate Bush continued to stray more and more towards cinema as she raced through the ‘80s and become close friends with Terry Gilliam, who introduced her to many people in the industry who helped her put together the funding needed to make her first feature, 1993’s 50-minute The Line, The Cross and the Curve. The film is a riff on The Red Shoes (she made an album of the same name), and even includes a thank you to Michael Powell. It’s a shaggy affair, with all of her eccentricities, strengths, and weaknesses laid bare. It’s most apt comparison point is probably Prince’s Graffiti Bridge in the sense that it is both the most Kate Bush a project could possibly be, full of quirks that are very take-it-or-leave-it depending on how big of a fan you are of the music. Bush’s most base filmic interests are Gilliam with a dash of Jean Cocteau and Twin Peaks-era David Lynch. Much of the visual imagery in the film is reminiscent of the Black Lodge, with an obsession over red curtains, flames and mirrors. The greatest weakness of the film is that it would obviously draw unfair comparisons to Powell and Emeric Pressburger’s 1948 masterpiece and no film under any circumstances could live up to those lofty expectations. But that’s Kate Bush: She’ll aim for heaven even if it means her own hell. Nevertheless, The Line, The Cross and the Curve is not without some truly breathtaking moments, such as the callback to her earlier soundstage videos of the late 70s in the yo-yo’ing “Rubberband Girl.” In that segment, a man dances behind Bush, serving as her shadow, bobbing her back and forth to create a dance where Bush’s body personifies a rubber band. The title track features a breathtaking choreographed moment between her and the man who taught her to dance, Lindsay Kemp, while dazzling sequins splash all over the screen as Bush and Kemp dance around floating multi-colored fabrics. The sequence, set to “Moments of Pleasure” is the film’s absolute high point, with Bush merely twirling, as if wound up from her back like a music box ballerina. Throughout this sequence she’s covered in falling snow, but it looks more like bursting starlight and against all this black, she’s adorned in hellfire red, singing her heart out. It’s a startling image, one that takes its time and is deeply moving in its straight-forward theatricality. Bush considers the film a major disappointment, but underneath her own perfectionist tendencies, anything less than equaling Powell and Pressburger would have been a failure.

Kate Bush’s music video library is epochal, constantly rewarding in its zealous fusion of artistic forms, and her fundamental understanding that cinema, movement and dance are intertwined. When watching feature films, we tend to point out whenever a scene has great music accompanying it, whether it’s Claire Denis’ use of “The Rhythm of the Night” in the disco denouement of Beau Travail or the montage set to “Layla” in Martin Scorsese’s Goodfellas, but why are music videos so vastly ignored when we canonize movies? If there’s to be a music video canon, then it’s important to understand what makes a music video cinema in the first place. Through dance, rhythm, and movement, music videos truly find their identity in the lexicon of cinema, and with Kate Bush in particular, she immerses her entire body into that very idea. Stop Making Sense is widely considered the greatest concert film of all time, thanks in part to Jonathan Demme’s understanding of rhythm and how he captured the jittery quality of David Byrne’s dancing. If the same can be extended to the work of music videos, then the entire world of images bursting out of Bush’s body time and time again must be holy and it must be considered cinema.

#kate bush #running up that hill #stop making sense #Emeric Pressburger #Michael Powell #the red shoes #rubberband girl #maya deren #twin peaks #david lynch #jonathan demme #goodfellas #oscilloscope laboratories #musings #film writing #hammer pictures #Wuthering Heights

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realmonstersrp · 6 years ago

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INTRODUCING RYU MAYA, OUR NEWEST STUDENT WITH THE POWER OF ARACHNID PHYSIOLOGY

WELCOME TO GUMI INTERNATIONAL SCHOOL FOR THE POWERED.

tw: implied rape, parental neglect

WHO ARE THEY?

PERSONALITY

(+) passionate, inventive, charismatic (–) mercurial, selfish, greedy

BACKGROUND

( imagine this- you are born into disaster. )

ryu maya is not even a minute old when her fate is sealed. she is the product of a dark secret, a buried truth, a secret shame. her father a criminal, a tainted creature locked away, now. bang goes the gavel - guilty on all charges. her mother too religious to do anything about the thing he’s left inside her, but not religious enough, maybe, to love the child as she should.

( why did you even have me, maya will ask one day.

and her mother’s answer will be guilt, guilt, guilt. )

maya is born to be regretted. born tainted, born shamed. her birth is not celebrated, her arrival not one that has been long hoped for. there are no balloons and no flowers, no doting family members. there is a somber eyed grandmother and a grandfather who turns away from the child, and there is a note in her mother’s file.

( the words maya cannot possible read spell out suicide risk. )

maya is the culmination of her mother’s trauma. a living burden, a breathing reminder of a time better left forgotten. her mother is glazed eyes and distraction, post partum depression and ptsd and no interest in the tottering child that wants only, desperately, achingly, to be loved. a child that did not ask for life, but received it.

( why didn’t you put me up for adoption, maya will ask one day.

and her mother will only turn away, leaving maya to her own conclusion -

no one would have wanted her anyway. )

she is tangled, tousled hair and wild eyes. she is skinned knees and skateboards and garlands of wild flowers. she is fierce and defiant because negative attention is better than no attention, and at least when her mother is screaming at her, she’s looking at her. ryu maya is a study in “but” and “except.” she’s so smart but… her teachers say. she’s so sweet except …. her principal states. she’s so clever but …. and the list continues. she’s more charming than she has a right to be, devilish to say the least. spindly limbs and bright eyes, she’s got enough energy for a thousand sly little girls, and she makes her own fun with alarming ease.

( when the boys at school tell her on the playground, that her mother is a whore, that her father is a rapist, that she was never supposed to be born, we get the first look at what a lifetime of neglect and latent trauma will do to a child.

a gangly, nine year old maya sits in the principal’s office with blood in her mouth, painting crimson between her teeth when she smiles at the office aid. it stains her nails, and the bruises are coming in quick.

other little girls fight with words and stares sneaking, but maya isn’t like other little girls, now is she?

maybe she’s a monster. )

she learns the art of subtlety later. she learns to dance her way between people, through statements. physicality becomes her outlet first, for the energy that burns in her, exhausts her out of the moods that begin to take her over like maelstroms, blowing hot and cold, furious and tranquil in fits and starts. she’s unpredictable and she’s moody, and her mother is increasingly unable to deal with her. it is only her strange charm that helps her find a mentor, the creative writing teacher at her high school.

( and when this too, becomes something else, when this too sours and twists,

when hands wander and gazes pierce and when —

when this part of the story must be redacted even from this segmented note, because compartmentalization is the key to survival, because thinking too much about those days, those months, thoseclawinghandsandteethandtonguesand is enough to fracture —

she knows that this tainted thing inside her, this terrible thing that was her beginning,

must also have, in some way, innately formed her.

that this is her lot, this is her story, a fate unchangeable. )

she packs up.

moves.

leaves, leaves this behind.

( leaves behind a man with venom in his veins and a mouth encased in webbing,

a story that makes little sense to the authorities

a trauma that sinks into her bones. )

and she moves to school.

and she studies those same stories her mother threw at her, to occupy her long ago.

and she finds solace once more in monstrous women, turned terrible for crimes-that-weren’t.

like eurydice, condemned to the underworld once more at the folly of a man. when she had been so, so close to escape.

like medusa, raped and ravaged and what - turned into a monster for her misfortunes? forced to exact her own revenge and then heralded as a beast for doing so?

like arachne -

who dared only be great, be witty, be defiant -

forced to such a lowly stature

because a goddess couldn’t stomach losing?

given a mockery of a life to call her own,

forever reminded of her own talents but unable to exact them as she once had?

( sounds like a girl forever reminded of the accident of her birth, unable to attain the things that should have come so easily to her - affection, or love, or belonging. sounds like a girl turned cruel by a world out of her own control. a magnet for chaos. )

and the games continue.

and so do the misfortunes.

and so too does maya, for better or worse.

WHAT CAN THEY DO?

DEFINITION

arachnid physiology:

ah, the spider. a dubious little creature, known for its phobia inducing visage, for the quiet creep and crawl of it. for impossibly strong venom and delicate silk webbing. a trickster to many, mythologically the spider is a strange creature. a glimpse into something tantalizing and frightening at once, an unholy fascination. to take on this physiological form is to wield, either in part or whole, it’s attributes. one might consider venom beneath the nails to be the extension of a venemous jab, a fanged bite to match the tarantula. there is the awareness of one’s surroundings that only such a delicate and craft creature could have, a sense for the dangerous stomp of a predator. from the tips of her fingers comes the ever expected web, silk threads of alarming strength produced and manipulated to dubious effect. she can creep up the walls on silent feet and sneak stealthily around corners, hidden in silence and shadow. like the age old classic “spiderman” she possesses some enhanced areas of the human condition (reflexes, agility, balance, most notably) such that her powers are not largely useless.

WEAKNESSES

while it is easy for her to manifest properties of a spider one at a time, maintaining multiple facets from multiple species is a no go. if she were to zero in on a subset of arachnid, for example that of the mygalomorphae, prone to tunneling and burrowing, she would not be capable to then simultaneously borrow the capabilities of a jumping spider. she has thusly spent an unfortunate amount of time studying the various properties of spiders. furthermore on the topic of study, while her abilities are innate and, as such, there are certain things that are Known to be spidery in nature; webs and poison being the most obvious. for a long time this was all she thought herself capable of doing and all she thus did. further study and considerable practice allows her to expand her abilities further. in the case of any and all webbing, she is limited to quick bursts of use, raging from 3 to 8 minutes, before her stores are depleted and she is rendered useless in this capacity. this is further limited by range - she contains a finite supply that takes hours to fully regenerate. her maximum possible length (going straight forward and spun thin and tight, i.e. the best of conditions possible) is that of a football field. she tested this once out of curiosity, but any further and the web simply detaches from her hand and falls by the wayside, her stores emptied. her other abilities are similarly limited. she has enough venom to properly kill four average sized men (which is rather low, when you consider the venomous capabilities of spiders in australia) before her stores are thoroughly depleted, not that she knows this, considering she doesn’t make it her business to routinely poison people. she is able, to some extent with great concentration, to control the amount of poison released at a time, but this is a risky sort of business she doesn’t enjoy delving into. she is capable of transitioning into a spider, but ironically only a rather common black house spider, nothing notable, and in this form her abilities are rendered quite average for a spider, meaning her venom is rendered absent. she can hold this form for only a few minutes, and truthfully finds adjusting to eight legs and multitude eyes extremely unpleasant and is often nauseous after reverting back. this does not stop her, however, from using it to prank people. as many of her abilities involve high physicality she must remain in excellent shape, further more they also require the organic production of materials, which means her average caloric intake is high by necessity and her metabolism quickly burns through whatever it is offered.

DID YOU KNOW?

Spiders are hypersensitive to LSD, caffeine, and other stimulants, and so is Maya.

#rmaccepted #rmmaya #hellion #kang seulgi #red velvet

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human-synthesys-studio-upsell · 4 years ago

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Human Synthesys Studio Upsell

Human Synthesys Studio Review: Who needs to pay a Spokesperson when you have this?

Every marketer knows that use of videos in marketing is ever-growing. And that’s the reason you see so many people now trying to capture this market…so much so that the market now seems to have become saturated.

But along with this exponential growth in the video marketing industry – there’s been another industry growing equally fast, but it has gone unnoticed. Want to tap in and make $750 for a 2-3-minute job?

Every video needs a voice over… talk about Sales Videos, Video Sales Letters, Animated Videos, Explainer Videos, Instagram & FB Marketing Videos, TV Commercials, Podcasts. There’s no doubt big money there to be made.

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WHAT IS HUMAN SYNTHESYS STUDIO?

Practically everyone who’s on the internet has seen an “avatar” before. They’re the little cartoon people you see all over social media, blogs, and websites of all kinds! But, sometimes you just want to connect with your audience on an even deeper level… and that little avatar won’t cut it…

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No Need To Be On Camera, Ever Again

No Need To Record Your Voice

No Learning Curve, So Easy To Use

Seamless AI And Cloud-Based Video Production

Unlimited Video Asset Editing

Repurpose Videos From One Language To Many (IMPORTANT)

Template Design And Management

Unlock Massive Business Opportunities

With Human Synthesys Studio, you’ll unlock the power of high-end, cutting edge technology: “Humatars”. This new kind of Avatar isn’t really an Avatar at all. They are real human beings who speak and pose for TEN HOURS. then the Artificial Intelligence involved goes to work examining 100,000 videos to get the lip-sync just right.

Humatars are REAL humans with REAL human voices. You type, they speak. Who needs to pay a spokesperson anymore with low-cost Humatars saying what you want, when you want it!

Human Synthesys Studio is a cloud based “Humatar” video creation software. It uses real humans, real human voices, and text-to-speech software to create high quality REAL spokespeople that say whatever you type.

Human Synthesys Studio creates completely life-like human spokespeople, that say exactly what you want them to say. They are not avatars. Instead, we’re calling them ‘Humatars’ and they are the new standard for spokespeople in video. Why use cartoon or video game-like animations, when you can accomplish the same thing with more personable, REAL humans?

And it’s not just being able to use actual humans in your videos, but actual human voices (English only) as well. This vastly expands how you can use Human Synthesys Studio in your business…

Human Synthesys Studio Is Different Than Anything You’ve Ever Seen – Including Google Wavenet and Amazon Polly With SYNTHESYS, You Can Now Create Voice-Overs On Demand!

By leveraging the power of the next-generation Synthetic Speech Technology, a state-of-the-art Instant Text-to-Speech converter, and total control over the tone of the voice over… you’ll get more engagement and higher revenue from your traffic than ever before!

Human Synthesys Studio gives you Real Professional English Voice Actors to convert your script into a highly engaging voice over!

They help you build trust by allowing you to use the same voice for a brand…without having to chase a professional voice-over artist on platforms like Fiverr or VoiceBunny. Boost engagement, reduce bounce rates, get more leads into your sales funnel, and most importantly… earn more profit!

So don’t hesitate to check the next parts of this Human Synthesys Studio Review as I’ll show you how powerful it is!

HUMAN SYNTHESYS STUDIO REVIEW OVERVIEW

Vendor Todd Gross

Product Human Synthesys Studio

Launch Date 2021-May-24

Launch Time 11:00 EST

Front-End Price $47

Bonuses >> CHECK MY ULTIMATE HUGE BONUSES <<

Refund YES, 14 Days Money-Back Guarantee

Product Type Video Marketing

Support Effective Response

Discount 👉VISIT OFFICIAL SITE

Recommended Highly Recommended

Skill Level Needed All Levels

ABOUT CREATORS

Before explaining in details the features of this product, my Human Synthesys Studio Review intends to briefly introduce the vendor. Along with his partner LuAnn Beckman and Oliver Goodwin, Mr. Todd Gross has come up with the idea to compile all of the first-of-its-kind video marketing solution

Previously, he has already been famous for releasing lots of helpful supporting tools, including Mugjam, VidSnatcher, Kaptiwa, etc. Personally, I have nothing to doubt this guy since his launches have been extremely successful in the field of Internet marketing. That is also the reason why I believe that Human Synthesys Studio will be another hit.

Now let’s switch to the next part of the Human Synthesys Studio Review to find out the content of the program!

KEY FEATURES

With Human Studio Synthesys:

“Talking head” video: Human Studio Synthesys platform includes more than 20 high quality avatars that can be used for producing spokesperson videos. They can be used as full profile avatars or circular avatars.

Fast voice-over process: Human Studio Synthesys platform comes prepackaged with the highest quality and variety of synthetic voices. Simply type your text and hear the result in real-time.

Fast corrections and re-edits: with Human Synthesys Studio, every business can create multiple takes and scripts, see how they work and adjust them – all within a few minutes.

Simple to make multi-lingual videos: Once you found a script that works, you can simply translate the script in any of the supported languages (we support 40+ languages) and generate multi-lingual videos. Again, all within minutes.

Human spokespeople and voice over professionals for hire demand top dollar for their services… Now, you can tap into each of these lucrative business opportunities on talent sites like upwork, fiverr, and more:

Human Synthesys Studio Is Packed With Amazing Features…

Text-To-Video: Transform simple text into professional-looking video for the first time ever. Videos can be up to 6 minutes long.

40+ Languages: We currently support 40+ different languages. It’s never been easier to engage global teams and customers in their native language

“Humatars” Options: With Human Synthesys Studio, you have the option of 5 Humatars with Personal OR 10 Humatars PLUS 3 BONUS Humatars with Commercial to use immediately.

Custom Backgrounds: Easily upload any image or video as a background to your videos. We’ve also created free slide templates for inspiration.

Background Music: We have prepared a selection of background music that you can freely add as a background sound to your videos.

MP4 Downloads: Access and download your completed video projects as mp4 files.

Multi-slide Videos: Combine several Human Synthesys Studio videos into one video. Now you can create rich slide deck video experiences in just a few minutes.

Update Video Content: With Human Synthesys Studio, you can simply duplicate the video, change the text and have an updated version of a video in just a few minutes.

Spokesperson Positioning: Move the position of your Humatar around on your videos for your desired position and look.

Intuitive, Easy To Use, Interface: Step-by-step process makes it quick and easy to produce your videos.

And many more other exclusive features:

Find THE perfect Voice for everything: Create engaging learning experiences, training, real estate videos, advertising audio promotion materials, product tours and more.

Cutting-edge technology: Deep learning researchers train a dataset of voice recordings from real-life voice actors to create a neural network. This neural network generates audio clips from text input by users. The voice-over generated sounds 100% real human-like.

Unmatched quality at an unmatched price: With the latest innovations in synthetic digital voicing, and super-fast text-to-speech conversion and render…there’s no other app, software or tool on the market that comes close – at any price!

Higher engagement and lower bounce rate – GUARANTEED: SYNTHESYS improves engagement with visitors. They are not repulsed by a creepy sounding robot telling them about the product or service.

Done-for-you voices: Get started instantly with ready-to-use voice overs. Use these for presentations and videos and save both time and money.

Bring your scripts to life: Professional voice-overs on your own terms, on your schedules and without any haggling for prices. Bring your scripts to life in just 3 clicks.

Never Hire A Voice Actor again: Both Male and Female voices from real-life actors are made available through the neural network. Special emphasis has been given to tone, breathing, sentence pauses etc. to ensure that your voice-overs sound 100% real.

Multi-purpose use: SYNTHESYS can be widely used for Gaming, Podcasts, Film & Animation, Real Estate Promotion Videos, Training Videos, Walkthrough Videos, Advertisements etc. to create professional personalized audio promotional material and more.

Easy-on-the-pocket: This stunning technology is budget-friendly. What’s more, it’s a fraction of the cost of studio-recorded narration. SYNTHESYS help you with a professional voice for your presentations and videos while helping you save time and money.

Easy-to-use: Simply type or copy and paste your script into the text box, make your voice selection, and click to render. Getting a high-quality voice-over has never been easier and faster.

No need to cut corners and compromise on quality: Voice-overs are needed right at the end of building a product and the related marketing material. By this time, most businesses have already over-spent on their budget. But now with SYNTHESYS… no more compromising on the quality of voice-overs to save money. Also, say goodbye to delays caused by script changes, casting talent, and booking recording studios.

Works seamlessly on any device: Access your SYNTHESYS secure dashboard via any web browser. It’s hosted on the cloud – no software installation or downloads required!

👉VISIT OFFICIAL SITE

HONEST HUMAN SYNTHESYS STUDIO REVIEW: IS IT WORTH USING?

This is an absolutely brilliant idea of using custom scripts with “Real People”. And how you implement it online, makes it incredibly easy to create professional spokesperson videos.

Imagine if you had the power to put together Human Spokesperson videos where you could actually direct what the all-human spokespersons say… Imagine how powerful it would be if you could have your own spokespersons on demand” where YOU are able to decide what they actually say!

This brand new form of video creation goes beyond what is currently possible. Finally, you can have real humans delivering the very message you want, line by line

We are talking about having your own professional spokespersons, practically on demand, so that you can build your own video scripts, line by line, by choosing from literally thousands of options, and create professional looking videos, in 90 seconds or less…

We wanted to find a way to truly give you the freedom to create practically any video that you want, using an actual live spokesperson, without having to hire a professional person to record it for you. This will allow you to make incredible, customized videos for your clients.

What is all the fuss about? Well, imagine a bank of thousands of clips that you can automatically choose from that essentially forces our HUMAN spokespersons to say what you WANT them to say!

That’s right! For example you can have Todd Gross as your spokesperson and have him coax someone to opt-into your list about Facebook, or if you want him to be the front-man for a local business… you can use him for that too – and he’ll say what YOU direct him to!

In fact I just made a 30 second Todd Gross product promotional with my feet up and just clicking the mouse in a few minutes. You’ve got a winner that ALL video marketers will love.

The software easily allows you to not only string together full videos by combining clips, but helps you to smooth out the “seams” between each clip, so that the result is exactly the same as if you hired a spokesperson yourself for hundreds of dollars!

You can make as many videos as you want, and as long as you want, although most will run between 30 and 60 seconds, PERFECT for marketing for yourself OR your clients! You see, commercial rights ARE included.

As an example, you can have a video made coaxing folks to find out more about “Facebook Marketing”, and to opt-into your list to learn more! The videos run across dozens of niches including local marketing for offline business as well. You really must see this to believe it!

Let’s take a minute to recap the huge benefits come up with:

World’s #1 Human Spokesperson Software Built By Marketers For Marketers

Select Exactly What Each Professional Spokesperson Says, Line By Line!

Produces Amazing HD Commercials Ready To Sell For $100’s of Dollars Each (Or Use Yourself)

Thousands Of Clips To Choose From. Incredible Amount Of Customization

100% Cloud-Based. Nothing to Install. Ever!

Featuring A Variety Of Spokespersons

Point-and-Click Software For Fast and Easy Video Creation

Dozens Of Videos, Backgrounds, Lower Thirds Graphics, Soundtracks, & More At Your Fingertips

Say Goodbye To Working With Difficult Designers & Spokespersons!

You will be getting the vendor’s greatest bonuses for your fast action (and also my ultimate huge bonuses at the last section of this Human Synthesys Studio Review):

HOW HUMAN SYNTHESYS STUDIO WORKS

Human Synthesys Studio is Newbie Friendly. No special skills, no learning curve required… We have step by step training videos that cover all aspects of the software to get you started right.

Human Synthesys Studio is 100% cloud based and works on any operating platform on any internet connected device. It runs inside your internet browser so you can access it on any computer with an Internet connection. Nothing to install; nothing to update.

It’s Never Been Easier To Create Human Spokesperson Videos That Say Exactly What You Want In Just Minutes

Step #1: Select Your Human

Step #2: Select Your Voice

Step #3: Input The Text You Want Them To Say

Step #4: Change Position, Add Backgrounds, Background Music, And More

Step #5: Render Your Video

Remember that Human Synthesys Studio is credit based. 100 renders for commercial and 50 renders for personal use. Additional video rendering packages are available. On either option, you can type up to 1,000 characters on each slide and create up to 6 slides for a total of up to 6 minutes per video.

We’ve selected the very best Google and Microsoft have to offer, totaling 40 languages (74 different voices). PLUS there are 5 synthetic HUMAN voices available in English language.

Upsells AND PRICE

For a limited time, you can grab Human Synthesys Studio with early bird discount price in these options below. Let’s pick the best suited options for you before this special offer gone!

FRONT-END: HUMAN SYNTHESYS STUDIO ($47)

First of its kind technology

REAL professional actors in your videos

Synthetic human voice text-to-speech (English Only)

PLUS Google text-to-speech (40 languages + 74 voices)

ONLY the BEST from Google and Microsoft have been selected..

Revolutionary lip-synching technology

Stunning life-like facial movements

Cloud based (no installation required)

Extremely easy to use (no learning curve)

Background and audio bank included

Simple editing interface

Tap into the HUGE spokesperson market

Commercial license available

10 Real Humatars + 3 Bonus Humatars (Only ONE Outfit Included)

5 Real Human Voices + ONLY The BEST Google & Microsoft TTS 40+ languages (74 different voices)

100 Total Rendered Videos (1,000 characters/slide; 6 slides; 6 minutes max) Credits Available For Additional Videos.

Upsell 1: PRO EDITION ($67)

Now MAXIMIZE Your Sales Potential By Unlocking The Pro Upgrade… Unlock 40 MORE Humatars With Different Outfits Covering Dozens Of Different Niches, PLUS 30 MORE Human Voices!

Boost Your Humatar Inventory And Appeal To More Clients For Added Sales Potential. Our Pro Upgrade Was Built With ONE Thing In Mind. To Give You What You Need To Land As Many Clients As Possible.

This Is The ULTIMATE Upgrade For Your Human Synthesys Studio Account – Especially For Commercial Owners!

You can more than quadruple the number of Humatars, and boost your voice options for maximum flexibility with Human Synthesys Studio Pro. As a commercial license owner, you’ll have maximum firepower to land more and more clients across dozens of different niches.

Introducing the first-ever REAL human spokesperson engine, where you can combine real humans with text-to-speech, and have them say exactly what you want with UNMATCHED life-like quality…

Upsell 2: ENTERPRISE EDITION ($47)

Offer More Services At Faster Speeds And Massively Boost Your Income Potential With The ENTREPRISE UPGRADE! Use Any Recorded Voice, Get 100 Niche Templates (+More Monthly), Get VIP Rendering Status, PLUS ALL Software Upgrades Going Forward!

Use Any Recorded Voice With Humatars

VIP Priority Rendering

New Niche Templates Delivered Monthly for One Year

100+ Niche Templates Immediately

Future Software Updates

Money Back Guarantee

Upload any Recorded Voice in Any Language

Lip-sync videos to any target speech with high accuracy

Works for any identity, voice, and language

Offer Personalized Services

Completely Natural with Advanced Lip Synch Technology

Demand Top Dollar for Your Services

Upsell 3: AUDIO SUITE ($67)

AudioSuite brings together not one, but TWO incredible tools:

Synthesys, the first software to introduce human synthetic voices, and

Infinitunes, the first AI-Powered Music Software.

Both include FREE Commercial Licenses. Both for a ONE-TIME payment.

Upsell 4: AGENCY LICENSE ($197)

Unlimited Humatar Videos, 25 Sub-User Accounts, Maximum Video Duration, PLUS 157 Additional Video Templates With The AGENCY Upgrade! This Is The ULTIMATE Upgrade For Serious Entrepreneurs

We’ve created this special Unlimited offer for one reason – to help you scale your Humatar creation business to a serious level. Agency gives you what you need to go from a service business to a full-fledged agency business with the potential to rake in massive profits of five figures or more!

Unlimited Video Renderings – Render unlimited videos with complete freedom.

Sub User Accounts – Have up to 25 additional users creating humatar videos for you. Outsource this work for maximum output!

12 minute Video Duration – Maximize your video length, charge more for longer videos, and expand your capabilities.

Video Templates – 157 More templates are always a good thing, increase your template inventory and appeal to even MORE prospective clients.

Limited Time Discount – The unlimited package will ONLY be available for a limited time, during this launch special.

We want to give you an opportunity to start your very own professional voice-over agency. That’s why we’ve created this Agency package. So you can have more hands-on deck, creating more awesome voice overs without restrictions.

HUMAN SYNTHESYS STUDIO REVIEW CONCLUSION AND ULTIMATE HUGE BONUSES

Thank you so much for reading my Human Synthesys Studio Review! I really hope it did help you with your buying decision. This system is coming out with many bonuses for the early bird. Take your action ASAP for the best deal.

REMEMBER! If you purchase through my link, you will be supported 24/7; That means you can contact me ANYTIME when you get trouble in using or can not contact with the authors/ product supporters. I will help you RIGHT AWAY!

Besides, if you buy this product through my link, you can also get these huge bonuses below (Please remember that these bonuses are not for the TRIAL or FREE versions):

👉VISIT OFFICIAL SITE

You can have an opportunity to receive extra bonuses if you finish 3 steps below:

Step 1: Order the product by Clicking here.

Step 2: Choose 1 of my huge Bonus Packages below! Remember that you can pick one more bonuses pack for each Upgrade you purchased!

Step 3: After your purchase goes through, email your receipt & your chosen bonuses pack to me at [email protected] so I can confirm your purchase and email you information about how to access to your bonus material.

I Will Always Update New Bonus

Now, Check your bonus below!

»»Plugin Bonus Package««

»»Theme Bonus Package««

»»General Bonus Package««

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